Chapter I: II III (2)

«Skin Ointment.»—I.—Add about 2 per cent of phenol to petrolatum, perfuming it with oil of bergamot and color a dull green. It has been suggested that a mixture of Prussian blue and yellow ocher would answer as the coloring agent.

II.—Phenol 40 grains
Boric acid 2 drachms
Oil of bergamot 90 minims
Petrolatum 1 pound
Color with chlorophyll.

OINTMENTS FOR VETERINARY PURPOSES: See Veterinary Formulas.

OLEIN SOAP: See Soap.

OLEOMARGARINE: See Butter.

OLIVE-OIL PASTE: See Butter Substitutes.

ONYX CEMENTS: See Adhesives.

ORANGEADE: See Beverages, under Lemonades.

ORANGE BITTERS AND CORDIAL: See Wines and Liquors.

ORANGE DROPS: See Confectionery.

ORANGE EXTRACT: See Essences and Extracts.

ORANGE FRAPPÉ: See Beverages, under Lemonades.

ORANGE PHOSPHATE: See Beverages.

ORGEAT PUNCH: See Beverages, under Lemonades.

ORTOL DEVELOPER: See Photography.

OXIDIZING: See Bronzing, Plating, Painting.

OXIDE, MAGNETIC: See Rust Preventives.

OXOLIN: See Rubber.

OZONATINE: See Air Purifying.

PACKAGE POP: See Beverages, under Ginger Ale.

PACKAGE WAX: See Waxes. {488}

«PACKINGS:»

«Packing for Stuffing Boxes.»—

Tallow 10 parts Barrel soap, non-filled 30 parts Cylinder oil 10 parts Talcum Venetian, finely powdered 20 parts Graphite, finely washed 6 parts Powdered asbestos 6 parts

Melt the tallow and barrel soap together, add the other materials in rotation, mix intimately in a mixing machine, and fill in 4-pound cans.

«Packing for Gasoline Pumps.»—For packing pumps on gasoline engines use asbestos wick-packing rubbed full of regular laundry soap; it will work without undue friction and will pack tightly. Common rubber packing is not as good, as the gasoline cuts it out.

PADS OF PAPER: See Paper Pads.

PAIN-SUBDUING OINTMENT: See Ointments.

«PAINTING PROCESSES:»

«Painting Ornaments or Letters on Cloth and Paper.»—Dissolve gum shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3 pints of alcohol, and mix with it any dry color desired. If it becomes too thick, thin with more alcohol. This works free, does not bleed out, imparts brilliancy to the color, and wears well. The preparation can be used also on paper.

«Painting on Marble.»—To paint marble in water colors, it must be first thoroughly cleaned and all grease completely removed. The slab is washed well, and then rubbed off with benzine by means of a rag or sponge. In order to be quite sure, add a little ox gall or aguoline to the colors. After marble has been painted with water colors it cannot be polished any more.

«Painting on Muslin.»—To paint on muslin requires considerable skill. Select a smooth wall or partition, upon which tack the muslin, drawing the fabric taut and firm. Then make a solution of starch and water, adding one-fourth starch to three-fourths water, and apply a glaze of this to the muslin. To guard against the striking in of the paint, and to hold it more securely in place and texture, mix the pigment with rubbing varnish to the consistency of a stiff paste, and then thin with turpentine to a free working condition. A double thick camel’s-hair brush, of a width to correspond properly with the size of the surface to be coated, is the best tool with which to coat fine muslin. A fitch-hair tool is probably best suited to the coarser muslin. Many painters, when about to letter on muslin, wet the material with water; but this method is not so reliable as sizing with starch and water. Wetting canvas or duck operates very successfully in holding the paint or color in check, but these materials should not be confounded with muslin, which is of an entirely different texture.

PAINTING ON LEATHER: See Leather.

«PAINTINGS:»

«Protection for Oil Paintings.»—Oil paintings should under no circumstances be varnished over before the colors are surely and unmistakably dry, otherwise the fissuring and early decay of the surface may be anticipated. The contention of some people that oil paintings need the protection of a coat of varnish is based upon the claim that the picture, unvarnished, looks dead and lusterless in parts and glossy in still others, the value and real beauty of the color being thus unequally manifested. It is not to be inferred, however, that a heavy coating of varnish is required. When it is deemed advisable to varnish over an oil painting the varnish should be mastic, with perhaps 3 or 4 drops of refined linseed oil added to insure against cracking. A heavy body of varnish used over paintings must be strictly prohibited, inasmuch as the varnish, as it grows in age, naturally darkens in color, and in so doing carries with it a decided clouding and discoloration of the delicate pigments. A thinly applied coat of mastic varnish affords the required protection from all sorts and conditions of atmospheric impurities, besides fulfilling its mission in other directions.

Oil paintings, aquarelles, etc., may be also coated with a thin layer of Canada balsam, and placed smoothly on a pane of glass likewise coated with Canada balsam, so that both layers of balsam come together. Then the pictures are pressed down from the back, to remove all air bubbles.

«To Renovate Old Oil Paintings.»—When old oil paintings have become dark and cracked, proceed as follows: Pour alcohol in a dish and put the picture over it, face downward. The fumes of the alcohol dissolve the paint of the picture, the fissures close up again, and {489} the color assumes a freshness which is surprising. Great caution is absolutely necessary, and one must look at the painting very often, otherwise it may happen that the colors will run together or even run off in drops.

PAINTINGS, TO CLEAN: See Cleaning Preparations and Methods.

«Paints»

(See also Acid-Proofing, Ceramics, Enamels, Fireproofing, Glazing, Painting Processes, Pigments, Rust Preventives, Varnishes, and Waterproofing.)

«PAINT BASES:»

«Dry Bases for Paints.»—The following colors and minerals, mixed in the proportions given and then ground to fine powder, make excellent dry paints, and may be thinned with turpentine oil, and a small percentage of cheap varnish to consistency required.

