Chapter III: Part 3

A correspondent asks: “Does the reader know from practical experiment that one season is better than another for applying outside paint?” I suppose the writer means the effect upon the wearing qualities of the paint and the permanency of the color. I have been experimenting for a practical solution of this question for my own satisfaction and guidance, and have come to the conclusion that paint put on the outside in the hot weather of summer will wear as well and hold its color as long as paint put on in the cooler days of spring and fall. I know the idea that paint dries too fast in hot weather is almost universal, but I think it grows largely from the fact that a quick-drying paint is not as good for outside as a slow dryer; but you must remember that there is a great difference between a quick-drying paint and drying a slow paint as quickly as the ingredients will admit of. Linseed oil dries or hardens by absorbing oxygen from the air, and that process goes on more rapidly in hot weather than in cool weather, because the air in hot weather is in a condition more freely to part with its oxygen, or because the oil is in a better condition to receive it, or both. In other words, a warm atmosphere hastens the process of absorption and a cool air retards it, but in either case the result is the same: the air gives up enough of its oxygen to solidify the oil. Now, the question arises, can any difference be discovered (chemical or otherwise) in the composition of the paint, whether dried in warm or cool air? From a business-point of view, I have long advocated summer as a good time to paint outside, and have usually succeeded in converting customers to my views upon the subject, and as a consequence have not often had a dull time in midsummer. We painters in the country know how unpleasant and unprofitable it is to have all the work of the year rushed upon us in the spring and fall, and I think if painters generally could convince themselves by practical experiment that, all things considered, summer time is the best season of the year to do outside work, and advocate the same to their customers, backed by argument and practical illustration, there would soon be less need of complaint about a dull season in midsummer.

TO REMOVE PAINT.

1. An expeditious way is by chemical process, using a solution of soda and quicklime in equal proportions. The soda is dissolved in water, the lime is then added, and the solution is applied with a brush to the old paint. A few moments are sufficient to remove the coats of paint, which may be washed off with hot water. The oldest paint may be removed by a paste of the soda and quicklime. The wood should be afterwards washed with vinegar or an acid solution before repainting, to remove all traces of alkali.

2. Wet the place with naphtha, repeating as often as required; but frequently one application will dissolve the paint. As soon as it is softened, rub the surface clean. Chloroform mixed with a small quantity of spirit ammonia, composed of strong ammoniac, has been employed very successfully to remove the stains of dry paint from wood, silk, and other substances.

3. To remove paint from floors.--Take one pound of American pearlash, three pounds of quickstone lime. Slake the lime in water, then add the pearlash, and make the whole amount about the consistency of paint. Lay the mixture over the whole body of the work which is required to be cleaned, with an old brush; let it remain for twelve or fourteen hours, when the paint can be easily scraped off.

TO SOFTEN PUTTY AND REMOVE OLD PAINT.

1. Take three pounds of quickstone lime; slake the lime in water, then add one pound of American pearlash; apply this to both sides of the glass and let it remain for twelve hours, when the putty will be softened, and the glass may be taken out without being broken. To destroy paint, apply it to the whole body which is required to be cleaned; use an old brush, as it will spoil a new one; let it remain about twelve or fourteen hours, and then the paint may be easily scraped off.

2. To remove paint from old doors, etc., and to soften putty in window frames, so that the glass may be taken out without breakage or cutting, take one pound of pearlash and three pounds of quicklime, slake the lime in water and then add the pearlash, and make the whole about the consistency of paint. Apply to both sides of the glass and let it remain for twelve hours, when the putty will be so softened that the glass may be taken out of the frame without being cut, and with the greatest facility. To destroy paint, lay the above over the whole body of the work which is required to be cleaned, using an old brush, as it will spoil a new one. Let it remain for twelve or fourteen hours, when the paint can be easily scraped off.

3. Paint stains on glass.--American potash, 3 parts; unslaked lime, 1. Lay this on with a stick, letting it remain for some time, and it will remove either tar or paint.

TREATMENT OF DAMP WALLS.

There are two classes of damp walls, first where the water comes in from the outside from defective roofs, bad gutters, defective pipes, and where it comes through the walls from the ground, as in basements. In the other class we may include walls which are dampened by condensation of moisture, in places shut off from the general artificial temperature of the room, behind stationary furniture. Such walls may dry out during hot weather, or they may be kept damp by a growth of mold or fungus.

When water comes in from the outside, it is impossible to keep paint or paper on the wall in good shape. Look around for the places where the water comes in, point it out to the owner, and if he fails to stop the leak have it _understood_ that the work is done at _his risk_; or, what is better, refuse to do the work; because, when a job comes off, or turns out badly, you will take the blame generally, no matter whether it is your fault or not. A job may be made to last awhile by a waterproof coating, or by sheathing with thin lumber, but it is only a question of time when the lining material will become water-soaked and spoil the paint or paper, to your discredit. I have usually been _too busy_ to take jobs of this kind. If the water can be cut off, the next thing is to dry the wall, which you can do at the surface only by setting a stove near it, or with the flame of a paint burner; then, after all your trouble, the water, which remains in the wall, if of brick or stone, may find its way to the surface, and destroy your work. Sheet lead cemented to the wall will answer a good purpose for a time, but the dampness will finally destroy the cement and let the metal loose.

Battening out for lath and plaster is the best for basement or damp stone walls, but that is the plasterer’s work, and is rarely ever done except in private residences.

Battening and canvasing is next best; nail your battens up and down 18 inches apart. Have the canvas stitched in sheets the right size to cover the large blank spaces of the wall. Then stretch and tack it on the battens, and give it a coat of glue and alum size.

