GLASS~PAINTS PITTSBURGH PLATE GLASS COMPANY ae ee NR ey ove ee - =e eT em. 2 i ES GLASS PAINTS, VARNISHES AND BRUSHES GLASS PAINTS, VARNISHES AND BRUSHES THEIR HISTORY MANUFACTURE AND USE 1923 PITTSBURGH PLATE GLASS COMPANY PITTSBURGH COPYRIGHT 1923 PITTSBURGH PLATE GLASS COMPANY CREATED AND DESIGNED PHOTOGRAPHY, ART WORK, AND COPY BY Che Lakeside Press R. R. DONNELLEY & SONS COMPANY GLASS SECTION SUPERVISED EDITORIALLY COPY AND PHOTOGRAPHIC ART ILLUSTRATIONS BY The Brearley Service Organization INTRODUCTORY NOTE RIGINALLY this book was planned to be merely a catalogue, though a highly comprehensive and serviceable one, of the manifold products of the Pittsburgh Plate Glass Company. Since the objective of this Company during the forty years of its existence has been Service, and Service its watchword, this catalogue likewise was designed to serve the dealer, and through him the ultimate consumer, with sincerity and helpfulness far beyond the ordinary. The work has grown on our hands; the book has become a volume; in smaller compass it was impossible to carry out our ideal. Even where achievement is actual and worthy, modesty is becom- ing; yet unassuming pride just as truly befits the doer of things worth while. The American plate glass industry dominates the world-field. The history of that industry is the history of the Pittsburgh Plate Glass Company, and this Company is justly proud of its large share in hard-fought development and of the commanding position won. Frankly proud, too, is this Company of the fact that American plate glass is unequaled the world over in beauty and sustained quality, and that the Proof Paint and Varnish Products and Brushes of the Pitts- burgh Plate Glass Company are the accepted standard of excellence. This work includes adequate historical notice of the kindred indus- tries to which our activities of a lifetime have been devoted: Glass, in all commercial and many artistic forms; Paints, and Varnishes, and the Enamels which partake of the nature of both; and the Brush, equally important as the paint or varnish. This historical record shows how natural has been the growth of this Company, how orderly the enlargement of its field of production: first, a struggle for existence, culminating in mastery of process in plate glass making; then, the firm establishment of the business by large- quantity manufacture and the vital economies it makes possible, coincident with further development in the manufacture of mirrors, window glass, and other kinds of glass used in the building trades; and lastly, the solution of the problem of distribution by means of the nation-wide Warehouse System. Presently, just as in nature cell-growth keeps pace with the develop- ing needs of the physical organism, so the desire long ago manifested by the building trade for a unified, reliable source of supply for stand- ardized paints, and varnishes, and brushes of highest quality appealed to this Company as a demand that must be met. Expansion along those lines was the logical policy. How thoroughgoing our accomplishment has been; how unstinted this Company’s expenditure of time, and money, and experimental labor to satisfy every demand of our trade, and to produce in every manufactured item the very best of its class, may be judged to some extent by study of the catalogue pages following. For sure appraisal, however, of the high degree in which we have succeeded, we rely con- fidently upon the expressed approval of those whose satisfaction is our success—our customers throughout the world. From cover to cover, this is a practical book. This Company fora generation has set itself to the task of educating the American public to the countless uses and the supreme usefulness of fine glass. That same work of education, as to both glass and paints, this book con- tinues, in form for preservation and reference. Without detracting in the slightest from its commercial catalogue value, which is rein- forced by copious indexes, and, in the Paint Section, by ready-to-use Specifications, the volume is intended to be a distinct contribution to the literature of three great industries. Besides all else, it tells how our products are made. Young and old will find this knowledge worth having; and we are glad to believe that the host of users of our glass, paints, oils, varnishes, enamels, and brushes will have more interest in what they buy, when they have seen with their own eyes, as it were, how sincerity of purpose and superlative technical skill, with every material resource large capital can command, result in an honest product. TABLE OF CONTENTS GLASS SECTION The Romance of (ass. ee aes Ll Tile Fitary WE. ok Oe eee 2 The Maki of Piste Glass .. 