Buff.—

Yellow ocher 44 pounds Whiting 6 pounds Oxide of zinc 5 pounds Plaster of Paris 1/2 pound

Brick Brown.—

Yellow ocher 26 pounds Calcined copperas 4 pounds Red hematite 1 1/4 pounds Best silica 7 pounds Whiting 18 pounds

Gray.—

Oxide of zinc 30 pounds White lead 6 pounds Whiting 12 pounds Bone black 1/4 pound Yellow ocher 2 pounds

Crimson.—

Indian red 25 pounds Crocus martis 7 pounds Oxide of zinc 6 pounds Whiting 6 pounds

Vandyke Brown.—

Yellow ocher 25 pounds Whiting 18 pounds Umber 4 pounds Oxide of zinc 7 pounds Purple oxide of iron 1 pound

Blood Red.—

Crocus martis 30 pounds Whiting 20 pounds Hematite 3 pounds Silica 6 pounds Venetian red 2 pounds

Drab.—

Yellow ocher 40 pounds Whiting 10 pounds Oxide of zinc 8 1/2 pounds Sulphate of barytes 1 pound

«Paint for Blackboards.»—

Shellac 1 pound Alcohol 1 gallon Lampblack (fine quality) 4 ounces Powdered emery 4 ounces Ultramarine blue 4 ounces

Dissolve the shellac in the alcohol. Place the lampblack, emery, and ultramarine blue on a cheese-cloth strainer, pour on part of the shellac solution, stirring constantly and gradually adding the solution until all of the powders have passed through the strainer.

«Dark-Green Paint for Blackboards.»—Mix 1 part Prussian blue and 1 part chrome green with equal parts of gilders’ size and alcohol to a thin cream consistency. Apply with a large, stiff brush and after an hour a second coat is given. After 24 to 48 hours smooth the surface with a felt cloth. This renders it rich and velvety. The shade must be a deep black green and the quantities of the colors have to be modified accordingly if necessary. Old blackboards should be previously thoroughly cleaned with soda.

«BRONZING SOLUTIONS FOR PAINTS.»

I.—The so-called “banana solution” (the name being derived from its odor) which is used in applying bronzes of various kinds, is usually a mixture of equal parts of amyl acetate, acetone, and benzine, with just enough pyroxyline dissolved therein to give it body. Powdered bronze is put into a bottle containing this mixture and the paint so formed applied with a brush. The thin covering of pyroxyline that is left after the evaporation of the liquid protects the bronze from the air and keeps it from being wiped off by the cleanly housemaid. Tarnished picture frames and tarnished chandeliers to which a gold bronze has been applied from such a solution will look fresh and new for a long time. Copper bronze as well as gold bronze and the various colored bronze powders can be used in the “banana solution” for making very pretty advertising signs for use in the drug store. Lettering and bordering work upon the signs can be done with it. Several very small, stiff painters’ brushes are needed for such work and they must {490} be either kept in the solution when not in use, or, better still, washed in benzine or acetone immediately after use and put away for future service. As the “banana solution” is volatile, it must be kept well corked.

II.—A good bronzing solution for paint tins, applied by dipping, is made by dissolving Syrian asphaltum in spirits of turpentine, etc., and thinning it down with these solvents to the proper bronze color and consistency. A little good boiled oil will increase the adherence.

«Paint Brushes.»—To soften a hard paint brush, stand the brush overnight in a pot of soft soap and clean in warm water. Afterwards clean in benzine. If the brush is wrapped with a string do not let the string touch the soap.

Paint brushes which have dried up as hard as stone can be cleaned in the following manner: Dissolve 1 part soda in 3 parts water; pour the solution in a cylinder glass, and suspend in it the brushes to be cleaned, so that they are about 2 inches from the bottom of the vessel. Let it remain undisturbed at a temperature of 140° to 158° F., 12 to 24 hours, after which the most indurated brushes will have become soft, so that they can be readily cleaned with soap. It is essential, however, to observe the temperature, as bristle brushes will be injured and spoiled if the heat is greater.

«Black.—A Permanent Black of Rich Luster for Metal Boxes.»—Dissolve chlorate of potassium and blue vitriol, equal parts, in 36 times as much water, and allow the solution to cool. The parts to be blacked may be either dipped in the solution, or the solution may be flowed on and allowed to remain until the metal becomes black, after which the fixtures should be rinsed in clean water and allowed to dry. Those parts of the surface which show imperfections in the black should be recoated.

«Dead White on Silver Work, etc.»—Bruise charcoal very finely and mix it with calcined borax in the proportion of 4 parts of charcoal to 1 of borax. Of this make a paste with water; apply this paste on the parts to be deadened; next expose the piece to the fire of well-lit coal until it acquires a cherry-red shade; allow to cool and then place it in water slightly acidulated with sulphuric acid. The bath must not be more than 5° Bé. Leave the piece in the bath about 2 hours, then rinse off several times.

«White Coating for Signs, etc.»—A white color for signs and articles exposed to the air is prepared as follows for the last coat: Thin so-called Dutch “stand” oil with oil of turpentine to working consistency, and grind in it equal parts of zinc white and white lead, not adding much siccative, as the white lead assists the drying considerably. If the paint is smoothed well with a badger brush, a very durable white color of great gloss is obtained. Linseed oil, or varnish which has thickened like “stand” oil by long open storing, will answer equally well.

«To Prevent Crawling of Paints.»—Probably the best method to pursue will be to take an ordinary flannel rag and carefully rub it over the work previous to varnishing, striping, or painting. This simple operation will obviate the possibility of crawling.

In some instances, however, crawling may be traced to a defective varnish. The latter, after drying evenly on a well-prepared paint surface will at times crawl, leaving small pitmarks. For this, the simple remedy consists in purchasing varnish from a reputable manufacturer.

«FIREPROOF PAINTS:»

See also Fireproofing.

Fireproofing paints of effective quality are prepared in different ways. Naturally no oily or greasy substances enter into their composition, the blending agent being simply water.

I.—One of the standing paints consists of 40 pounds of powdered asbestos, 10 pounds of aluminate of soda, 10 pounds of lime, and 30 pounds of silicate of soda, with the addition of any non-rosinous coloring matter desired. The whole is thoroughly mixed with enough water to produce a perfect blend and render an easy application. Two or more coats of this is the rule in applying it to any wood surface, inside or outside of building.