When dampness is caused by condensation the best remedy is to remove the cause and dry the wall.

TO PAPER ON A BOARD PARTITION.

When paper is pasted on boards, it must crack, when the lumber shrinks. If you paste cloth over the cracks, it must crack, if the cracks open further than the cloth will stretch. When you tack cloth on a partition and size it, if the size goes through the cloth and sticks it fast to the boards, it will be likely to crack when the lumber shrinks. For a good job I would advise that you first cover the partition _with paper tacked on_, then when you size the cloth, it will stick to the paper, and not to the boards. I have met with uniform success in this way; because the boards are left free to shrink and swell without breaking the cloth or paper. I like to sew the cloth together with a running seam in pieces large enough to cover all broad spaces, turn the smooth side out, stretch well, and fasten the edges only; drive the tacks an inch from the edges of the cloth, so that you can fasten them down smoothly with paste. When a man has been unwise enough to put a board partition across one end of an otherwise fine room, and is willing to pay for his folly: first, take measurements of the blank spaces, and sew together some fairly strong _unbleached_ muslin, stretch on frames, and give it a coat of glue and alum size, and whiting; when dry, carefully fit each piece in its place and tack it an inch from the edges and fasten the edges down smooth with strong flour paste. Tack only at the edges, and if you are careful to butt edge the different pieces over the doors, etc., you can make a nice smooth job in this way. By using this method the paste will not stick the cloth to the wall. Use tinned tacks to prevent rust.

SANDPAPERING.

This is a job none of us like very well, but since it must be done, it is worth while to be able to do it to the best advantage. The first thing to look for is good paper. To test the strength of the sand, rub two pieces together, and if the sand don’t fly off, it is good in that respect; next see if the paper is tough and will not tear easily. Chalk the back of your paper before you double it and it will not slip. Don’t lose time using old, worn-out paper. New paper will, of course, cut faster than old paper, and the difference in the time gained by using sharp paper will pay for the new paper twice over. Using old dull paper is like trying to save money by using an old stub brush. Better use up fifty cents’ worth of paper than to fool away dollars’ worth of time trying to save money by using old paper.

If you have old, hard paint to cut down, which dry sandpaper will not touch, keep the work wet with benzine, and you will be surprised to see how fast the sandpaper will cut the paint. To put on benzine use a small spring-bottomed can, such as is used for oiling machinery. You can use any grade of sandpaper, and it will not soak up or gum. No. 1 paper is the best for this purpose. A good deal of time may be lost where scrapers could be used to much better advantage. A broad, flat scraper to shove endwise is always in order, and a few narrow ones with various shaped ends to fit in headings, moldings, etc., are a great help.

A STENCILED BORDER.

This makes a nice finish for a painted or kalsomined room. To make it look at its best, paint a stripe as wide as your stencil in a pleasant contrast to the paint on the room and put the stencil on that in soft harmonizing colors.

REPAINTING SCALED WORK.

To repaint a job which has commenced to scale, without taking off all the old paint, is very uncertain work, but if you have to try it, have it understood in writing, or before witnesses, that it is done at the owner’s risk. First scrape off the loose paint, then go over the job with raw oil; put it on freely and let it stand until dry; then scrape off all the paint loosened by the oil, and coat up with strictly pure white lead and oil. Avoid zinc, and mixtures of zinc, and barytes, on jobs of this kind; because they are more or less liable to crack, and pull off more of the old paint. White lead and oil lightly tinted will hold it if anything will. Use raw oil and a little good japan.

TO MIX WATER COLORS.

Light weight colors which will not mix well with water may be easily mixed to a stiff paste with molasses or sirup, then mix in glue size for a binder and thin with water.

TO SIZE MUSLIN FOR LETTERING.

Use a thin size of white glue in water, or a thin starch paste. For a sign to stand weather, dissolve white wax in turpentine by heat. Melt the wax in a kettle, then take it outside and by degrees add sufficient spirits of turpentine and make a thin size.

One ounce of wax to the quart of turps is about right. Put it on warm with a brush.

ANOTHER FOR WHITE WORK.

Slake a little good, fresh lime in hot water and mix a size with skim milk. Then strain through cheese cloth. This size is, when dry, insoluble in water and will hold lettering as long as the cloth lasts. May be tinted.

A B C D E F
G H I J K L M
N O P Q R S T
U V W X Y Z & , .
a b c d e f g h
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4 5 6 7 8 9 0
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TEST OF THE PURITY OF WHITE LEAD.

The following is an infallible and simple commercial test of the purity of white lead:

Take a piece of firm, close-grained charcoal, and near one end of it scoop out a cavity about half an inch in diameter and a quarter of an inch in depth. Place in the cavity a sample of the lead to be tested, about the size of a small pea, and apply to it continuously the _blue_ or _hottest_ part of the flame of the blow-pipe; if the sample be strictly pure it will, in a very short time, say two minutes, be reduced to metallic lead, leaving no residue; but if it be adulterated, even to the extent of 10 per cent. only, with oxide of zinc, sulphate of baryta, whiting or any other carbonate of lime (which substances are the principal adulterations used), or if it be composed entirely of these materials, as is sometimes the case with cheap lead (so-called), it cannot be reduced, but will remain on the charcoal an infuscatible mass.

A blow-pipe can be obtained from any jeweler at small cost. An alcohol lamp, star candle, or a lard oil lamp furnishes the best flame for use of the blow-pipe. This test is very simple and anyone can very soon learn to make it with ease and skill.

