Chapter XIV: Painting (2)

The experiments of the U.S. Navy Department on the preservation and fouling of plates covered with different pigments may be interesting. A plate of iron covered with asphalt paint was immersed in sea-water for eight months and six days at the U.S. Navy Yard, Portsmouth, N.H. At the end of that period it was found to be covered with scum and mud, and very badly rusted. A plate coated with iron paint, immersed at Key West, Fla., was found to be covered with branch shell and coral, but little paint remaining, and very badly pitted and rusted. A plate with two coats of red lead, at the Norfolk Navy Yard, was found to have a few barnacles attached, but to be in fair condition, with no rust whatever on the iron after the paint was removed. It will be seen that not only did the red lead protect the iron better than the other pigments referred to, but that the plates were in far better condition as regards barnacles and fouling. The superiority of red lead being thus established, it is adopted for use on hulls of U.S. Government warships.

On the Dutch State railroads a series of experiments extending over a period of three years were made with the above pigments on scrubbed plates, as well as those which had been pickled in acid to remove the scale. It was found that the red lead was superior in each case to the others.

If red lead is thus proved to be the best pigment for preserving iron and steel structures, what is the proper method for applying it? We have seen above that the value of red lead depends upon its forming certain combinations with the oil, and actually setting very much the same as plaster of Paris or cement sets when mixed with water. To successfully work with the latter substances, it is necessary to put them in shape as quickly as possible after mixing with water before the setting takes place. If the chemical action of setting has partly taken place, the material may be moulded, but it is known that good results will not be obtained. Red lead, like these substances, must be applied to the work before it sets with the oil. It is on this point that failures in the use of pigment have generally occurred, because if it be applied after the combining or setting process has taken place, the hard, elastic, clinging coating will not be formed on the iron surface.

The following is the practice of one of the largest shipbuilding establishments in applying red lead to the hulls of vessels. The plates are first pickled in a dilute solution of muriatic acid; then passed between rapidly revolving wire brushes, which remove all scale and dirt, leaving the iron with a bright, smooth surface; then thoroughly washed with pure water, and rubbed entirely dry; and immediately coated with red lead and pure raw linseed oil. The red lead is first thoroughly mixed with just enough linseed oil to form a very thick, tough paste, which will keep for several days without hardening. This paste, as wanted for use, is thinned down to the proper consistency for spreading with pure linseed oil, and applied at once, care being taken to leave paint-pots empty at night. A gallon of paint thus prepared contains about 5 lb. of oil and 18 lb. of red lead, and will cover on first coat about 500 square feet. In this way the red lead and oil get their initial set on the surface of the iron, and the closer the pigment is brought to the iron the more durable will it be found. Some parties prime iron with iron oxide paint or metallic brown before applying red lead, which appears to be a mistake, as this paint readily scales from iron, and, of course, carries the lead with it. Others coat the iron with oil before applying the red lead. This, too, prevents the adhering paint from coming in contact directly with the surface, and should be avoided, provided the iron is properly prepared by thorough cleaning and removal of any scale and moisture, which is a matter of the greatest importance.

In priming wood surfaces which are absorbent of oil, the best practice favours the putting on of a coat of pure oil, or oil thinned with turpentine, which shall penetrate the surface, and form a binder for the subsequent coats. With iron, the case is quite different, provided we have a paint which, from its very nature, can attach itself firmly to the surface, because it is out of the question for it to hold on to the surface of iron by any process of absorption into the pores of the metal, as linseed oil will not penetrate to any extent. Such a paint should be put directly on the surface of the clean, dry metal, as is done in the cases of Government vessels referred to, without the intervention of a coat of oil or other substances.

The rusting of iron before the application of paint, which is sometimes recommended, should by all means be avoided, as it not only prevents the contact of the paint with the metal, but induces a chemical action which may go on with its corroding work under the applied paint.

As to the relative cost of iron oxide paints and red lead, there is no doubt that the first cost of painting structures with iron oxide is somewhat less than with red lead. The best railroad authorities state, however, that labour in painting structural work costs twice as much as material. The true economy must therefore be sought in the durability of the paint as well as the preservation of the structure from rust. Actual experiments have shown that structures painted with iron paint had to be repainted in the third or fourth year, those with red lead not until the sixth year.