0 2. se 13 Pinte Gince ih AER Soe OO ae ee ol The Pittsburgh Plate Glass Company Today . . . - - 30 Pints Glass anu Common Glass. 5 oS ON a ee 39 Glass in Typical Modern Buildings . . . - - + + + Al Advantages of Plate Glass in Building - . - - +. = ; A7 0 EE aaa aL eset bea aes eM Ce gy eS ey yo) Plate Glass and the Automobile . . . . »- «© + «+ « 77 Piste Ciless aie Pere. a i 81 Wien Mader Store 1rOnt 0 eee ae RN 87 Gerior. Shey Desi eee ee 105 Mi nelinaectis Vises ol Pinte Glam. cas eee eee Clive Pte Saree NG ee ee Glaeser RS ee ee We Cine GS So Parle Glaser Se oa a ere 143 Carrara and Black Glass The Manufacture of Window Glass The Pittsburgh Plate Glass Company System of Distribution, Education, and Service Warehouse System of the Pittsburgh Plate Glass Company (Bird’s-eye View) . Bent Glass The Glazing of Store Fronts Maximum Sizes, Thicknesses, and Approximate Net and Gross Weights Location and Addresses of Pittsburgh Plate Glass Company’s Warehouses Index PAINT SECTION The Origin and First Use of Paint Progress and Development in the Manufacture of Paint The Manufacture of Varnish The Use of Color Proof Products—Paints: Descriptions and Color Chips . Proof Products—Varnishes: Descriptions and Color Chips Paint Proposition for Dealers . 159 1 es i-vill Proof Products—Paints: Descriptions . . . + + «+ Proof Products—Varnishes: Descriptions . . - + «+ > Pitcairn Proposition for Dealers . . . - - + + + = Phe niversal: Lame a ae ka ee ae eo Quantities in which Paints and Varnishes Are Originally PB ah Oe Se ee ee) ee ee ee RD ay Proof Products Speciacations 2° 6-1. ny oe aw A Service for Industrial Pamt Users... . 9. 0. ss alr Sieeewiane 8 Cael en een an em atienss “Save the Surface and You Save All’—Paint and Varnish The Brush—Its History Bristle . Development of the American Brush Industry . Soft Hair Merchandising Brushes . Painters, Paperhangers, and Glaziers Tools, Equipment, and Supplies . Red Wing Quality Linseed Oil . Index La¢ 178 . 1X-XXll GLASS as _ N — ie —_ — eH Nn ~ a e. | A THE ¢ = — = me | 2 THE ROMANCE OF GLASS SHE ancient Crystal Gazer, peering into the depths of his mystic sphere, sought to unveil the strange things that lay hidden in the years. Suppose for a moment that by some flight of fancy or gift of divination he could have traced through centuries to come the future story of that very crystal that lay beneath his hand! How Glass, from its discovery in the remote dawn of the handicrafts, a crude, unlovely thing, on down through the generations was to wax in beauty and in usefulness—in service to the race! Would not the Romance of Glass, from its beginning in where?—to the relative perfection of the industry in Twentieth Century American glass-works, have unfolded a picture worth the visioning? Many thousands of years before the Christian Era this romance began. It is older far than Pliny’s tale of the Tyrian mariners who, he recounts, landed in some Mediterranean harbor to cook themselves food, and to prop their kettles over the fire used lumps of natron—ballast from. their ship. How fire fused seashore sand and sodium-salt together, and in the cooling embers these seamen found the first Glass known to man— tis a plausible fancy: true or not, what matter? This much we know: that in some such chance discovery, beyond human record or tradition, our industrial Romance had its origin, and that Glass, as much by some inherent wizardry as by the genius of man, has become handmaiden of the arts and minister to-every science. [1] who knows PITTSBURGH PLATE GLASS COMPANY The Romance of Glass produced, in Gothic cathedrals, such noble rose windows as the masterpiece of Rheims, triumph of Thirteenth Century art, Known to millions of worshipers in northern Europe as the ‘‘ Window of Paradise.’” Stained glass, through the ages, has ever been a medium through which artistic inspiration has found lofty expression. All we know of the planets and suns in remote space falls into place in the Romance of Glass. Without lens, and mirror, and prism, we could have no telescopes or spectroscopes wherewith to pry into the secrets of the stellar systems. Three of the most marvelous of all achievements of modern times—wireless telegraphy, wireless telephony, and the Roentgen ray—depend in essential particulars on high-vacuum