POLISH TO RENOVATE VARNISHED WORK.

One quart good vinegar, 2 ounces butter of antimony, 2 ounces alcohol, 1 quart oil. Shake before using.

BRONZES--COLORS.

White,
Light Gold,
Lemon,
Copper,
Lilac,
Silver,
Dark Gold,
Orange,
Carmine,
Violet,
Flesh,
Rich Gold,
Fire,
Crimson,
Brown,
Light and Dark Greens.

BLACK VARNISH FOR IRON.

Asphaltum, 2 pounds.
Boiled linseed oil, 1 pint.
Spirits turpentine, 2 quarts.

Melt the asphaltum with the oil in an iron kettle. Stir well before removing from the fire. When partly cool add the turpentine and a little good japan.

TO FREE BENZINE FROM ITS OFFENSIVE ODOR.

To deodorize benzine, add 3 ounces quicklime to the gallon of benzine; shake well. Let the lime settle and pour off and filter the benzine.

PAINT TO PREVENT WOOD EXPOSED TO THE GROUND FROM ROTTING.

Take of linseed oil, 4 parts; whiting, 40 parts; rosin, 50 parts; clean sand, 300 parts; heat together in a kettle until the rosin melts; then add 2 parts sulphate of copper; the mass to be well stirred, and thinned to workable consistency with linseed oil.

RECIPES FOR BLACKBOARD SLATING.

Dissolve 1 pound shellac in 1 gallon 95 per cent. alcohol; then add ½ pound best powdered ivory black, 5 ounces finest emery flour, 2 ounces ultramarine blue; mix well and keep air tight. When using stir frequently. If thick enough to show brush marks, add more alcohol; work quick with a fine brush.

TO MAKE A BLACKBOARD ON COMMON PLASTER.

Stop all cracks and holes with plaster paris mixed in glue size. When dry sandpaper until all is smooth; then paper the wall with white blank wall paper, butt the edges, put on with strong paste, and be careful to rub out all blisters. When dry prime with oil paint, then sandpaper with fine paper, and put on two coats of above slating. This makes an excellent blackboard. Boards which I made in this way twenty years ago are in good shape yet, and will last for years to come with an occasional repainting.

CHEAP SLATING, BUT GOOD.

Mix lamp black, 4 parts; ultramarine blue, 1 part, by weight, in turpentine, with sufficient good japan and a very little oil to bind it, then add one part by weight of _fine pumice stone_. Have it thin enough to flow on and not leave brush marks.

WATERPROOF OIL RUBBER PAINT FOR CLOTH.

Melt 2½ pounds of india rubber in ½ gallon of boiled oil by boiling. If too thick, add more oil; if too thin, add more rubber, and a little japan to dry it. Apply warm.

TO CLEAN PAINT.

Have some whiting on a plate, then dip a piece of flannel in warm, soft water and squeeze nearly dry, then take up some of the whiting by dipping the flannel in it, and rub the paint until it looks clean, then rub dry with a soft cloth or chamois skin.

GOOD QUICK STAIN FOR A BRICK CHIMNEY.

For red stain, take Venetian red, 2 parts; yellow ochre, 1 part--both dry--and mix with skim milk. For yellow stain, use water-lime, tinted with yellow ochre. Mix as above.

Skim milk when mixed with common quicklime, Portland cement, or Venetian red, is converted into an insoluble binder, which renders the mixture waterproof, so that it will not wash off when wet; neither will it rub up when dry. Other pigments can be added, by way of coloring, up to 25 per cent., without affecting the insolubility of the paint.

For a brick wall, which has not been rubbed or painted, Venetian red toned down with yellow ochre, beats any glue and acid mixture for durability.

TO CLEAN DOOR PLATES.

Put on with a rag a weak solution of ammonia in water, and rub to dryness.

TO CLEAN VARNISHED PAINT.

In a gallon of water, boil a pound of wheat bran, and wash the varnish with the water.

SLOWING THE DRYING OF PAINT.

In wall painting or otherwise, especially in hot weather, if the paint dries so fast as to show laps in spite of your best efforts with the brush, the addition of a little cotton seed oil will make the paint dry slower without hurting the gloss; or if you are using flat color, and it dries too fast, a little cotton seed oil will make it dry slower, and not make a gloss. You can, by a little experiment, determine how much of cotton seed oil to use in each case.

FINE BRONZE FOR METALS.

Red aniline (fuchsine), 20 parts; purple aniline, 10 parts; 95 per cent. alcohol, 200 parts; acid benzoic, 10 parts. Dissolve the colors in the spirit in a porcelain vessel in a water or sand bath; add the acid and boil until the mixture changes from a greenish color to a beautiful bronze color. Lay it on the bright metal with a brush.

REPAINTING BLISTERED DOORS.

When the paint commences to blister or scale on a door, it is very liable to keep on blistering and scaling from time to time, as long as any of the old paint is left on the door, no matter how carefully it may be repainted, because in most cases whatever caused the paint to scale off in spots, weakened the entire coat of paint on the door, making it liable to raise up, or come off in other places, whenever exposed to any extra strain, such as sun heat, or the drying of new coats of paint or varnish over it; hence, to have a sure thing on painting a scaled or blistered door, take off all the old paint. Put on a thin prime of pure white lead and linseed oil; use the priming sparingly _and rub it out thin_; let the prime dry and coat up with lead and oil paint, mixed with good body; put in a little turps and spread the _paint out thin_, so it will dry solid; rub each coat in the same way; give each coat time to dry solid. For work to be varnished, prime as above, and coat up flat. I think blistering is often caused by flowing on too much paint having too much oil in it, in proportion to the pigment, hence it does not dry solid, the oil is softened and expanded by heat, and the coating, which is more of an oil skin than a body of paint, lets go its hold on the wood and puffs out in a blister to make room for the softened and expanding oil skin. If painters will mix their paint with good body, and use more elbow grease in rubbing it out, they will have less trouble with blisters.