II.—Another formula involves the use of 40 pounds of finely ground glass, a like amount of ground porcelain, and similarly of China clay or the same quantity of powdered asbestos, and 20 pounds of quicklime. These materials are ground very fine and then mixed in 60 pounds of liquid silicate of soda with water, as in the preceding formula. Two or more coats, if necessary, are given.

Each of these paints is applied with a brush in the ordinary way, the drying being accomplished in a few hours, and, if coloring matter is desired, the above proportions are varied accordingly.

III.—A surface coated with 3 coats of water glass, these 3 coats being {491} subsequently coated with water glass containing enough whiting or ground chalk to make it a trifle thicker than ordinary paint, is practically non-inflammable, only yielding to fierce consuming flames after a somewhat protracted exposure.

IV.—Zinc white, 70 pounds; air-slaked lime, 39 pounds; white lead, 50 pounds; sulphate of zinc, 10 pounds; silicate of soda, 7 gallons. The zinc white and lime are mixed together, then ground in elastic oil, after which the silicate of soda is added, this addition being followed by the white lead and sulphate of zinc. This white paint can be colored to meet any desired shade and it may be classed as a good working paint and probably fireproof to the same extent that most of the pretentiously sounded pigments on the markets are.

«Fireproof and Waterproof Paints.»—The following recipes are claimed to resist both fire and water: A preparation for protecting wood against the action of fire and of moisture, and also for producing on the surface of wood and metal a coat, insulating with reference to electricity and preservative from corrosion, has been introduced in France by Louis Bethisy and Myrthil Rose. The bases or fundamental raw materials quite distinct from those hitherto employed for the same purpose, are 100 parts, by weight, of nitro-cellulose and 30 parts, by weight, of chloride of lime, dissolved in 50 per cent alcohol.

Preparation of the Bases.—The cellulose (of wood, paper, cotton, linen, ramie, or hemp) is put in contact with two-thirds part of sulphuric acid of 66° Bé. and one-third part of nitric acid of 42° Bé. for some 20 or 30 minutes, washed with plenty of water, and kept for 24 hours in a tank of water supplied with an energetic current.

The nitro-cellulose thus obtained is bleached for this purpose; a double hypochlorite of aluminum and magnesium is employed. This is obtained by grinding together 100 parts of chloride of lime, 60 parts of aluminum sulphate, 23 parts of magnesium sulphate, with 200 parts of water.

When the nitro-cellulose is bleached and rewashed, it is reduced to powder and dried as thoroughly as possible. It is then placed in a vat hermetically closed and put in contact with the indicated proportion of calcium chloride dissolved in alcohol. This solution of calcium chloride should be prepared at least 24 hours in advance and filtered.

Composition of the Coating.—This has the following constituents: Bases (nitro-cellulose and solution of calcium chloride), 1 part; amyl acetate (solvent of the bases), 5 parts, by weight; sulphuric ether of 65°, 1.650 parts, by weight; alcohol, 0.850 parts, by weight; one of these powders, alum, talc, asbestos, or mica, 0.100 parts. Other solvents may be employed instead of amyl acetate; for example, acetone, acetic acid, ether alcohol, or methylic alcohol. The ether alcohol furnishes a product drying very quickly. If a very pliant coating is desired, the amyl acetate is employed preferably, with addition of vaseline oil, 0.20 parts, and lavender oil, 0.010 parts.

Method of Operating.—The sulphuric acid is mixed with the alcohol, and left for an hour in contact, shaking from time to time. Afterwards the amyl acetate is added, and left in contact for another hour under similar agitation. In case of the employment of vaseline oil and lavender oil, these two are mingled in ether alcohol. The base is introduced and left in contact for 24 hours, with frequent agitation. The fluidity of the product is augmented by increasing the quantity of the solvent.

Properties.—Wood covered with this coating is fireproof, non-hygrometric, and refractory to the electric current. It also resists the action of acids and alkalies. Metals covered with it are sheltered from oxidation, and effectually insulated on their surface from the electric current. The coating is liquid in form, and applied like collodions, either by the brush or by immersion or other suitable method.

«Paint Deadening.»—In order to obtain an even dullness of large walls, proceed as follows: After all the dirt has been carefully swept off, oil with 2 parts linseed oil and 1 part turpentine and rub down the smooth places in the wet oil with pumice stone. When the oil coating is dry, mix the ground paint, consisting of whiting, 2 parts; and white lead, 1 part; both finely ground and diluted as above. Do not apply the grounding too thin, because the chalk in itself possesses little covering power. It is not the mission of the chalk, however, to adulterate the material, but to afford a hard foundation for the subsequent coats. For the third coating take white lead, 1 part; and zinc white, 1 part; thin as above and blend with a soft hair pencil. For the final application use only zinc white, ground stiff in oil with any desired mixing color and thinned with turpentine and rain water. Mix the {492} water and the turpentine with the color at the same time, and this coat may be dabbed instead of blended. By the addition of water the paint becomes dull more slowly and is a little more difficult to lay on; but it does not show a trace of gloss after a few days and never turns yellow, even in places less exposed to the air, and besides excels by great permanency.

Another way is to add white wax instead of water to the last coating. This wax paint also gives a handsome dullness but is more difficult of treatment. A nice matt coating is also obtained by addition of Venetian soap, dissolved in water instead of the wax. This is very desirable for church decorations where exceptionally large surfaces are to be deadened.

«PAINT DRYERS:»

I.—Ordinary barytes 25 pounds
Whiting 4 pounds
Litharge 2 pounds
Sulphate of zinc 2 pounds
Sugar of lead 2 pounds
Boiled linseed oil 5 pounds
Plaster of Paris 1/2 pound

II.—Whiting 16 pounds
Barytes 16 pounds
White lead 3 pounds
Boiled linseed oil 3/4 gallon

«PAINTS FOR GOLD AND GILDING:»

«Gold Paints.»—The formulas of the various gold paints on the market are carefully guarded trade secrets. Essentially they consist of a bronze powder mixed with a varnish. The best bronze powder for the purpose is what is known in the trade as “French flake,” a deep gold bronze. This bronze, as seen under the microscope, consists of tiny flakes or spangles of the bronze metal. As each minute flake forms a facet for the reflection of color, the paint made with it is much more brilliant than that prepared from finely powdered bronze.