tubes of glass. The camera lens has added horizon after horizon to the outlook of humanity, for by aid of this carefully wrought bit of glass man is able to illustrate the record of his ideas and make known to all who read, the actual appearance of things which otherwise they might never see. The moving picture camera has its part in this tale of wonders, for glass has made possible the lenses that record on the film the doings of mankind and project them on the screen for the enjoyment of millions. Human life has been lengthened and preserved by glass. How could disease have been so shorn of its terrors and some scourges practically eradicated, had medical and chemical science no microscope for the study of bacterial life, no hollow glass for analysis and experiment? Light and fox THE ROMANCE OF GLASS air in abundance, which are health, have become a universal boon. No legislator of today would dare attempt to levy a tax on windows, as was done in early England: too keenly this generation appreciates the comfort of its homes, and offices, and factories, flooded with light and yet airy, thanks to plate glass and window glass, both within reach of all. In this Romance of Glass, the mirror has a fascinating chapter all its own. The women of Rome, and Athens, and Pompeii must needs content themselves with looking-glasses of burnished metal, whereas today perfect mirrors of polished plate glass, with flawless silvering, may be found in the humblest home. For, from being the gaud of voluptuous fashion and of empty vanity, the mirror has come to be a utility and a necessity, serv- ing individual self-respect in its personal use, and, in its decorative use in the marts of trade, the purposes of business in an industrial age. Indeed, it is the requirements of prosaic modern industry that have made the Story of Glass the romance that it is. Millions pass daily the plate glass fronts that line the business thoroughfares of cities the world over, and give never a thought to the industrial achievement that plate glass represents. They look, not at the polished plate, but through it at the display beyond; they see clearly, perfectly—and plate glass has ac- complished what was intended. Centuries of toil, of failure and slow-won success, have brought forth this marvel, and those who have been priv- ileged to share in the work have warrant for their proper pride. [3] PITTSBURGH PLATE GLASS COMPANY These transparent sheets of gleaming crystal have grown, magically as a fabled Aladdin’s tower, from hard white sand. And the actual wonder- worker performing the prodigy is a magician of our own time and country—the American plate glass factory. Once, when “‘all roads led to Rome,”’ the road of glass was one of those, but today this is but one of the many roads that lead to America. It has been the good fortune of this richly endowed land to breed or nurture the creators of many things that have changed life conditions on the face of the globe. Among them is glass, and though to ancient Oriental races we yield the palm for discovering the secret of glass-making, and may concede the supremacy of ancient Venice in its field of vitric art, credit for the latest and most engrossing chapter in the Romance of Glass belongs by good right to America. ———SSSSE=_==_—————————————— ELS a»aan»n»n»hhmasaa SEE SS BEF SSF QU _—_ CA YYW eh blll = THE HISTORY OF GLASS N ALMOST all historical dis- cussion of glass there is to be noted a failure to distinguish clearly between two well- defined periods—the one ex- tending through many ages when men used class chiefly for ornament and in art; and the other more significant period when glass had come to be recognized as a utility capa- ble of changing radically the conditions Yet it was this transition (a> =tebetetes Ztteetetest q 4 ~~ 2; of human life. from one epoch to the other that marked one of the mightiest stages in the progress of civilization. It is true that archzologists believe, from discoveries in excavation, that the early Ro- mans made some small use of sheets of glass for window purposes; but such use may have been accidental or incidental, for it certainly was not extensive. It was not until the Fourth and Fifth Centuries came really important in the minds of men as something to look through rather than to that glass be- look at, and even for a long time after that (an interval to be reckoned in centuries) men seem to have been singularly blind to [ e what this use of glass for windows might mean to the race. Perhaps the age-long idea of glass as merely decorative held them bound; in any case, the material was used only for glazing churches, and there, ob- viously, its value was not for vision, but merely for the admission of light. Houses of worship required only slight illumination, and the glass-maker of the period had no in- centive to strive for a high degree of trans- parency. We must follow history almost to the time of the discovery of America before we find Europe genuinely entering the “age of windows.”’ The exact facts as to the discovery or in- vention of glass have been in dispute for centuries. The probability is that the dis- covery was accidental, although it may be that some ancient metallurgist came upon the process through studying the vitreous Nearly all the that have come slag produced in smelting. oldest fragments of glass down to the present time are colored, and the coloring matter appears to be metallic. The Roman naturalist Pliny’s famous an- ecdote about the discovery of glass by Phee- ] PITTSBURGH PLATE GLASS COMPANY Before Glass Became Transparent The wealthy collectors of ancient Rome thought of glass as something to look at, not through. Their glass- workers produced beautiful objects, some of which we can see in our museums today, but their windows were merely openings in the wall, admitting wind as well as light. [6] THE HISTORY OF GLASS nician sailors does not seem to be supported by convincing evidence; but we do know, from the indisputable testimony of ancient wall-paintings and relics, that the Egyp- tians made glass many centuries before the Christian Era. Pictures found in the tombs at Memphis and Beni Hassan show men in the actual operation of blowing glass. One picture represents Egyptian glass-makers sit- ting before an upright circular furnace one foot in diameter and about three feet high, apparently taking out molten glass through a small hole at the bottom. The Assyrians knew glass, and interesting specimens have been found in the ruins of Nineveh, but as with the Egyptians, its use was confined to ornament. Some of these ornaments are crude, while many, on the other hand, are exquisite and justify our sincere admiration, for our own artists could not produce more beautiful shapes and de- signs. Still it is important that the reader understand that this concededly high art was merely the art of the craftsman in manipulating his material and fashioning it wonderfully; the material itself was not good. White glass as we have it (and by this term we mean a completely transparent glass that is practically colorless) was unknown to the early makers. When therefore we admire, as we must, the ancient embossed and moulded vases, the charming glass mosaics, the beads and imitation precious stones, and the many eraceful flagons, we admire the handiwork of the artist, not the glass itself. The cheapest sheet of modern glass is purer, more transparent, and altogether better than the best of the ancient material. The [ Greeks, even in the height of their art-period, did not devote themselves very seriously to glass, and their activities are altogether un- important compared with those of Rome in its glass-making era. The influence of Greek decorative art is seen in much ancient Roman glass, but the Greeks seem to have left no impress on the art of making the glass itself. Historians do not agree on the time when Rome became notable for, glass-working. The first Latin author who makes any ex- tended reference to vitric art is Cicero (106— 43 B.c.), writing toward the end of the pre-Christian Era, but there are those who contend that Roman activity in glass-making began at least four centuries before Cicero's day. Certain it is, however, that Rome’s real ascendancy in the craft came only with the Empire of the Cesars. The Romans carried glass to Asia through Byzantium, to Germany and France, and into England. Later, when the glass-makers, with other artisans, were dispersed by the incursions of the barbaric hordes, they es- tablished the manufacture in many parts of Europe, and probably it was in such manner that Venice attained at so early a period to its commanding rank as first and foremost of modern glass-making centers. The art of. glass-making may have been carried to Venice as early as the Fifth Cen- tury, but there is no record of the Venetian industry, as such, earlier than 1090 a.p. In the latter part of the Thirteenth Century Venetian glass-making became localized almost wholly on the suburban