FIREPROOF PAINT FOR ROOFS, ETC.

A recipe published thirty years ago in the Maine _Farmer_:

Slake stone lime by putting it into a tub to be covered to keep in the steam. When slacked pass the powder through a fine sieve, and to each 6 quarts of it add 1 quart rock salt, and water, 1 gallon; then boil and skim clean. To each five gallons of this add pulverized alum, 1 pound; pulverized copperas, ½ pound; then slowly add powdered potash, ¾ pound; then add hardwood ashes sifted, 4 pounds; now add any color and apply with a brush. This paint stops small leaks in roofs, prevents moss, is incombustible, and renders brick waterproof. It is durable as stone.

VARNISH FOR IRON.

Genuine asphaltum 8 pounds, melt in an iron kettle, slowly adding boiled linseed oil, 5 gallons; litharge, 1 pound, and sulphate of zinc, ½ pound; continue to boil three hours, then add dark gum amber, 1½ pounds, and boil two hours longer. When cool thin with turpentine to good working consistency.

BLACK VARNISH FOR IRON.

Genuine asphaltum (not coal tar imitation), 1 pound; lamp black, ¼ pound; rosin, ½ pound; spirits turpentine, 1 quart. Dissolve the asphaltum and rosin in the turpentine, then rub up the lamp black with linseed oil, only sufficient to form a paste, and mix with the others.

TO MIX DRY LAMP BLACK.

First cut it up in benzine or turpentine to a thick paste, stir well and add linseed oil; if the black is to be used as an oil paint, a little at first, stir well and you may add more. In this way you will have no trouble in mixing it with other paint, if you do it when the paint is rather stiff.

TO CLEAN BRASS.

One-half ounce oxalic acid, 3 ounces rotten stone, ¼ ounce gum arabic, each in powder; made into a paste with sweet oil. Use sparingly and rub dry with flannel.

DIPPING PAINT.

Grind dry colors in japan and turps, with only enough japan to bind the pigment. When dry varnish, use any pigment you like, or use bolted whiting and color as you like.

TO MAKE WAX FINISH FOR FLOORS.

Take 2 ounces pearlash and 2 pounds white wax. Slice the wax thin, and boil it with the pearlash in 2 quarts of water; stir until the wax is melted and unites with the water.

Put on the finish with a brush, and polish with cloth or plush.

This finish will be good only for light service.

SPIRIT VARNISHES.

There are numerous recipes which might be given here for making the fine elastic varnishes, but it would not be practicable for the painter to make them, even if he had the requisite skill and experience, but with spirit varnishes it is very different, and the painter can make them by a formula as well as an expert can. (For formulas for white and orange shellac varnish see article on wood finishing.) For inside work, where the family is living at the time the work is being done, the alcohol varnish is preferable. First, because it dries very quickly, and second, because it is free from sickening or disagreeable odors.

Below are several recipes for making varnishes, which dry hard and lustrous. The spirit used is wood or grain alcohol; in either case, the spirit should be 95 per cent. proof.

BROWN HARD SPIRIT VARNISH (SELECTED).

1. Sandarac, 1 pound; shellac, ½ pound; gum elemi, 4 ounces; Venice turpentine, 4 ounces; spirit, 1 gallon.

2. Gum sandarac, 1½ pounds; shellac, 1 pound; spirit, 1 gallon. After the gums are dissolved, put in rosin turpentine varnish, 1 pint. This makes a good varnish, not as quick drying as pure spirit varnishes.

A brown varnish may be made by mixing shellac, 1½ pounds; pale rosin, 1½ pounds; spirit, 2 gallons.

WHITE HARD VARNISH.

1. Sandarac, 2½ pounds; gum thus, 1 pound; spirit, 1 gallon.

2. Mastic, ½ pound; sandarac, 2 pounds; elemi gum, 4 ounces; spirit, 1 gallon.

3. Mastic, ½ pound; sandarac, 1 pound; turps, 2 ounces; spirit, 1 gallon.

These are all prepared by mixing and setting in a warm place until the gums are dissolved, then they are ready for use. Shake occasionally. For fine work strain carefully.

PURE WHITE VARNISHES.

1. Pale manila copal, 8 ounces; gum camphor, 1 ounce; mastic, 2 ounces; venice turpentine, 1 ounce; spirit, 1 quart.

2. Sandarac, 8 ounces; mastic, 2 ounces; Canada balsam, 4 ounces; spirit, 1 quart.

3. Sandarac, 8 ounces; damar, 4 ounces; gum thus, 8 ounces; manila copal, 8 ounces; elemi, 8 ounces; spirit, ½ gallon. This is a good pale article.

4. Gum thus, 8 ounces; gum benzoin, 4 ounces; manila elemi, 4 ounces; spirit, 1 quart.

VARNISH PAINTS.

These are made by mixing opaque pigments with almost any varnish, using sufficient turps to make them spread well.

GOLD VARNISH.

Shellac, 8 ounces; sandarac, 8 ounces; mastic, 8 ounces; gamboge, 2 ounces; dragon’s blood, 1 ounce; turmeric, 4 ounces; spirit, 1 gallon.