In the second painting with iron paint, the old material must be entirely removed before a fresh coat can be properly applied, entailing considerable increased cost, whereas with the red lead no such expense is necessary, but, as before stated, a portion of the pigment remains on the iron, continuing to protect the surface, and is the very best base for the new coat, besides contributing materially towards it, lessening the expense of each repainting. It will therefore be easily seen that, although in first cost red lead may be slightly dearer than the iron paint, yet in the long run it will be greatly cheaper, besides giving assurance, for the reasons above stated, that the structure is not deteriorating from the effects of the atmosphere and paint.

Before closing, it might be well to allude to the effect of lampblack when mixed in small quantities, say an ounce to the pound of red lead. It changes the colour to a deep chocolate, a possible advantage in some cases, and also prevents the red lead from taking its initial set with linseed oil as quickly as when mixed with oil alone. Experiments recently made showed that this compound would remain mixed in paste form with linseed oil some thirty days without hardening. Thorough mixture is of the greatest importance, and should be done in the dry state before adding the oil. If rapid drying is desired, Japan dryer can be mixed with the oil used in thinning the paste before application with the brush.

Too much stress cannot be laid on the great importance of having the metallic surface perfectly clean and as free as possible from scale and rust before the application of the paint. Where pickling with acid is impracticable, as is frequently the case in railroad and other structural work, thorough brushing with wire brushes should be resorted to.

FRESCO PAINTING.--The following observations are due to Prof. Barff, who dealt with the subject in one of the Cantor Lectures given at the Society of Arts.

The ground upon which fresco is painted is a lime ground; and in order to have a permanent picture, it is clear we must have a firm and stable ground. In order to prepare that ground, first of all the wall must be absolutely dry; there must be no leakage of moisture from behind. Lime which has been “run” (as it is technically called by builders) for a year or a year and a half is best to be employed, for in proportion as the lime has been carbonated (though it must not be so to too great an extent) by the action of the carbonic acid of the air it makes a better and a harder mortar. With this lime must be mixed sand, and a great deal depends on the selection of the sand. It must be river sand, and it should be of even grain; the sand should be mixed with water, and allowed to pass along down a small stream, so that in the centre of the stream you would have sand grains pretty nearly equal in size. This is a point of considerable importance. The reason why new lime cannot and ought not to be used is because it blisters; small blisters appear on the surface, and that of course would be ruinous to a picture. A well-plastered wall should not have a blister or crack in it, and this is secured by having your lime run for some time, of good quality to start with, and mixed with good sand. There is no chemical process that takes place in fresco painting other than this, that silicates are formed by the action of the lime upon the sand, and carbonates by the action of the carbonic acid of the air upon the lime.

In painting a fresco picture, inasmuch as there is no retouching the work when it is finished, the artist must make his drawing very carefully. The cartoon is made upon ordinary paper, then it is fixed against the wall where the picture is to be painted. The part where the artist decides to begin his work is uncovered, that is to say, a portion of the paper is turned down and cut away, but in such a manner that it may be replaced. Then the plasterer puts fresh plaster, about an eighth of an inch thick, upon the uncovered portion of the wall, and the plasterer’s work is of the utmost importance in fresco painting. The workman ought to practise it well before he attempts to prepare the ground for a large picture, and it is of the greatest importance to allow the man to practise for several weeks before he is allowed to prepare any portion of the ground, even for decorative: painting. In this way he becomes accustomed to the suction of the wall, and upon the suction of the wall depends the soundness of the ground and the success of fresco painting.

When the plaster is first put on, of course it is very soft; the piece of cartoon is replaced upon it, and the lines of the picture are gone over with a bone point, so that an indentation is made, and then the artist begins his painting. At first he finds his colours work greasy; you cannot get the tint to lie on, it works streaky; but you must not mind that, you must paint on, but you must only paint on for a certain time, for if you go on painting too long you will interfere with the satisfactory suction of the ground, which is so necessary to produce a good fresco painting. Of course, nothing but practice can tell any one the period at which he ought to stop. After some practice, you know perfectly well by the feel when you ought to stop. If you feel your colour flowing from your brush too readily, you ought to stop at this period. You must then leave your work for a time, and go back to it again. And then you will find, as the plaster sucks in the colour which you have first laid on, that there will be--it may be in the course of half-an-hour, it may be an hour, that depends upon the temperature of the atmosphere--a pleasant suction from your brush, the colour going from it agreeably, and you will find that it will cover better. Now is the time to paint rapidly, and complete the work you have in hand. When the colour leaves your brush as though the wall was thirsty for moisture, you should cease painting; every touch that is applied after that will turn out grey when it dries, and the colour will not be fast upon the wall.