For making gold paint like the so-called “washable gold enamel” that is sold by the manufacturers at the present time, it is necessary to mix a celluloid varnish with the French flake bronze powder. This varnish is made by dissolving transparent celluloid in amyl acetate in the proportion of about 5 per cent of celluloid.

Transparent celluloid, finely shredded 1 ounce Acetone, sufficient quantity. Amyl acetate to make 20 ounces.

Digest the celluloid in the acetone until dissolved and add the amyl acetate. From 1 to 4 ounces of flake bronze is to be mixed with this quantity of varnish. For silver paint or “aluminum enamel,” flake aluminum bronze powder should be used in place of the gold. The celluloid varnish incloses the bronze particles in an impervious coating, air-tight and water-tight. As it contains nothing that will act upon the bronze, the latter retains its luster for a long period, until the varnished surface becomes worn or abraded and the bronze thus exposed to atmospheric action.

All of the “gold” or, more properly, gilt furniture that is sold so cheaply by the furniture and department stores is gilded with a paint of this kind, and for that reason such furniture can be offered at a moderate price. The finish is surprisingly durable, and in color and luster is a very close imitation of real gold-leaf work. This paint is also used on picture frames of cheap and medium grades, taking the place of gold leaf or the lacquered silver leaf formerly used on articles of the better grades; it is also substituted for “Dutch metal,” or imitation gold leaf, on the cheapest class of work.

A cheaper gold paint is made by using an inexpensive varnish composed of gutta percha, gum dammar, or some other varnish gum, dissolved in benzole, or in a mixture of benzole and benzine. The paints made with a celluloid-amyl-acetate varnish give off a strong banana-like odor when applied, and may be readily recognized by this characteristic.

The impalpably powdered bronzes are called “lining” bronzes. They are chiefly used for striping or lining by carriage painters; in bronzing gas fixtures and metal work; in fresco and other interior decoration, and in printing; the use of a very fine powder in inks or paints admits of the drawing or printing of very delicate lines.

Lining bronze is also used on picture frames or other plastic ornamental work. Mixed with a thin weak glue sizing it is applied over “burnishing clay,” and when dry is polished with agate burnishers. The object thus treated, after receiving a finishing coat of a thin transparent varnish, imitates very closely in appearance a piece of finely cast antique bronze. To add still more to this effect the burnishing clay is colored the greenish black that is seen in the deep parts of real antique bronzes, and the bronze powder, mixed with size, is applied only to the most prominent parts or “high lights” of the ornament. {493}

Since the discovery of the celluloid-amyl-acetate varnish, or bronze liquid, and its preservative properties on bronze powders, manufacturers have discontinued the use of liquids containing oils, turpentine, or gums, since their constituents corrode the bronze metal, causing the paint finally to turn black.

«Gilding in Size.»—The old painters and gilders used to prepare the gold size themselves, but nowadays it is usually bought ready made, barring the white of egg additional. The best and most reliable, and especially suited for fine work, is undoubtedly the red French gold size. It is cleaned, as far as possible, of all impurities, and powdered. For 246 grains take 1 white of egg; put it into a glass, taking care to exclude the yolk entirely—otherwise the burnish will show black spots. Beat the white of egg to a froth with a long, well-cleaned bristle brush; add the froth to the size and grind finely together, which is soon done. When grinding, a little water and red size, if necessary, may be added (use only water for thinning). After being ground, the size is forced through a very fine hair sieve into a perfectly clean vessel, and covered up well, for immediate or subsequent use.

The raw stuff of the red size is bolus, which is dug in France and Armenia in excellent quality. Besides the red size there are yellow, white (pipe clay), blue, and gray (alumina), which are used for certain purposes, to enumerate which here would lead too far.

For burnish gold, always take yellow size for ground work. Dip a finely ground bristle brush in the gold size prepared for use; fill a well-cleaned glass (holding 1 pint) half full of water, and add the size contained in the brush, also about 4 to 5 spoonfuls of pure alcohol. It is advisable not to take too much size; the liquid, when applied, must hardly have a yellow tint. When this is dry soon after, commence applying the size, for which a hair pencil is used. The essentials are to paint evenly and not too thickly, so that the tone remains uniform. Apply three coats of size.

When the size is laid on correctly and has become dry, brush the whole with a special brush, or rub with a flannel rag, so as to obtain the highest possible luster. The size must not stand too long; otherwise no gloss can be developed. After brushing, coat the work with weak glue water and wrap it up in tissue paper if the gilding is not to be done at once.

The strictest cleanliness is essential, as the red gold size is very sensitive. The parts where the size has been applied must not be touched with the hand, else grease spots will ensue, which will make a flawless gloss in gilding impossible. The least relaxation of the necessary attention may spoil the whole job, so that everything has to be ground off again.

The necessary tools for the application of gold leaf are: Hair pencils of various sizes, tip, cushion, and gilding knife, as with oil-gilding. Take pure alcohol or grain brandy, and dilute with two-thirds water. When ready to apply the gold leaf, dip a hair pencil of suitable size into the fluid, but do not have it full enough that the alcohol will run on the size ground. Moisten a portion of the ground surface as large as the gold leaf, which is laid on immediately after. Proceed in the same manner, first moistening, then applying the ready-cut gold leaf. The latter must not be pressed on, but merely laid down lightly, one leaf a little over the edge of the previous one, without using up too much gold. Technical practice in gold-leaf gilding is presupposed; through this alone can any skill be acquired, reading being of no avail.

The leaf of gold being applied, all dust must be swept off by means of a light, fine hair pencil (but never against the overlapping edges), and the burnishing is commenced. For this purpose there are special agate tools of the shape of a horn. Flint stone, blood stone, and wolf’s teeth are sometimes, but gradually more seldom, employed. Burnish till a full, fine luster appears; but very carefully avoid dents and lines, not to speak of scratches, which would be very hard to mend.