island of Murano, where, in the period of greatest prosperity, the glass-houses extended for an unbroken mile and employed eight ] PITTSBURGH PLATE GLASS COMPANY thousand operatives. The manufacture was not carried on in large establishments, but by artisans working individually or with a few helpers, who were bound by oath and by law to secrecy. This system of small individual estab- lishments ruled throughout the glass-making world for a considerable time in the early Middle Ages. The master kept his methods to himself, or, imparted them to only a chosen few who paid well for instruction. Servants or slaves did the manual labor, but were excluded from any opportunity of learn- ing. Generally the glass-house had only one pot, and each glass-maker made only one kind of glass. Although glass-making came to Venice, as has been noted, early in the Christian Era, this art, like all others, was depressed by the fall of Rome, the wide conquests of the bar- barians, and the Dark Ages that followed. It was not until many centuries later that the reawakening of knowledge and the ex- tension of commerce in the great cities of Italy and Germany brought back the spirit By the Six- teenth Century, Venice had reached its zenith in glass-making. that had glorified ancient art. During the Seventeenth Century, the craft began to decline. By the Eighteenth Century, Bohemia had attained pre-eminence, which it held until the inven- tion in England of the beautiful product ever since known as English flint glass. That chapter in the story of glass which deals with its use as ornament, or as material for beautiful utensils, belongs to the history of art. But the development of glass made clear for vision is part of the record of in- dustrial civilization. It is this latter epoch that marks the most marvelous advance in industry and commerce, in facilities for travel, in individual comfort and public san- itation, and in intellectual achievement. When glass began to shelter and protect man, instead of merely pleasing his beauty- loving eye, he was set free for undertakings and for accomplishment which until that moment were impossible. Passing over the scant record of attempts to use glass for windows in ancient Rome, it may be said with confidence that civilized Europe knew nothing of window glass as a real utility until within a comparatively re- cent period. In the early records of the present era, we find glazing mentioned only in the writings of priests and monks, and by them for an obvious reason: its use being restricted at the time to church windows. This early window glass was not blown, as now, but cast; that is, it was poured out, molten, on a stone or other flat surface, and then smoothed more or less crudely. Saint Jerome, in the Fourth Century, writes of sheets of glass so made. The great church at Tréves, according to reasonably reliable accounts, was glazed about 420 a.p. A century later, Rome and Ravenna, we know, were proud of many churches in which glass protected the windows. The practice spread rapidly; during the same century the church of Saint Sophia at Constantinople was accounted one of the wonders of the East largely because of its many windows, set with glass panes as large as seven and eight inches wide by nine and ten inches in height! In the Seventh Century, the Abbot Bene- dict sent to the Continent for artists to glaze [8] a THE HISTORY OF GLASS the historic church and monastery at Wear- mouth, and about the same time a similar improvement was made in York Cathedral. But whereas at this period glazed edifices were exceptional, and window glass for do- mestic use beyond the dreams of the com- monalty, four hundred years later glazed windows, at least in churches of importance, had become the rule. While the very early window-panes were of cast glass, as has been noted, the casting method gradually passed, and was _practi- cally lost to knowledge until the French in the Seventeenth Century rediscovered it. The old-time cast pane had given place, toward the end of the Eleventh Century, to a pane made from blown glass. Theophilus, a monk whose writings shed much light on the arts and crafts of that period, has left a description of glass-blowing methods that are not greatly different from the simpler processes of present-day hand manufacture. When Venice won its leadership in the in- dustry, its blown-glass works became re- nowned and its trade in blown window glass throughout Europe was considerable. When its own prestige