You will see, then, how impossible it is, with such materials, to paint in the same style in which you paint a picture in oil-colour. Fresco painting involves the adoption of an entirely different style from oil painting. The frescoes of the old masters are not highly wrought up, highly-finished works. They depend for their effect upon the juxtaposition of tints, the shadows being intensified by lines and cross-hatching. If you look at those reproductions of some of the most valuable fresco paintings of the old masters, you will see the method adopted by them depended upon the juxtaposition of tints, not upon covering over, and over, and over again. That juxtaposition of tints produces roundness, transparency, and has a very pleasing effect upon the eye. If two tints are put against one another, they do not appear to us as if they were single, but each adds something to the effect of the other, and together they produce a pleasurable and agreeable effect, if they have been properly selected. We all know how tempting it is to go back to a piece of painting and do something to it that ought to have been done before. We think that a touch will improve it, and we go and make it: but in fresco painting the temptation must be resisted, for it will be absolutely fatal to the permanency of the work.

INDEX

African indigo, 47

Alkali for removing old paint, 351

Alumina for lakes, 282

American indigo, 47

---- lamp-black furnace, 20

Aniline black, 25

Animal black, 5, 6

---- matters, nitrogen in, 51

Anthracene oil black, 21

Antimony vermilion, 138

Antwerp blue, 62

Area covered by paint, 359, 360

Arnaudon’s green, 128

Arsenic from cobalt ores, 31

---- orange, 153

---- yellow, 257, 280

Asphalt brown, 101

---- for painting iron, 373

Aureolin, 257

Azurite blue, 40

Balmains luminous paint, 286

Baryta blue, 111

---- green, 109

---- red, 143

---- white, 170

Barytes, 170

Benzoates as dryers, 318

Benzol vehicles, 296

Binder’s cobalt blue, 29

Bistre, 101

Bitumen, 101

Blacks, 5-26

---- adulterations, 6

---- aniline, 25

---- animal, 5, 6

---- anthracene oil, 21

---- bone, 5, 6

---- bone-oil, 12

---- candle, 25

---- “carbon,” 19

---- charcoal, 25

---- coal, 25

---- coal tar, 14, 15, 21

---- coke-oven, 16

---- composition, 5

---- cork, 25

---- creosote oil, 21

---- drop, 11

---- fat, 11, 12, 21

---- Frankfort, 11

---- “gas,” 19

---- gas-tar, 14, 15, 21

---- German, 26

---- impurities, 5

---- iron, 26

---- ivory, 5, 11

---- lamp, 5, 11

---- lead, 26

---- manganese, 26

---- mineral gas, 19

---- ---- matter in, 6

---- natural gas, 19

---- oil, 11, 12, 21

---- oily matter in, 5

---- organic, 5

---- paraffin, 16

---- peach-stone, 11

---- Prussian, 26

---- prussiate, 26

---- resin, 11. 15, 16

---- shale oil, 21

---- Spanish, 26

---- tannin, 26

---- tar, 14, 15, 21

---- testing, 6

---- unimportant, 25

---- vegetable, 5, 11, 25, 26

---- vine twig, 11

---- wine lees, 11

Blanc fixe, 172

Bleaching oils, 332

Blenkinsop and Hartley’s dryer, 335

Blood in priming coat, 352

Blue luminous paint, 291

---- potash, 54, 56

---- salt, 54, 56

---- washing, 90

Blues, 27-100

---- Antwerp, 62

---- azurite, 40

---- baryta, 111

---- Binder’s cobalt, 28

---- Bong’s, 62

---- Bremen, 34

---- Brunswick, 64

---- cæruleum, 27

---- Chinese, 65

---- cobalt, 27, 28

---- cœruleum, 37

---- copper, 34

---- indigo, 42

---- lime, 38

---- manganese, 49

---- mountain, 40

---- Paris, 68

---- Péligot, 41

---- Prussian, 49

---- Saxon, 69

---- smalts, 27, 30

---- soluble, 69

---- Thénard’s cobalt, 28

---- Turnbull’s, 70

---- ultramarine, 70

---- verditer, 41

---- zaffre, 30

Body of pigments, 293