«Gold Enamel Paints.»—

I.—Pure turps 6 pints
Copal varnish 1 pint
Good gold bronze 6 1/2 pounds
Calcis hydrate (dry-slaked lime) 1/2 ounce

Mix the varnish and turps at a gentle heat, then slake well with the lime, and settle for a few days, then pour off the clean portion and mix with the powder.

II.—White hard varnish 1 gallon
Methylated spirit 3/4 gallon
Gold bronze 12 pounds
Finely powdered mica 3 ounces

Mix the varnish and the spirit, reduce the mica to an impalpable powder, mix with the gold, then add to the liquid. Many bronze powders contain a goodly {494} proportion of mica, as it imparts brilliancy. Powdered mother-of-pearl is used also.

«GRAINING WITH PAINT:»

See also Wood.

«Oak Graining.»—Prepare a paint of two-thirds of white lead and one-third of golden ocher with the requisite amount of boiled linseed oil and a little drier, and cover the floor twice with this mixture, which possesses great covering power. When the last coating is dry, paint the floor with a thinly liquid paint consisting of varnish and sienna, applying the same in the longitudinal direction of the boards. Treat a strip about 20 inches wide at a time, and draw at once a broad paint brush or, in the absence of such, an ordinary brush or goose feather along the planks through the wet paint, whereupon the floor will acquire a nicely grained appearance. The paint requires several days to dry. A subsequent coating of varnish will cause the graining to stand out still more prominently.

«Birch.»—Imitations of birch are usefully employed for furniture. The ground should be a light, clean buff, made from white lead, stained with either yellow ocher or raw sienna in oil. In graining, brush over the surface with a thin wash of warm brown, making the panel of 2 or 3 broad color shades. Then take a large mottler and mottle the darker parts into the light, working slantwise, as for maple, but leaving a broad and stiff mark. While this is still wet soften the panel and then slightly mottle across the previous work to break it up. When thoroughly dry, carefully wet the work over with clean water and clean mottler, and put in darker overgrain with a thin oak overgrainer or overgrainer in tubes.

«Maple.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon chrome.

«Ash.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 ounce lemon chrome.

«Medium Oak.»—Sixty pounds white lead; 2 pounds French ocher; 1 ounce burnt umber.

«Light Oak.»—Sixty pounds white lead; 1 ounce lemon chrome; 1/2 pound French ocher.

«Dark Oak.»—Sixty pounds white lead; 10 pounds burnt umber; 1 1/2 pounds medium Venetian red.

«Satin Wood.»—Sixty pounds white lead; 1 ounce deep vermilion; 1 1/2 pounds lemon chrome.

«Pollard Oak.»—Seventy-five pounds white lead; 20 pounds French ocher; 3 pounds burnt umber; 2 1/2 pounds medium Venetian red.

«Pitch Pine.»—Sixty pounds white lead; 1/4 pound French ocher; 1/2 pound medium Venetian red.

«Knotted Oak.»—Sixty pounds white lead; 9 pounds French ocher; 3 1/2 pounds burnt umber.

«Italian Walnut.»—Sixty pounds white lead; 6 pounds French ocher; 1 1/2 pounds burnt umber; 1 1/4 pounds medium Venetian red.

«Rosewood.»—Nine and one-half pounds burnt umber; 40 pounds medium Venetian red; 10 pounds orange chrome.

«Dark Mahogany.»—Nine and one-half pounds burnt umber; 40 pounds medium Venetian red; 10 pounds orange chrome.

«Light Mahogany.»—Sixty pounds white lead; 3 pounds burnt umber; 10 pounds medium Venetian red.

«American Walnut.»—Thirty pounds white lead; 9 pounds French ocher; 4 pounds burnt umber; 1 pound medium Venetian red.

«LUMINOUS PAINTS.»

The illuminating power of the phosphorescent masses obtained by heating strontium thiosulphate or barium thiosulphate is considerably increased by the addition, before heating, of small quantities of the nitrates of uranium, bismuth, or thorium. Added to calcium thiosulphate, these nitrates do not heighten the luminosity or phosphorescence. The product from strontium thiosulphate is more luminous than that of the barium compound. Among the best luminous paints are the following:

I.—Lennord’s.—One hundred parts, by weight, of strontium carbonate; 100 parts, by weight, of sulphur; 0.5 parts, by weight, of potassium chloride; 0.5 parts, by weight, of sodium chloride; 0.4 parts, by weight, of manganese chloride. The materials are heated for three-quarters of an hour to one hour, to about 2,372° F. The product gives a violet light.

II.—Mourel’s.—One hundred parts, by weight, of strontium carbonate; 30 parts, by weight, of sulphur; 2 parts, by weight, of sodium carbonate; 0.5 parts, by weight, of sodium chloride; 0.2 parts, by weight, of manganese sulphate. The method of treatment is the same as in the first, the phosphorescence deep yellow. {495}

III.—Vanino’s.—Sixty parts, by weight, of strontium thiosulphate; 12 parts, by weight, of a 0.5 per cent acidified alcoholic solution of bismuth nitrate; 6 parts, by weight, of a 0.5 per cent alcoholic solution of uranium nitrate. The materials are mixed, dried, brought gradually to a temperature of 2,372° F., and heated for about an hour. The phosphorescence is emerald green.

IV.—Balmain’s.—Twenty parts, by weight, of calcium oxide (burnt lime), free from iron; 6 parts, by weight, of sulphur; 2 parts, by weight, of starch; 1 part, by weight, of a 0.5 per cent solution of bismuth nitrate; 0.15 parts, by weight, of potassium chloride; 0.15 parts, by weight, of sodium chloride. The materials are mixed, dried, and heated to 1,300° C. (2,372° F.). The product gives a violet light.

To make these phosphorescent substances effective, they are exposed for a time to direct sunlight; or a mercury lamp may be used. Powerful incandescent gas light also does well, but requires more time.