declined, in the Seventeenth Century, Venetian workmen scattered over all parts of the Continent, and spread knowl- edge of the craft. After all these centuries of slow enlight- enment, the world was incredibly dull to realization of the supreme benefit within its erasp. Occasional sporadic efforts to extend state aid to glass manufacture were negatived in turn by curious governmental obstruction, ranging from narrow-minded regulation to discriminatory taxation. Even the use of glass for windows was penalized by imposts which for centuries were the rule in more than one country of Europe. Thus poor quality of glass, limited production, and excessive cost all combined to deny our fore- fathers the comforts and other advantages the present generation enjoys. About the time Columbus made his voy- ages of discovery, manufacturers had suc- ceeded in producing a reasonably good glass at a cost not utterly prohibitive. Glass was not cheap as cheapness was measured by prevailing incomes; it was not made on a large scale or in great quantities; it was not eood according to the standards of today. But production had reached a point where glass had compelled recognition as a very necessary utility. The first colonists who undertook to make a settlement in Virginia had been educated to the need for window glass, but the trans- portation facilities of the time probably did not encourage its carriage as ship’s cargo, for they brought with them “eight Poles and Germans to make pitch, tar, glass, and soap- ashes.” Somewhere in the Virginia forest, about a mile from Jamestown, a glass-house actually was erected. This would fix the date of the first glass- making in America at 1608 or 1609, and it is not unlikely that this enterprise merits the distinction of being the original manufactur- ing industry in the English Colonies of America and hence, of the United States. Glass-making, however, even as an infant industry, did not long survive, for a lustier infant supplanted it. Tobacco-raising, about this time, came to engross the attention of the colonists to the apparent exclusion of everything else, for in a report of 1617 the [9] PITTSBURGH PLATE GLASS COMPANY “decay” of the glass-works is recorded. Nevertheless, only three or four years later interest in glass-making was reawakened, a new works was built, and Italian artisans were imported to man it. This second factory seems to have been established rather as a sort of mint than as a simple glass- works; for its purpose was to make glass beads, which then were acceptable as cur- rency amongst the Indians. This undertaking disappeared with the massacre of 1622, and from that time until the Revolution there was no further attempt at glass manufacture in Virginia. William Penn, in a letter dated 1683, mentions a “glass-house” in Pennsylvania, but nobody knows where it was or if it ever was oper- ated. Certainly glass was by no means plentiful in that Colony, for in 1689 a sin- cere though not inspired poet named Holme wrote thus quaintly: The window-glass is often here Exceeding scarce and very dear, So that some in this way do take Isinglass windows for to make. Massachusetts erected its first glass- works in Salem in 1639. The magnitude of the enterprise may be judged by the fact that in 1641 the General Court, which ap- pears to have been more than paternalistic, authorized the town to lend the proprietors thirty pounds, to be repaid under the elastic condition “if the work succeeded, when they were able.” From the time of the Revolution, the at- tempts to found glass-working establish- ments were so numerous that any narrative would be merely a long statistical array, with little of cheerfulness, for practically all failed. For this there were many rea- sons: Although extensive glass-sand de- posits were to be found in America, with an adequate supply of other raw materials, there was a dearth of skilled workmen; the comparatively few foreign-trained experts could not themselves man the works, and traming American artisans in glass-working required time. The bad condition of the roads and the nature of the product made long-haul transportation costly, so that it was difficult to extend business beyond the immediate vicinity of the works. People had little money and therefore bought no more glass than was necessary. Serious as were these obstacles, they were insignificant as compared with the steady, relentless competition of foreign glass. Through all the records of the industry in America, from the