Boiled oils, adulterants of, 331

---- ---- defects, 327

---- ---- substitute for, 352

---- ---- testing for lead in, 328

Boiling oil, 316, 320

Bole, 272

Boletta, 273

Bologna stone, 170

Bone black, 5, 6

---- ---- composition, 10

---- cost of production, 10

---- ---- furnaces, 7

---- ---- qualities, 10

---- brown, 102

---- oil black, 12

Bones, carbonising, 7

---- gases from, utilising, 9

Bong’s manganese blue, 49

---- Prussian blue, 62

Borates as dryers, 318

Braconnot’s green, 123

Bramwell’s prussiate, 58

Brazil-wood lake, 283

Bremen blue, 34

---- green, 112

Brighton green, 112

Brinjes and Goodwin’s paint mill, 346

Brown luminous paint, 291

Browns, 101, 108

---- asphalt, 101

---- bistre, 101

---- bitumen, 101

---- bone, 102

---- cappagh, 102

---- Cassel earth, 102

---- chicory, 102

---- Cologne earth, 102

---- manganese, 103

---- Mars, 103

---- Prussian, 103

---- Rubens, 102

---- sepia, 104

---- ulmin, 105

---- ultramarine, 88

---- umbers, 105

---- Vandyke, 107

Brunquell on prussiate, 59

Brunswick blue, 64

---- green, 113

---- ---- characters, 118

---- ---- dry method, 117

---- ---- testing, 118

---- ---- wet method, 115

Brushes, 355

---- keeping, 355

Buckley’s prussiate works, 59

Cadmium Yellow, 258

Cæruleum, 27

Calcining lamp-black, 23

Calcium hyposulphite, preparing, 139

---- polysulphide, preparing, 139

Candle black, 25

Candle-nut oil, 298

Cappagh brown, 102, 106

“Carbon” black, 19

---- pigments, 5

Carbonising bones, 7

Carminated lake, 283

Carmine lake, 283

Carriages, painting, 361

---- varnishing, 365

Cars, painting, 361

---- re-varnishing, 367

---- washing, 367

Cassel earth, 102

Cassius purple, 143

Cawk, 170

Central American indigo, 47

Cerchione, 273

Chalk, 246

Charcoal black, 25

Charlton white, 172, 254

Chicory brown, 102

China clay, 172

---- ---- artificial, 182

---- ---- characters, 182

---- ---- drying, 175, 181

---- ---- waste products, 179

---- ---- works, 173

Chinese blue, 65

---- green, 118, 129

---- red, 144, 185

---- vermilion, 157

Chromates, iron, 267

---- lead, 260

---- zinc, 268

Chrome greens, 113, 118, 125

---- orange, 144

---- red, 144, 145

---- yellows, 258

Chromes, characters, 266

Clark’s paint mill, 341

Coaches, painting, 361

---- re-varnishing, 367

---- varnishing, 365

---- washing, 367

Coal black, 25

Coal-tar black, 14, 15, 21

Coats of paint, 355

Cobalt benzoate, 318

---- blues, 27, 28

---- borate, 318

---- greens, 119

---- ore furnace, 31

---- oxide blue, 28

---- pink, 144

---- red, 144

Cochineal lake, 284

Cœruleum blue, 37

Coke oven black, 16

Colcothar, 145, 150

Cologne earth, 102

Colour and aggregation of particles, 2

---- ---- chemical composition, 2

---- ---- light, 1

---- causes, 1

---- defined, 1

---- destruction, 2

---- of pigments, testing, 293

---- sense, 1

Condenser, fume, 216

Condensing smoke, 13, 15, 17

Condy’s white lead, 197

Copper blues, 34

---- carbonate, 40

---- greens, 121, 130, 131

---- hydrated oxide, 34, 41

---- nitrate, 36

---- sulphate dryer, 325

Cork black, 25

Cornish umber, 107

Cotton seed oil in linseed oil, 301

Covering power of pigments, 293

Cracking, causes, 363

Creosote oil black, 21

Crucibles for roasting smalts, 32

Cuttle fish brown, 104

Cyanogen in prussiate making, 58

Cyprus earth, 134

Dammar vehicles, 296

Derby red, 145

Derbyshire umber, 106

Discoloration of paint, 356

Douglas green, 120

Drop black, 11

Dryers, 295-338, 365

Dryers, benzoates, 318

---- Blenkinsop and Hartley’s, 335

---- borates, 318

---- chemical action of, 322

---- ---- ---- in oils, 330

---- cobalt benzoate, 318

---- copper sulphate, 325