«PAINTS FOR METAL SURFACES:»

«Blackening Ornaments of Iron.»—I.—To give iron ornaments a black-brown to black color, proceed in the following manner: The articles are treated with corrosives, cleaned of all adhering grease, and placed in a 10 per cent solution of potassium bichromate, dried in the air, and finally held over an open, well-glowing, non-sooting fire for 2 minutes. The first coloring is usually black brown, but if this process is repeated several times, a pure black shade is obtained. Special attention has to be paid to removing all grease, otherwise the greasy spots will not be touched by the liquid, and the coloring produced will become irregular. Benzine is employed for that purpose and the articles must not be touched with the fingers afterwards.

II.—This process protects the iron from rust for a long time. The treatment consists in coating the objects very uniformly with a thin layer of linseed-oil varnish, and burning it off over a charcoal fire. During the deflagration the draught must be stopped. The varnish will first go up in smoke with a strong formation of soot, and finally burn up entirely. The process is repeated, i. e., after one coating is burned off a new one is applied, until the parts exhibit a uniformly handsome, deep-black color. Next, wipe off the covering with a dry rag and heat again, but only moderately. Finally, the articles are taken from the fire and rubbed with a rag well saturated with linseed-oil varnish. The black turns completely dull, and forms a real durable covering for the objects.

«Black for Polished Iron Pieces.»—Apply successive layers of a very concentrated solution of nitrate of manganese dissolved in alcohol over a gentle fire and the water bath. The surfaces to be blackened should be previously heated. By repeating the layers all the tints between brownish black and bluish black may be obtained.

«Glossy Black for Bicycles, etc.»—

Amber 8 ounces Linseed oil 4 ounces Asphaltum 1 1/2 ounces Rosin 1 1/2 ounces Oil turpentine 8 ounces

Heat the linseed oil to boiling point, add the amber, asphaltum, and rosin, and when all melted remove from the fire and gradually add the turpentine.

«Japan Black.»—The following is a good japan black for metal surfaces: Take 12 ounces of amber and 2 ounces of asphaltum. Fuse by heat, and add 1/2 pint boiled oil and 2 ounces of rosin. When cooling add 16 ounces of oil of turpentine.

«Brass and Bronze Protective Paint.»—As a protective covering, especially for brass and bronze objects, a colorless celluloid solution is recommended, such as is found in trade under the name of “Zapon” (q. v.).

«Paint for Copper.»—Dissolve 1 ounce of alum in 1 quart of warm soft water. When cold add flour to make it about the consistency of cream, then add 1/2 thimble of rosin and 1/2 ounce of sugar of lead.

«Priming Iron.»—The following, if carefully carried out, gives the best satisfaction: The first step consists in thoroughly cleaning the surface of the iron, removing all adhesions in the way of dirt, rust, etc., before the question of priming is considered. As paint in this instance is applied more with a view of protecting the iron from atmospheric influences, rather than for a decorative effect, careful attention should be devoted for securing a base or surface which is calculated to produce a thorough and permanent application. A great deal depends upon the nature of the metal to be painted. Common cast iron, for instance, possessing a rough exterior, {496} with ordinary precautions can be more readily painted with the prospect of a permanent adhesion of the paint, than a planed steel or wrought-iron surface. With the latter it has been demonstrated that a hard and elastic paint is needed, while with regard to cast iron, other paints containing iron oxides are more suitable. For good drying and covering properties, as well as elasticity, a good boiled oil to which has been added an adequate proportion of red lead will be found to form an excellent paint for smooth metal surfaces. The primary object is to protect the surface of the iron from moisture for the purpose of avoiding rust. The priming must therefore be carried out so that it will stick, after which subsequent coats may be added if desired.

It is advisable that articles made of iron should first be coated with linseed-oil varnish. It dries slowly, hardens, and enables the operator afterwards to exercise an effective control over the condition of his material. Iron must be absolutely dry and free from rust when it is to be painted. It is best to apply next a coating of hot linseed oil; when dry this should be followed by a priming of pure red lead in good linseed oil, and the iron should then be painted as desired, using ground oil paints and leaving an interval of a week between each coating. Cementing should be done after the red lead priming, but the last coat must not be given until the whole is thoroughly dry. Bright oil paints and an upper coating with plenty of oil resist the effects of heat better than thin coatings; moreover, rust can be detected in its early stages with the former. Coatings of tar and asphalt (asphalt dissolved in turpentine) are practicable for underground pipes, but are not adapted for pipes exposed to the air, as they are quickly spoiled. Asphalt varnish, used for coating coal scuttles, fire screens, etc., consists of asphalt dissolved in linseed-oil varnish. Iron stoves and stovepipes are best coated with graphite.

«Galvanized Iron.»—For galvanized iron there has been recommended a wash consisting simply of dilute hydrochloric acid, which produces chloride of zinc, that in combination with the oxygen of the air is said to produce a film upon which oil color takes as good a hold as it would upon ordinary sheet iron.

Another method which has been tested and found effective is to make a solution as follows: One ounce of chloride of copper; 1 ounce nitrate of copper; 1 ounce sal ammoniac, dissolved in 2 quarts of soft water, to which is added 1 ounce of crude or commercial hydrochloric acid. This solution should be made in an earthenware dish or pot, or in glass or stoneware, as tin will precipitate the copper salts and make the solution imperfect. To large surfaces this solution is applied with a broad brush, when the surface assumes a deep black color, which in drying out in from 12 to 24 hours becomes a gray white, upon which the properly prepared primer will take a permanent grip. On the film so produced a much thinner paint will cover very much better than a stouter paint would on the untreated galvanized or ordinary iron surface. A single trial will convince the craftsman that this treatment is a method that will give lasting results, provided he tries the same priming paint on the treated and untreated surface.

«To Paint Wrought Iron with Graphite.»—In order to make wrought iron look like new mix fine graphite with equal parts of varnish and turpentine oil, adding a little siccative. Paint the iron parts with this twice, allowing to dry each time. Especially the second coating must be perfectly dry before further treatment. The latter consists in preparing graphite with spirit and applying it very thinly over the first coat. After the drying or evaporation of the spirit the graphite last applied is brushed vigorously, whereby a handsome, durable gloss is produced.