Revolution almost to our own time, runs the dismal story of struggle between native and European pro- ducers. The foreign hold on our markets was strong and tenacious; on occasion, when necessary, foreign-made glass was sold be- low cost in order to throttle competition. So it was, that although the American glass industry never succumbed completely, it waged so unequal a struggle that in 1883, only thirty-one years before the World War, the United States Census Bureau was com- pelled to report: “In undertaking the col- lection of returns it was discovered that no directory of the glass-works of the United States existed.” [ 10 | THE MAKING OF PLATE GLASS *ppoa Usopout sy} JO} soLUNXN] pUL soI}HN OJUL Po}AUOS aq OF YWO] papnuy pUv sIvO PUNOLSJOPUN OFUL PopvoT ST yoods a}OUldd Q@WOS JO Sdo}BA Vy} AG popisodap pus sNOVdITIS aY} aeF{T “podnyzoid aley “MoOssip “AY [BYSAUD 7B UO dy} SB Y UL PUBS B UL SUIDEG A][RIa}I] AOPULA ssELD ayuyd ayy, JU10 J-BUNLDIC ay] Si duly Puvns | The Outside of the Sand Mountain THE MAKING OF PLATE GLASS HE manufacture of plate glass is one of the highly modernized industries, effectively equipped with labor-saving machinery and apparatus for accurate proc- essing, and utilizing to the full the resources of chemistry and other sciences. The con- sequence is that polished plate glass of uni- formly high quality has become an article of such common daily use that the public accepts it as a matter of course. The making of perfect polished plate glass, however, remains one of the very dif- ficult arts. From the raw stuffs through all processes to the finished product, the mate- rial is extremely sensitive. Chemical prob- lems attend the melting of every batch. Produced in furious heat, the cast glass must support mighty cooling-stresses. If these are passed safely, many difficult mechanical manipulations are still to come. Therefore the processes demand such painstaking care that the production of the most modern plant, for all its great area and costly equipment, is astonishingly small. Thus the Ford City (Pennsylvania) plant of the Pittsburgh Plate Glass Company, which extends for a mile along the Allegheny River and is equipped with machinery of the very highest type, still turns out less than three carloads of plate glass a day. Plate glass manufacture is, first and fore- most, a matter of quality, and all other con- siderations must take second place. One of the fundamental difficulties in glass-making is the fact that an essential item of equipment, the “pot,” or crucible for melting, requires years for its preparation and lasts only a few days in service. To understand glass-making it is therefore logical to begin with the making of this piece of equipment, for the glass industry must produce its own pots, owing to the care with which they must be treated and the long-term investments involved. The long [ 13 ] duo O}PLUYUL YYLM opoeydoood Years 9yy sodeys puv Avo Jo s[[od Suldoy Jayvut-jod sy} spuvy Sty YIAA “SPU9PUOD oqeNnyVAa Ss} JO SSoT OY} YEA U]LY sy UL Yovso 0} yod oy} asnvo yy str spear Avyo YOY} IY} UL POJop YYSI[s JoyJO 10 APLAVS IG UB LOJ ‘SULYVUI-Sse[S UL SUOIZVI9dO YORXe YsOUT dy} JO BUO SI ssod01d pay[Lys-ATYSIY pu ‘sNOLogel ‘Mos SUT, puvy Aq auog aq snp #uryopy-10g ee tn tt ms a re RB SOROS val Z, < ¥ = = Oo ep) op) < — O fx) = < 4 ae - O Ac — jaa) N = — oe THE MAKING OF PLATE GLASS Pugging Machines Prepare the Clay The selected clay is weathered for a year or two in order to disintegrate it and to eliminate impurities; then it is ground, screened, mixed with other ingredients, and subjected to a thorough kneading (or “pugging’’) in the odd-looking machine in the picture. time required to produce a pot and its short and the space thus occupied is formidable. life involve carrying an immense stock. In These pots are made of certain selected large factories as many as 5000 pots, each kinds of clay. Each one is capable of melt- weighing 3000 pounds, are kept in storage, ing one and one-half tons of glass at one A Few of the 5000 Pots In a single large factory as many as 5000 of these 3000-pound pots are held for months in storage to dry and season. The storage space required is very great; likewise the investment necessary. [15] “UIYJLM PLOY YSU9}UL 9} JO S[[9} PUB SPoYo SuIyYSt] patos ssonpoid soovuiny Jo aAtpedsiod Suoy 94} UI Joop 19};e JOOP Woy FUNSING MOPS JURIT[LIG oy} [BY soRBUANY asUSLULUL ayy JO WOOTS VY} UZ “PI YoSI0J 07 sdA9 ApoytpuN st sanqoid sty} Jo yoofqns ay} soso UAO SITY [IA des