FURNITURE VARNISH.

Shellac, 1¾ pounds; sandarac, 4 ounces; mastic, 4 ounces; spirit, 1 gallon.

DAMAR VARNISH.

Damar, 1 ounce; sandarac, 5 ounces, mastic, 1 ounce; turps, 20 ounces. Digest at gentle heat until dissolved. If necessary add more turps to bring down to the proper consistency.

LACQUERS FOR BRASS AND TIN.

Pale gold lacquer.--Spirit, 1 gallon; orange shellac, 1 ounce; gamboge, ½ ounce.

Deep gold.--Orange shellac, 10 ounces; turmeric, 4 ounces; gamboge, 4 ounces; dragon’s blood, ½ ounce; spirit, ¾ gallon.

Brass lacquer.--Shellac, 14 ounces; turmeric, 4 ounces; annotto, 1 ounce; saffron, ½ ounce; spirit, 1 gallon.

LEATHER VARNISH (BLACK).

Shellac, 12 ounces; gum thus, 5 ounces; sandarac, 2 ounces; lamp black, 1 ounce; turpentine, 4 ounces; spirit, ¾ gallon.

Mix the ingredients, and give them time to dissolve in the spirit in a warm place. A shake-up now and then will quicken the process.

PAPER HANGER’S OUTFIT.

Bib overalls, large pocket in front, side pockets for rule and shears, long trimming shears, shorter wet shears, straightedge, paste board, plumb bob, rule, paper brush, paste pail, size kettle, step-ladders and rollers, some sandpaper, soft cloths and long blotting paper to use under your roller on seams, when needed, and a plank for scaffold, when papering ceilings. For common sized rooms two step-ladders are good in the place of trestles to hold up the plank. For butt edging I can recommend James Marks’ paper cutters. See description on another page.

PAPER HANGERS’ PASTE.

Beat up four pounds of sifted wheat flour in cold water sufficient to make a stiff batter; beat out all the lumps, then add enough cold water to make it like pudding batter. Then pour in a little hot water and stir, then pour in hot water fast, and stir until the paste swells and thickens, and turns darker. It is then cooked. To keep the paste from “going back” and staining the paper, add about two ounces of powdered or well pounded alum to the boiling water which you pour on the batter. This will make three-quarters of a common wooden pail full of paste. It will do better and go further if you let it cool before using. Turn a little cold water on the top to prevent it skinning over while you wait for it to cool. When ready to use it, thin with cold water, until it works easily under the brush, and according to the wall. A very rough porous wall needs a stout paste and plenty of it, while a hard, smooth wall should have the paste thinned and less of it. I have known paper to crack and fall off from a smooth wall, because too much or too thick paste was put on. Just enough to cement the paper to such a wall is best; a body of paste between the paper and plaster will decay and peel off, and take the paper with it. The other extreme must be avoided also. Some hangers prepare this paste without the alum.

If hanging paper on a glossy painted surface, leave out the alum and add one-half pint of nice clear sirup to each gallon of paste.

TO MAKE A PASTE FOR PAPERING OVER PAINTED OR VARNISHED WALLS.

In a kettle mix some flour in water in the same way as in the above formula, but make the batter thinner. To each gallon of the batter add one ounce of powdered resin. Set the kettle on a moderate fire, and keep stirring it until it boils and thickens, and the resin is melted into the paste. When cool, thin down with a weak solution of gum arabic.

LIQUID GLUE.

Fine glue dissolved in alcohol makes a nice binder for fine water colors.

TO CRYSTALIZE GLASS.

Lay the glass flat and flow heavy alum water over it. Let it dry.

SIZE FOR WALLS BEFORE PAPERING OR KALSOMINING.

One pound good white glue, 1 pound good bar soap, 2 pounds pulverized alum. Dissolve each separately in one quart boiling water, having first soaked the glue. Mix the glue and soap water, and then slowly add the alum water, stirring all the time. Add cold water to make one gallon.

STAIN OAK WOOD.

Wash with a solution of bi-chromate of potash and acid water. One ounce to a quart of water.

SIZING WALLS.

“Anybody can do it!” Yes, but it takes an expert to do it right. It is not a difficult matter to make paper stick to whitewash, but the whitewash splits as far in as the paste goes, and a part of it invariably sticks to the paper when it comes off and a part of it is left on the wall. As a rule, if you size whitewash with flour paste and let it stand a few days it will crack and roll up. Now, pure glue size does not have this effect upon whitewash, but, on the contrary, it not only acts as a binder, but as an intervening coat between the paste and the whitewash. In other words, the glue size will stick the whitewash fast without causing it to crack, and the paste will adhere to the glue size without bad effects upon either. Now, in order to bind the whitewash, the glue should penetrate as far as possible. Hence, the size should be put on warm, and the room should be warm, otherwise the glue will get cold and stiff like jelly before it has time to penetrate; hence it will remain on the surface instead of going into whitewash as a binder. The idea is to get all you can into the wall and leave as little as possible on the outside. Another thing to look after is the quality of the glue. Very much of the white glue found on the market is not genuine glue. Some of it is adulterated with starch and white clay, some of it is not glue at all. A glue which will dissolve in cold water is not good glue, or if it melts readily in hot water without being soaked an hour or two in cold water, it is not first-class. If it has a dead white look it is not good. Good glue should be glossy and semi-transparent, and should soften and swell in cold water, but not dissolve in it. When put into hot water without being first soaked in cold water, it should not dissolve at once, but form into a lump and resist the action of the hot water for some time.