«Paint for Iron Bodies Exposed to Heat.»—Dilute 1 part soda water glass with 2 parts water and mix intimately with the following pigments:

_White._—White lead or sulphate of barium.

_Yellow._—Chromate of barium, ocher, or uranium yellow.

_Green._—Chromic oxide or ultramarine green.

_Blue._—Ultramarine.

_Brown._—Oxide of cadmium, oxide of manganese or terra di sienna.

_Red._—English red or chrome red.

Bronze powder in a suitable quantity may be added to the mixture, but not more paint should be prepared than can be used up in a few hours. The bronze powder may also be strewn on the fresh paint, or applied with a dry brush, to enhance the gloss. This paint is not affected by heat, and is inodorous.

«Protective Coating for Bright Iron Articles.»—Zinc white, 30 parts; {497} lampblack, 2 parts; tallow, 7 parts; vaseline, 1 part; olive oil, 3 parts; varnish, 1 part. Boil together 1/4 hour and add 1/2 part of benzine and 1/4 part of turpentine, stirring the mass carefully and boiling for some time. The finished paste-like substance can be readily removed with a rag without the use of solvents.

«Rust Paints.»—I.—A new rust paint is produced by the following process: Mix 100 parts dry iron sulphate and 87 parts sodium chlorate and heat to 1,500° to 1,800° F. The chlorine set free seems to have a very favorable action on the color of the simultaneously forming iron oxide. In order to avoid, however, too far-reaching an effect of the chlorine gas, about 18 pounds of a substance which absorbs the same mechanically, such as kaolin, ground pumice stone, ocher, etc., are added to the mixture.

II.—A material known under the names of lardite, steatite, agalmatolite, pagodite, is excellently adapted as a substitute for the ordinary metallic protective agent of the pigments and has the property of protecting iron from rust in an effective manner. In China, lardite is used for protecting edifices of sandstone, which crumbles under the action of the atmosphere. Likewise a thin layer of powdered steatite, applied in the form of paint, has been found valuable there as a protector against the decay of obelisks, statues, etc. Lardite, besides, possesses the quality of being exceedingly fine-grained, which renders this material valuable for use in ship painting. Ground steatite is one of the finest materials which can be produced, and no other so quickly and firmly adheres to the fibers of iron and steel. Furthermore, steatite is lighter than metallic covering agents, and covers, mixed in paint, a larger surface than zinc white, red lead, or iron oxide. Steatite as it occurs in Switzerland is used there and in the Tyrol for stoves, since it is fireproof.

«Steel.»—An excellent coating for steel, imitating the blue color of natural steel, is composed of white shellac, 5 parts; borax, 1 part; alcohol, 5 parts; water, 4 parts; and a sufficient quantity of methylene blue. The borax is dissolved in water, the shellac in alcohol. The aqueous solution of the borax is heated to a boil and the alcoholic solution of the shellac is added with constant stirring. Next add the blue color, continuing to stir. Before this coating is applied to the steel, e. g., the spokes of a bicycle, the latter are first rubbed off with fine emery paper. The coat is put on with a soft rag. The quantity of pigment to be added is very small. By varying the quantity a paler or darker coloring of the steel can be produced.

«PAINTS FOR ROOFS AND ROOF PAPER:»

«Carbolineum.»—This German preparation is made in three colors.

I.—Pale.—Melt together in an iron kettle, over a naked fire, 30 parts of American rosin F and 150 parts of pale paraffine oil and stir in 10 parts of single rectified rosin oil.

II.—Dark.—Melt 100 parts of anthracene oil and 20 parts of American rosin F on a slow fire. Next stir in 2 parts of Para rubber solution (or solution of caoutchouc waste) and keep on boiling until all is dissolved. When this is done there should be still added 5 parts of crude concentrated carbolic acid and 5 parts of zinc chloride lye, 50° Bé., stirring until cool. The last-named admixture is not absolutely necessary, but highly advisable, owing to its extraordinary preservative and bactericidal properties.

III.—Colored.—For red, melt 100 parts of coal-tar oil, then stir in 50 parts of pale paraffine oil, and finally 75 parts of bole or iron minium, and pass through the paint mill. Although the addition of iron minium is very desirable, it is considerably more expensive. For gray, proceed as above, with the exception that metallic gray is used in place of the bole. For green, metallic green is employed. The colors are identical with those used in the manufacture of roof varnish. To increase the antiseptic properties of the colored carbolineum, any desired additions of phenol or zinc chloride solutions may be made, but the chief requirement in the case of colored carbolineum is good covering power of the coating.

«Paints for Roofs Covered with Tar Paper, for Roofing Paper, etc.»—

I.—Distilled coal tar 70 parts
Heavy mineral oil (lubricating oil) 10 parts
American rosin 20 parts

II.—Distilled coal tar 50 parts
Trinidad asphalt 15 parts
Mineral oil, containing paraffine 10 parts
Dry clay, finely ground 25 parts

«Imitation Oil Paint.»—Schulz’s German patent paint is cheap, and claimed to be {498} durable, weatherproof, and glossy, like oil paint. The application consists of a ground coat, upon which the surface coat proper is applied after the former is dry. For the preparation of the grounding dissolve 1,000 parts, by weight, of Marseilles soap in 10,000 parts of boiling water and stir. In a separate vessel dissolve 2,000 parts of glue in 10,000 parts of boiling water, adding 17,500 parts of spirit of sal ammoniac. These two solutions are poured together and well stirred. Then dissolve 400 parts of chrome alum in 5,000 parts of water, and pour into the above mixture. To this mixture add 10,000 parts of pipe clay, stirring the whole well and tinting with earth colors, ocher, Vandyke brown, etc. The solid ingredients must be dissolved in boiling hot water, and sifted so as to obtain a finely divided ground color. This priming is applied in a warm state. The coating proper is put on the ground coat after it is dry, in about one-half to one hour. For this coat dissolve 2,000 parts of crystallized alum in 10,000 parts of boiling water and add to this liquid a solution of 2,000 parts of glue in 10,000 parts of water; in a special vessel prepare soapsuds of 1,000 parts of Marseilles soap in 12,000 parts of boiling water; dissolve 120 parts of chrome alum in 1,500 parts of boiling water, and mix the three solutions together with diligent stirring. This paint or liquid should also be put on hot, and assures a durable exterior paint.