---- Guynemer’s, 319

---- lead, 325

---- litharge, 316

---- manganese benzoate, 318

---- ---- oxalate, 319

---- ---- oxide, 318

---- ---- sulphate, 325

---- red lead, 316

---- resinates, 318

--- zumatic, 318

Drying china clay, 175, 181

---- paint, 353, 367

---- white lead, 191

Durability of pigments, 294

Dutch vermilion, 167

---- white lead, 185

Dyestuff defined, 1, 3

Egyptian cœruleum, 37

Emerald green, 121

---- ---- characters, 124

---- ---- testing, 124

---- tint greens, 124

Enamel white, 245, 254

Enamelled white, 170, 183

English white, 183, 246

Extraction of oils, 308

Eye, colour effect on, 1

Fascia, 273

Fat-black, 11, 12, 21

Ferric oxide reds, 150

Figuier’s red, 144

Filling before painting, 354, 362

Fineness of pigments, testing, 293

Finishing painting, 363

Firmenich’s vermilion, 165

Fleck’s vermilion, 156

Frankfort black, 11

Freeman’s white, 224, 254

French and Hannay’s white lead, 216

Fresco colours, 257

---- painting, 111, 378

Fume condenser, 216

Furnaces, bone-black, 7

---- cobalt ore, 31

---- galena, 225

---- lamp-black, 12, 14, 16, 17, 18, 19, 20, 21

---- ochre, 277

---- prussiate, 53, 59, 60

---- smalts, 32, 33

Galena, chromates from, 263

---- white lead from, 225

Galloway’s green, 123

Gamboge, 270

Gardner’s white lead, 200

“Gas” black, 19

Gases from bones, utilising, 9

Gas-tar black, 14, 15, 21

Gaud indigo, 45

German black, 26

---- lamp-black, 15

Gmelin’s ultramarine, 81

Green luminous paint, 291

Greens, 109

---- Arnaudon’s, 128

---- baryta, 109

---- Braconnot’s, 123

---- Bremen, 112

---- Brighton, 112

---- Brunswick, 113

---- Chinese, 118, 129

---- chrome, 113, 118, 125

---- cobalt, 119

---- copper, 121, 130, 131

---- Cyprus earth, 134

---- Douglas, 120

---- emerald, 121

---- ---- tint, 124

---- Galloway’s, 123

---- Guignet’s, 125

---- Köchlin’s, 123

---- lokao, 129

---- malachite, 129, 131

---- manganese, 130

---- mineral, 130, 131

---- mitis, 130

---- mountain, 131

---- Paris, 132

---- Prussian, 132

---- Rinmann’s, 132

---- sap, 129, 132

---- Scheele’s, 133

---- Schweinfurth, 134

---- terre verte, 134

---- titanium, 135

---- ultramarine, 73

---- verdigris, 135

---- verditer, 136

---- Verona earth, 134, 136

---- Victoria, 137

---- Vienna, 137

---- zinc, 137

Grey luminous paint, 291

Griffith’s zinc white, 251

Grinding Chinese blue, 67

---- smalts, 34

Ground-nut oil, 297

Guignet’s green, 125

Guimet’s ultramarine, 81

Guynemer’s dryer, 319

Gypsum, 183

Hannay’s white lead, 214

Hartley & Blenkinsop’s dryer, 335

---- on dryers, 322

Hempseed oil, 298

Hind and Lund’s paint mill, 345

Hyposulphite of lime, preparing, 139

Idrian vermilion works, 154

Indian indigo, 43

---- red, 147, 150

Indigo, African, 47

---- American, 47

---- blue, 42

---- carmine, 48

---- Central American, 47

---- cultivation, 43

---- gaud, 45

---- Indian, 43

---- Japanese, 45

---- Javan, 46

---- maceration, 43

---- manufacture, 43

---- Philippine, 47

---- plants, 42

---- preparations, 48

---- qualities, 48

---- testing, 48

Irish umber, 106

Iron black, 26

---- chromates, 267

---- decay, 369

---- oxide for painting, 373

---- ---- reds, 150

---- painting, 369

---- ---- experiments, 375

---- pitching, 369

Italian white lead, 221

Ivory black, 5, 11

Jacquelin’s vermilion, 168

Japanese indigo, 45

Javan indigo, 46

Kaolin, 172, 183

Keeping brushes, 355

Kegs, paint, 349

Kilns, 7, 12, 14, 16, 17, 18, 19, 20, 21, 31, 32, 33, 53, 59, 60, 225, 277

King’s yellow, 271, 280

Kirchoff’s vermilion, 168

Köchlin’s green, 123

Kukui oil, 298

Lakes, 282

---- alumina, 282

---- Brazil-wood, 283

---- carminated, 283