HOW TO APPLY WHITE ENAMELED LETTERS TO GLASS.

An extract from a circular issued by the manufacturers of these letters:

Having thoroughly cleaned the window and freed it from grease,
draw with white marking chalk on front of it the plan or
arrangement of outline it is intended to adopt--straight or
curved, as the case may be. A rule is used for marking the
straight lines and a piece of twine for the curved lines. Now
divide these guide lines up into as many spaces as there are
letters to go on, carefully proportioning them. Then apply the
cement to the back of the letters with a knife, laying on equally
around both the inside edges. Place the letter upon the window in
the space marked for it and work it up and down, back and forth,
pressing against the glass, so as to expel the air and secure a
good adhesion, and taking care to press equally on top and bottom
of the letter, as otherwise there is a likelihood of breaking.
It is advisable, in cementing larger sized letters than six
inches, to leave the letters lay for an hour after placing the
cement around the edges, and then to give another coat of cement
and attach the letters immediately. The object is to prevent all
the cement from working inside the concave parts of the letters.
In affixing larger and heavy letters, small pieces of beeswax
(or, in summer, sealing wax) should be employed to keep them
in position until the cement sets. As soon as the letters are
attached to the glass take a small stick of wood, sharpen it on
the end and clean away all superfluous cement, keeping the end
of the stick constantly wet. Particular care should be taken to
leave no openings between the letters and the glass (especially
around the top edges) which would allow water to get in between.

If wax has been used, remove it after a few days and clean with
a rag. The sign is then complete for long service. The above
method will answer equally well on any smooth surface such as
stone, iron, marble, wood.

To make the cement, mix two parts of white lead ground in oil
with three parts of dry white lead, and thin it down to the
consistency of soft putty with some good furniture or copal
varnish. Then take small parts of it and grind them on a stone or
glass plate in the manner of painters grinding color with a bowl
or palette knife. This is to be continued until the cement is
entirely smooth and cornless, and then it is ready for use.

To remove enameled letters, the most convenient way is to
scratch away around the edges all the cement you can from under
the letters. Use for this purpose a very thin knife or a piece
of thin sheet steel. You will soon reach the soft part of the
cement; then cut away with a sawing motion and twist them off.
Do not attempt to pry the letters off, or they may break. If the
cement should be very hard, say after a number of years, use a
little kerosene oil, which is applied on the top edges of the
letters, so as to work in and soften the cement.

WALL SIZING FOR KALSOMINING.

There are many things about wall sizing, which depend largely upon good judgment for success, because the treatment must be varied according to the condition of the wall or ceiling. A good size is made of good white glue, ½ pound; alum, 1 pound.

Dissolve the glue in the usual way; that is, soak it in cold water until soft, then pour off the cold water and pour on the hot water; and stir until the glue is dissolved.

Dissolve the alum in hot water.

Then stir the glue, and put in the alum water. Thin the mixture with water to the right consistency to work well.

If one coat is not sufficient, give it two; or if there are porous places in the wall, touch them up.

In many cases a simple glue size is sufficient, but if you use the glue and alum size as above directed, you will be pretty sure of a good foundation for kalsomine.

One of the most difficult things to overcome in preparing ceilings for kalsomine is the water stain, which is liable to be invisible until developed by a coat of kalsomine. If you find water stains on a ceiling and suspect that there may be others which do not show, go over the ceiling with a thin wash of whiting mixed in clear water, which when dry will develop all hidden stains. To kill a bad stain, first put on a coat of oil, japan and turps, equal parts; second, put on a coat of good heavy shellac; third, give the spots a coat of flat lead. This treatment is for dark stains; for light stains a coat or two of shellac will stop the stain. It is best to put a coat of keg lead thinned with turps over the shellac, because kalsomine is liable to scale off from shellac.

On cheap work, if the stain is not too dark, it may be kept back by pasting a piece of paper over it. If the wall has been kalsomined it is always in order to wash off the old kalsomine. If the work has been whitewashed, either take it off or first give it a wash of strong vinegar, then a glue size, which, if put on thin and plentifully while warm in a warm room, is about the best size I know of for whitewash. I have often used it successfully when it was not practicable on account of the weakness of the ceiling or other cause to take off the old whitewash. Two thin coats of good glue size on firm whitewash makes as fair a foundation for kalsomine as can be made on old whitewash.

When it will not pay you to wash off the old kalsomine, a coat or two of the wall sizing described above will make a good foundation.

SIGN PAINTING.

To the beginner I will say: Learn the letters; get a variety of alphabets in your head; the more you have the better you will be prepared to do a pleasing variety of sign writing. A variety of letters arranged in alphabets are given in the following pages as a convenient means of reference for the painter who may desire to refresh his memory, as to the form of any letter represented, or to make a study of them with a view of acquiring a knowledge of the formation of letters generally.