«PAINTS, STAINS, ETC., FOR SHIPS.»

«Anti-Fouling Composition.»—Make an agglutinant by heating together

By weight White lead, ground in oil 2 parts Red lead, dry 1 part Raw linseed oil 14 parts

While hot stir in yellow ocher, kaolin, baked clay in powder, or any inert body, such as silica, barytes, gypsum, etc., to form a stiff dough, and, without allowing this compound to become cold (the vessel should not be removed from the source of heat), dilute with more or less manganese linoleate to the required consistency.

«Marine Paint to Resist Sea Water.»—First prepare the water-resisting agglutinant by heating together

Dry white lead, carbonate only 1 part Litharge 1 part Linseed oil (fluid measure) 14 parts

Heat these and stir until of the consistency of thick glue, and for every 36 parts, by weight, of this compound add 3 parts, by weight, of turpentine, and 1 part, by weight, of mastic varnish (mastic rosin dissolved in turpentine); reheat the whole, and for every 32 parts, by weight, stir in and mix the following:

Baked and powdered clay 4 parts Portland cement 16 parts Zinc white 1 part Red lead 1 part

After well mixing, dilute with more or less turpentine (not exceeding 25 per cent of the whole), or linoleate of manganese, the latter being preferable, as it has greater binding power. For colored paints use red oxide of iron or green oxide of chrome, but do not use chrome green or lead, as they will not stand the action of the sea water.

«Compositions for Ships’ Bottoms.»—

_Green._

Pale rosin 25 pounds Prepared mineral green 8 pounds D. L. zinc 13 pounds Boiled oil 2 pounds Mineral naphtha 1 gallon Petroleum spirit 1 1/2 gallons

_Prepared Mineral Green._

Dry levigated mineral green 28 pounds Turpentine 7 pounds Turpentine varnish 7 pounds Refined linseed oil 7 pounds

_Copper Color._

Pale rosin 25 pounds Light Italian ocher 15 pounds D. L. zinc 5 pounds Turkey red paint 1/2 pound Petroleum spirit 1 1/2 pounds Mineral naphtha 1 pound

_Pink._

Pale rosin 25 pounds D. L. zinc 16 pounds Deep vermilion 7 pounds Mineral naphtha 1 gallon Petroleum spirit 1 1/2 gallons

«PAINTS FOR WALLS OF CEMENT, PLASTER, HARD FINISH, ETC.»

«Coating for Bathrooms.»—As a rule cement plastering, as well as oil paint, suffices for the protection of walls and ceilings in bathrooms, but attention must be called to the destructive action of medicinal admixtures. For such rooms as well as for laboratories, an {499} application of Swedish wood tar, made into a flowing consistency with a little oil of turpentine and put on hot, has been found very excellent. It is of advantage previously to warm the wall slightly. To the second coat add some wax. A very durable coating is obtained, which looks so pleasing that it is only necessary to draw some stripes with a darker paint so as to divide the surface into fields.

«Cement, to Paint Over Fresh.»—The wall should be washed with dilute sulphuric acid several days before painting. This will change the surplus caustic lime to sulphate of lime or gypsum. The acid should be about one-half chamber acid and one-half water. This should be repeated before painting, and a coat of raw linseed oil flowed on freely should be given for the first coat. While this cannot be always guaranteed as effectual for making the paint hold, it is the best method our correspondent has heard of for the purpose, and is worth trying when it is absolutely necessary to paint over fresh cement.

«Damp Walls, Coating for.»—Thirty parts of tin are dissolved in 40 parts of hydrochloric acid, and 30 parts of sal ammoniac are added. A powder composed of freestone, 50 parts; zinc oxide, 20 parts; pounded glass, 15 parts; powdered marble, 10 parts; and calcined magnesia, 5 parts, is prepared, and made into a paste with the liquid above mentioned. Coloring matter may be added. The composition may be used as a damp-proof coating for walls, or for repairing stonework, or for molding statues or ornaments.

«Facade Paint.»—For this zinc oxide is especially adapted, prepared with size or casein. Any desired earth colors may also be added. The surfaces are coated 3 times with this mass. After the third application is dry, put on a single coating of zinc chloride solution of 30° Bé. to which 3 per cent borax is added.

This coating is very solid, can be washed, and is not injured by hydrogen sulphide.

«Hard-Finished Walls.»—The treatment for hard-finished walls which are to be painted in flat colors is to prime with a thin coat of lead and oil well brushed into the wall. Next put on a thin coat of glue size; next a coat mixed with 1/3 oil and 2/3 turpentine; next a coat of flat paint mixed with turpentine. If you use any dry pigment mix it stiff in oil and thin with turps. If in either case the paint dries too fast, and is liable to show laps, put a little glycerine in, to retard the drying.

«PAINTS, WATERPROOF AND WEATHERPROOF:»

See also Fireproof Paint.

The following are claimed to be both waterproof and weatherproof:

I.—In 50 parts, by weight, of spirit of 96 per cent, dissolve 16 parts, by weight, of shellac, orange, finely powdered; 3 parts, by weight, of silver lake, finely powdered; and 0.6 parts, by weight, of gamboge, finely powdered. This paint may be employed without admixture of any siccative, and is excellently adapted for painting objects which are exposed to the inclemencies of the weather, as it is perfectly weatherproof.

II.—Mix glue water with zinc oxide (zinc white) and paint the respective object with this mixture. When this is dry (after about 2 hours) it is followed up with a coating of glue water and zinc chloride in a highly diluted state. Zinc oxide enters into a chemical combination with zinc chloride, which acquires the hardness of glass and a mirror-like bright surface. Any desired colors can be prepared with the glue water (size) and are practically imperishable. This zinc coating is very durable, dries quickly, and is 50 per cent cheaper than oil paint.