---- carmine, 283

---- cochineal, 284

---- madder, 284

---- yellow, 285

Lamp-black, 5, 11

---- ---- anthracene oil, 21

---- ---- apparatus, 12, 14, 15, 16, 17, 19, 20, 21, 22

---- ---- calcining, 23

---- ---- creosote oil, 21

---- ---- gas tar, 14, 15, 21

---- ---- German, 15

---- ---- in iron painting, 378

---- ---- Martin & Grafton’s, 15

---- ---- natural gas, 19

---- ---- nuisance in making, 23

---- ---- paraffin, 16

---- ---- qualities, 25

---- ---- Russian, 16

---- ---- Shackell & Edwards’ Works, 24

---- ---- shale oil, 21

---- ---- transport, 25

Lapis lazuli, 70

Lead black, 26

---- chromates, 260

---- dryers, 325

---- for white lead making, 186

---- in boiled oil, testing for, 328

---- orange, 147

---- red, 148

---- sulphate, 223

---- whites, 183

Levigating ultramarine, 79

Lewis’s white lead, 223

Light and colour, 1

Lime blue, 38

---- hyposulphite, preparing, 139

---- manganate, 49

---- polysulphide, preparing, 139

---- white, 170, 245

Linseed oil, 299

---- ---- adulterants, 331

---- ---- bleaching, 303

---- ---- impurities, 301

---- ---- purifying, 302

Litharge as a dryer, 316

Lithophone, 245, 247

Lokao, 129

Luminous paints, 286

MacIvor’s ultramarine, 93

---- white lead, 229

Madder, lake, 284

Magnesite, 245

Malachite green, 129, 131

Manganese benzoate, 318

---- black, 26

---- blue, 49

---- borate, 318

---- brown, 103

---- green, 130

---- linoleate, 336

---- oxalate dryer, 319

---- oxide dryer, 318

---- sulphate dryer, 325

Manure from prussiate residue, 57

Mars brown, 103

Martin & Grafton’s lamp-black, 15

Massicot, 148

Measuring painting, 360

Menhaden oil, 303

Metallic paints, 274

Mica, 179

Mills, oil, 309

---- paint, 339, 341, 345, 346

Mineral gas black, 19

---- green, 130, 131

---- matter in blacks, 6

---- orange, 150

Minium, 148

Mitis green, 130

Mixer for paint, 341

Mixing paint, 364

Mountain blue, 40

---- green, 131

Murdoch’s antimony red, 142

Naples yellows, 271

Natural gas black, 19

Nitrogen converted into cyanogen in prussiate making, 58

---- in animal matters, 51

Nuisance from making lamp-black, 23

---- prevention, 24

Ochres, 272

---- characters, 279

---- kilns, 277

---- working, 274

Odour of paint, removing, 356

Oil-black, 11, 12, 21

---- cake, moulding, 313

---- mill, 309

---- seed crushing rolls, 311

---- ---- kettles, 312

---- vehicles, 295

Oils, bleaching, 332

---- boiled, defects, 327

---- ---- substitute for, 352

---- ---- testing for lead in, 328

---- boiling, 316, 320

---- ---- chemistry of, 326

---- candle-nut, 298

---- chemical action of dryers on, 330

---- drying and non-drying, 297

---- extraction, 308

---- ground-nut, 297

---- hemp-seed, 298

---- kukui, 298

---- linseed, 299

---- menhaden, 303

---- pea-nut, 297

---- poppy, 305

---- porgie, 303

---- refining, 335

---- tobacco, 306

---- tung, 308

---- walnut, 307

---- wood, 308

Oily matter in blacks, 5

Old paint, removing, 351

Orange, chrome, 144

---- lead, 147

---- luminous paint, 291

---- mineral, 150

Organic blacks, 5

Orpiment, 280

Orr’s white, 245, 254

Oxide reds, 150

Oxygen in making ultramarine, 78

Packing paint, 349

Paint beds, 274

---- composition, 358

---- covering power, 359, 360

---- cracking, 363

---- defined, 1

---- discoloration, 356

---- drying, 367

---- estimating quantity required, 359, 360

---- machinery, 339

---- mills, 339, 341, 345, 346

---- mixer, 341

---- mixing, 364

---- old, removing, 351

---- packing, 349

---- priming, 354, 362

Painting, 351

---- brushes, 355

---- carriages, 361

---- coats, 355

---- drying, 353

---- filling, 354, 362

---- finishing, 363

---- fresco, 378