A B C D E F G
H I J K L M N
O P Q R S T U
V W X Y Z & .
]

a b c d e f g h
i j k l m n o p q
r s t u v w x y z
1 2 3 4 5 6
7 8 9 0 , .
]

A B C D E F G H
I J K L M N O P
Q R S T U V W X
Y Z &

1 2 3 4 5 6 7 8 9 0
a b c d e f g h i j
k l m n o p q r s
t u v w x y z , .
]

A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z &
1 2 3 4 5 6 7 8 9 0 , .
]

A B C D E F
G H I J K L M
N O P Q R S T
U V W X Y Z & , .
a b c d e f g h
i j k l m n o
p q r s t u v
w x y z 1 2 3
4 5 6 7 8 9 0
]

A B C D E
F G H I J
K L M N
O P Q R S
T U V W
X Y Z & , .
1 2 3 4 5
6 7 8 9 0
]

A B C D E F G H
I J K L M N O
P Q R S T U V
W X Y Z & , .
1 2 3 4 5 6 7 8 9 0
a b c d e f g h i j
k I m n o p q r s
t u v w x y z
]

A B C D E
F G H I J K
L M N O P
Q R S T U
V W X Y Z
& , .
1 2 3 4 5
6 7 8 9 0
]

_A B C D E F G H I J
K L M N O P Q R S T
U V W X Y Z & , .
1 2 3 4 5 6 7 8 9 0_
]

A B C D E F G H
I J K L M N O P
Q R S T U V W X
Y Z & , .
1 2 3 4 5 6 7 8 9 0
]

A B C D E F G H I
J K L M N O P Q R
S T U V W X Y Z & , .
]

_A B C D E F G H I
J K L M N O P Q
R S T U V W X Y Z
& , . a b c d e f g h i j
k l m n o p q r s t u v
w x y z 1 2 3 4 5 6 7
8 9 0_
]

A B C D E F G
H I J K L M N
O P Q R S T U
V W X Y Z & , .
1 2 3 4 5 6 7 8 9
0 a b c d e f g h
i j k l m n o p q
r s t u v w x y z
]

A B C D E
F G H I J K
L M N O P
Q R S T U
V W X Y Z
]

a b c d e f g h
i j k l m n o p
q r s t u v w x
y z 1 2 3 4 5 6
7 8 9 0 . , ! ? &
]

A B C D E F G
H I J K L M N O
P Q R S T U V W
X Y Z & , . 1 2 3
4 5 6 7 8 9 0 a
b c d e f g h i j
k l m n o p q r s
t u v w x y z
]

A B C D E F G H I J K
L M N O P Q R S T U
V W X Y Z a b c d e f
g h i j k l m n o p q r s
t u v w x y z & , .
]

_A B C D E F G H I
J K L M N O P Q R
S T U V W X Y Z , .
& 1 2 3 4 5 6 7 8 9 0_
]

LIST OF PRICES AND MODE OF MEASUREMENT.

Prices for Painting and Glazing.

SQUARE MEASURE.

Plain weather boarding, close fencing,
ledge doors, partitions, paling
fences, etc. All common colors, viz.:
White, light yellow, slate, pearl,
light drab or cream color, for each
coat, per yard 8 cents
Each coat of varnish 10 cents

PANEL WORK.

Flush panel work, panel doors, recesses,
etc., the above colors, for
each coat, per yard 10 cents
The same in two colors 12 cents
The same in three colors 14 cents
Striping after other work is finished,
per foot, lineal measure 1 cent
For expensive or unused colors, per
yard, additional 1 cent
For each coat of varnish, per yard 12 cents
For each coat of shellac, per yard 12 cents

BRICK WORK.

_Per Yard._
First coat 15 cents
Second coat 12 cents
Third coat 10 cents
Penciling 15 cents
Mastic or cement, first coat 20 cents
Additional coats, same as brick.

INSIDE WALL PAINTING.

_Per Yard._
First coat 12 cents
Second coat 10 cents
Third coat 8 cents

STOPPING AND CLEANING.

Ordinary puttying, charge price of first coat for the several kinds of work. Puttying longitudinal joints in ceilings, siding, floors, etc., to be charged from two to four times the price of first coat for the several kinds of work, at the discretion of the measurer.

SURFACING, STAINING AND VARNISHING.

Each coat surfacing 10 cents
Each coat stain 8 cents
Each coat varnish 12 cents

LINEAL MEASURE.

Pilasters, architraves, frames, jambs, base mouldings, etc:

----_Each Coat_----
_Girth._ _Per Foot._ _Varnish._

1 to 4 inches ½c ¾c
4 to 6 inches ¾c 1 c
6 to 8 inches 1 c 1¼c
8 to 10 inches 1¼c 1½c
10 to 12 inches 1½c 1¾c
12 to 14 inches 1¾c 2 c
14 to 16 inches 2 c 2¼c
16 to 18 inches 2¼c 2½c
18 to 20 inches 2½c 2¾c
20 to 22 inches 2¾c 3 c
22 to 24 inches 3 c 3¼c

Larger dimensions taken in square measure.

Column mantels as above.

Panel jambs, door casings, etc., to be measured by the above rule.

Plain rosettes, add one foot to length.

Carved rosettes, add two feet to length.

Other carved or ornamental work at the discretion of the measurer.

MODE OF MEASURING.

Begin at wall, press line in all quirks to bead at edge of jamb casing for girth. For jambs take inner sash rabbet to corner bead, double the height and measure between jambs for length.

STRING BOARD, ETC.

_Per Foot._
Plain, each coat 2 cents
Bracketed, each coat 3 cents
Carved, each coat 4 cents
Staff beads, each coat ½ cent
Edge of shelves, each coat ¼ cent

CORNICES AND COLUMNS--PLAIN.

_Per Foot._
Girth, 1 to 2 feet, each coat 3 cents
Girth, 2 to 3 feet, each coat 4 cents
Girth, 3 to 4 feet, each coat 5 cents
Girth, 4 to 5 feet, each coat 6 cents

Plain caps on columns, add to length two feet.

Ornamental caps on columns, add to length four feet.

CORNICES WITH BRACKETS.