---- iron, 369

---- measuring, 360

---- plaster, 378

---- priming coat, 352, 362

---- removing odour, 356

---- surface, 351

---- walls, 378

---- water-colours, 356

---- woodwork, 368

Paraffin black, 16

---- wax vehicles, 296

Paris blue, 68

---- green, 132

--- white, 246

Peach-stone black, 11

Pea-nut oil, 297

Péligot blue, 41

Permanent white, 170, 246

Persian red, 145, 150, 153

Philippine indigo, 47

Phosphorescent paints, 286

Pigments, carbon, 5

---- defined, 1, 3

---- examining, 293

---- requirements, 3

---- testing body, 293

---- ---- colour, 293

---- ---- covering power, 293

---- ---- fineness, 293

Pink, cobalt, 144

Pitching iron, 369

Plaster painting, 378

Pompeian cœruleum, 37

Poppy seed oils, 305

Porgie oil, 303

Potash, blue, 54, 56

---- prussiate, 50

Prevention of nuisance, 24

Priming coat, 352

---- paint, 362

Prussian black, 26

---- blue, 49

---- ---- Bong’s, 62

---- ---- common, 61

---- ---- qualities, 49

---- ---- recipes, 61

---- ---- testing, 50

---- brown, 103

---- green, 132

Prussiate, 50

---- black, 26

---- Bramwell’s works, 58

---- Brunquell on, 59

---- Buckley’s works, 59

---- crystallisation, 55

---- formation, 52

---- furnaces, 53, 59, 60

---- metal, lixiviation, 55

---- of potash, 50

---- pots, 53

---- residue as manure, 57

---- separating: impurities, 56

Pug mill, 341

Purple of Cassius, 143

Putty, 354, 362

Puttying, 354, 362

Realgar, 153, 280

Red lead, 148

---- ---- as a dryer, 316

---- ---- for painting iron, 374

---- luminous paint, 291

---- ultramarine, 77, 80

Reds, 138-169

---- antimony vermilion, 138

---- baryta, 143

---- Cassius purple, 143

---- Chinese, 144, 145

---- chrome, 144, 145

---- ---- orange, 144

---- cobalt, 144

---- ---- pink, 144

---- colcothar, 145, 150

---- Derby, 145

---- Indian, 147, 150

---- iron oxide, 150

---- lead orange, 147

---- minium, 148

---- orange mineral, 150

---- oxides, 150

---- Persian, 145, 150, 153

---- realgar, 153

---- rouge, 150, 153

---- tin, 144

---- Venetian, 150, 153

---- vermilion, 153

Refining oils, 335

Removing old paint, 351

Resin black, 11, 15, 16

Resinates as dryers, 318

Rinmann green, 132

Roller mills for paint, 339, 341, 345, 346

Rosin in linseed oil, 301

Rouge, 150, 153

Rubens brown, 102

Ruby of arsenic, 153

Russian lamp-black, 16

Rutherford & Barclay kiln, 277

Sap green, 129, 132

Satin white, 246

Saxon blue, 69

Schatte’s luminous paint, 290

Scheele’s green, 133

Schweinfurth green, 134

Seed-crushing rolls, 311

---- kettles, 312

---- oils, extracting, 308

Sepia, 104

Shackle and Edwards’ lamp-black works, 24

Shale oil black, 21

Ships’ hulls, painting, 376

Siena earths, 272

Siennas, 272

Silica ultramarine, 74

Smalts, 27, 30

---- crucibles, 32

---- furnace, 32, 33

---- grinding, 34

Smith’s pitching process for iron pipes, 369

Smoke, condensing, 13, 15, 17

Soda for making ultramarine, 78, 92

---- sulphate from ultramarine, 79

---- ultramarine, 74

Soluble blue, 69

Spanish black, 26

---- white, 246

Square blue, 90

Stack white lead, 185

Stampshaw lamp-black furnace, 21

Stangen-spath, 170

Strontia white, 246

Sulphate ultramarine, 72

Surface for painting, 351

Tannin black, 26

Tar black, 14, 15, 21

Terra alba, 183, 246

---- bolare, 273

---- guilla, 273

Terre verte, 134

Thalwitzer’s lamp-black apparatus, 16

Thénard’s cobalt blue, 28

---- white lead, 184

Tin red, 144

Titanium green, 135

Tobacco-seed oil, 306

Transport, lamp-black, 25

---- paint, 349

Tung oil, 308

Turkey umber, 106

Turnbull’s blue, 70

Ulmin, 105

Ultramarine, 70

---- adulterations, 76

---- ancient treatise on, 94

---- artificial, 71

---- brown, 88

---- Brunner on, 82

---- chemistry, 81

---- colouring principle, 75

---- composition, 81

---- direct crucible process, 87

---- Dollfus on, 84

---- effect of silica, 83

---- Endemann on, 82

---- faults, 100

---- German process, 86

---- Gmelin’s, 81

---- Goppelsröder on, 84

---- green, 73

---- Guimet’s, 81

---- Heyne on, 94

---- history, 80

---- Hoffmann on, 83

---- indirect process, 85

---- levigating, 79

---- Leykauf process, 94

---- McIvor’s, 93

---- natural, 70

---- Nejedly on, 94

---- oxygen in making, 78

---- properties, 76

---- red, 77, 80

---- removing soluble salts, 78

---- resisting alum, 75, 77

---- Ritter on, 82

---- Schülzenberger on, 82

---- silica process, 74

---- soda for, 78, 92

---- ---- process, 74

---- ---- sulphate from, 79

---- statistics, 91

---- Stein on, 81

---- sulphate process, 72

---- testing, 99

---- uses, 76, 90, 99, 100

---- varieties, 99

---- violet, 77, 79

---- Wilkins on, 81

Umbers, 105, 272

Vandyke brown, 107

Varnishing coaches, 365, 367

Vegetable blacks, 5, 11, 25, 26

Vehicles, 295-338, 365

Venetian red, 150, 153

Verdegris, 135

Verditer, 136

---- blue, 41

Vermilion, 153

---- antimony, 138

---- Chinese, 157

---- Dutch, 167

---- Firmenich’s, 165

---- Fleck’s, 156

---- Jacquelin’s, 168

---- Kirchoff’s, 168

---- Weshle’s, 168

---- works at Idria, 154

Verona earth, 134, 136

Victoria green, 137

Vienna green, 137

Vine-twig black, 11

Violet luminous paint, 291

---- ultramarine, 77, 79

Wagner’s antimony red, 142

Wall painting, 378

Walnut oil, 307

Washing blue, 90

Water-colour painting, 356

Wax vehicles, 296

Weshle’s vermilion, 168

Wetherill furnace, 225

White lead, 183

---- ---- adulterations, 195

---- ---- characters, 242

---- ---- chemistry of, 187, 192, 193, 200

---- ---- Condy’s, 197

---- ---- cost, 213

---- ---- dangers of, 191

---- ---- dry, 195

---- ---- drying, 191

---- ---- Dutch, 185

---- ---- French & Hannay’s, 216

---- ---- from galena, 225

---- ---- Gardner’s, 200

---- ---- Hannay’s, 214

---- ---- Italian, 221

---- ---- lead for, 186

---- ---- Lewis’s, 223

---- ---- MacIvor’s, 229

---- ---- powdered, 195

---- ---- precipitated, 194

---- ---- stack, 185

---- ---- substitutes, 194

---- ---- testing, 244

---- ---- Thénard’s, 184

---- luminous paint, 286, 290

Whites, 170-256

---- baryta, 170

---- blanc fixe, 172

---- chalk, 246

---- Charlton, 172, 254

---- china clay, 172

---- enamel, 245, 254

---- enamelled, 170, 183

---- English, 183, 246

---- Freeman’s, 224, 254

---- Griffith’s, 251

---- gypsum, 183

---- lead, 183

---- lime, 170, 245

---- lithophone, 245, 247

---- magnesite, 245

---- mineral, 183, 245

---- Orr’s, 245, 254

---- Paris, 246

---- permanent, 170, 246

---- satin, 246

---- Spanish, 246

---- strontia, 246

---- terra alba, 183, 246

---- whiting, 246

---- zinc, 247

Whiting, 246

Wilson’s fume condenser, 216

Wine-lees black, 11

Wood charcoal black, 25

-- oil, 308

Woodwork, painting, 368

Working ochre beds, 274

Wright’s paint machinery, 339

Yellow luminous paint, 291

---- prussiate, 50

Yellows, 257-281

---- arsenic, 257, 280

---- aureolin, 257

---- hole, 272

---- cadmium, 258

---- chrome, 258

---- gamboge, 270

---- King’s, 271, 280

---- lakes, 285

---- Naples, 271

---- ochres, 272

---- orpiment, 280

---- realgar, 280

---- umbers, 272

Zaffre, 30

Zinc chromates, 268

---- green, 137

---- oxide, 37, 247

---- sulphide, 250

---- whites, 247

---- ---- characters, 255

Zumatic dryer, 318

LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET AND CHARING CROSS.

End of Project Gutenberg's Pigments, Paint and Painting, by George Terry