_Per Foot._
Girth, 1 to 2 feet, each coat 4 cents
Girth, 2 to 3 feet, each coat 6 cents
Girth, 3 to 4 feet, each coat 8 cents
Girth, 4 to 5 feet, each coat 10 cents
Girth, 5 to 6 feet, each coat 12 cents

Larger dimensions in proportion.

Dental cornices, same price as brackets.

MODE OF MEASURING.

For girth, begin at top, press line into all quirks and over each member to the bottom, and to the length add one-half the medium girth of the brackets multiplied by their number.

PRIMING OR TRACING AND GLAZING SASH.

EACH SIZE, PER LIGHT.

_Old_
_Priming_ _Glazing_
_or_ _New_ _and Glass_
_Tracing._ _Glazing._ _S.S._
8 to 10 × 12 to 14 $0.01¼ $0.05 $0.20
12 × 16 or 18 .01½ .08 .35
14 × 24 .02 .10 .40
18 × 24 .03 .14 .50

_D.S._
24 × 30 $ .05 $ .18 $1.00
26 × 36 .06 .20 1.30
30 × 36 .08 .25 1.65
36 × 40 .10 .30
40 × 44 .12 .35
40 × 50 .14 .40
40 × 50 .16 .50
50 × 60 .18 .60
50 × 70 .20 .75

These prices do not apply when called out to glaze one or two lights.

For back puttying add one-quarter, and for bedding add one-half, to the above rates.

In new glazing cost of glass not included.

All breakage at the risk of the owners, if glass is furnished by them. To all bills of glass furnished by the trade 20 per cent. will be charged additional.

PLATE GLASS.

Sizes same as table above, at same prices. Sizes above to 90 square feet, 5 per cent. on net cost delivered; 90 to 108 square feet, 8 per cent.; 108 square feet and upwards, 10 per cent.

Removing old glass, same as above. The owner to pay cost of taking up large glass above first floor.

Unless otherwise provided for, glazier puts glass in at his own risk of breakage, but cutting will be at owner’s risk.

SANDING.

First coat of sand equal to two coats of paint, in addition to paint.

Second coat of sand equal to three coats of paint, in addition to paint.

GRAINING--SQUARE MEASURE.

_Per Yard._

Plain oak $0.40
Plain walnut or ash .70
Plain satinwood or maple .70
Plain mahogany or cherry .70
Shaded oak .50
Penciled oak or ash 1.00
Penciled chestnut or cherry 1.00
Penciled walnut 1.00
Rosewood 1.00
Oak root 1.50

LINEAL MEASURE.

_Girth._ _Graining._ _Varnishing._
1 to 4 inches, per foot $0.03 $0.00¾
4 to 6 inches, per foot .04 .01
6 to 8 inches, per foot .05 .01¼
8 to 10 inches, per foot .06 .01½
10 to 12 inches, per foot .07 .01¾
12 to 14 inches, per foot .08 .02
14 to 16 inches, per foot .09 .02¼
16 to 18 inches, per foot .10 .02½

Other members in proportion.

Graining edges of shelves, per foot, 1½ cents.

Graining sash, double the price of plain painting.

MARBLING--SQUARE MEASURE.

White, per yard $0.75
Other kinds, per yard 1.00
Varnishing, each coat, per yard .12

LINEAL MEASURE.

_All members_ ----_Per foot_----
_from_ _Marbling._ _Varnishing._
1 to 8 inches girth $0.08 $0.01
8 to 10 inches girth .12 .01¼
10 to 12 inches girth .16 .01½
12 to 14 inches girth .18 .02
14 to 16 inches girth .20 .02¼
Larger members in proportion.

CLEANING AND KALSOMINING.

Ceilings and walls, per yard $0.16
Plain cornices, 1 to 2 feet girth, per foot .02
Plain cornices, 2 to 4 feet girth, per foot .03

Add to the above for each color, if more than one, 1 cent per
foot.

DEDUCTIONS.

The price of any work measured and not specified in this list shall be fixed by the measurer.

The measurer is hereby authorized to deduct from 5 to 20 per cent. from the price of any work that in his judgment is not first-class.

FEES FOR MEASURING.

Jobs amounting to $150 or less 5 per cent.
Jobs amounting to over $150 and less than $500 4 per cent.
Jobs amounting to over $500 and less than $1,000 3 per cent.
Jobs amounting to over $1,000 2 per cent.

_Sign Painting._

FACIA SIGNS.

_Gold._ _Plain._
12 feet long $ 8.00 $ 4.00
14 feet long 9.00 4.00
16 feet long 10.00 5.00
18 feet long 12.00 6.00
20 feet long 15.00 7.00
24 feet long 16.50 8.00
Above includes two coats of paint.

BRASS SIGNS.

3 × 14 inches $ 3.50
4 × 20 inches 5.00
6 × 8 inches 4.00
6 × 12 inches 4.50
8 × 14 inches 5.00
10 × 14 inches 5.00
12 × 17 inches 6.00
14 × 20 inches 7.00
18 × 25 inches 10.00
24 × 30 inches 15.00
Sill signs, per square foot 3.50
Square signs, per square foot 3.00

TO MAKE HARD PUTTY.

_For Carriage Work._

Mix equal parts of dry __________ and keg white lead with equal parts of rubbing varnish and gold size japan; mix thoroughly and pound well.

_For Hurried Work._

Mix dry white lead with equal parts of rubbing varnish and gold size japan. Keep hard putty covered in water when not in use.

TO MAKE AND APPLY KALSOMINE.