s¥y OYA BUG saopuing fo anuaapy anbsainjoig ral a <— o. = S CO 2 < 4 o [2] = << 1 ar = O 65 =) joa) W = = — THE MAKING OF PLATE GLASS How Pots are Taken from the Furnace Handling mechanism of great power and under absolute control is necessary to remove the pots from the furnace and convey them to the casting table. time and of supporting a sustained tempera- years before it is to be used. The clays, ture of from 2500 to 3000 degrees Fahren- after extraction from the mines, are exposed heit through nearly one day and one night. to the weather in order that they may dis- The work of making the pot begins three integrate and eliminate impurities. This The Dazzling Furnace Interior From twelve to twenty pots are placed in a furnace at one time and there, for hours, subjected to the terrific heat of from 2500 degrees to 3000 degrees Fahrenheit. Dur- ing this period the dry sandy batch becomes liquid glass. The costly pot can en- dure less than three weeks of such strenuous life. [17] PITTSBURGH PLATE GLASS COMPANY ‘ ‘ q 21s : : ys DAvY SUOJL “9TQ¥} SULysvd oY} OF Aauanof s}t aurnsod [LM yod sy} ‘ping Sururys dy} JO doBJANS VY} WO] sortindunt 9t4 pouenrl savy Shag aac pcre ie UBIO SUIJIATI} V WOIJ popuadsns puNoIsyoRq sy} Ul UMOYS 1B VIBUANY tf} Woy jod sty} UMBIP VALY FLY} SHUO} }VIL0 OY L, SSD]4) P21]9 NW ay] BuUUnys THE MAKING OF PLATE GLASS may require a year or it may take two, ac- cording to conditions. Then the selected clay is ground, screened, mixed accurately with certain constituents, and kneaded (“‘pugged” is what the pot-maker calls it) in pugging mills of various types. After kneading, the clay must be stored again, to ripen, a process that often requires another six months. Then begins the slow work of forming it into a pot, which has to be done by hand. Hand-work is necessary because a slight defect, such as an air-cavity, would cause the pot to crack in the fur- nace, thus destroying its valuable contents. Therefore the pot-maker builds it up labori- ously, making rolls of clay with his hands and forming the great receptacle layer by layer, with infinite care. Even after it leaves the pot-maker’s hands, the pot still is not an asset for im- mediate use. It must be stored for from six months to a year, in order to get final seasoning. When at last it reaches the “ready” stage, the pot is tested empty in a temperature approximating the glass-mak- ing heat. If it passes, it is filled with a batch. And then—its average active life is only twenty days! In the terrific heat of the melting-furnace, which accommodates from twelve to twenty pots at a time, the fusing of the material so reduces its bulk that it becomes necessary to refill each pot three times, to insure a full pot of molten glass at the end. The ex- pression “2500 to 3000 degrees Fahren- heit” will give the non-technical reader little conception of the intense heat required to fuse these refractory materials. To know what that heat really is, one should see the big pots glowing incandescent in the fur- naces, each filled with almost blindingly luminous fluid. As the melting reaches its critical time, expert workers maintain close watch over the condition of each pot. With long iron testing-rods they draw out small quantities, so-called ‘“‘gathers,”’ as samples to show how the fusion progresses. Experience and quick decision are needed here, for at the exact moment of completed melting the heat must be reduced to prevent the forma- tion of gas bubbles and to lower the tem- perature of the pot to a point where it can be approached and manipulated, An electric crane now clasps the hot pot with a pair of mammoth tongs and lifts it through the door or “‘tuile’”’ of the furnace. Workmen stand ready with long imple- ments to skim the top of the molten “metal,” swiftly removing any slag or other impuri- ties, and another electric crane swings the pot over to the casting table, a great steel slab of two hundred tons’ weight, thirty- two feet long by twenty wide. An ingenious device tilts the pot and pours its contents so that they flow over the full width of the table. This performance, which is known as “teeming,” is of the utmost importance; it calls for skilled and careful operators, for an error at this stage, though slight, will affect seriously the quality of the glass. A steel roller weighing twenty-five tons advances and rolls the molten: mass flat. The thickness of the resulting plate is de- termined by gauges, steel strips'on which the roller runs at the desired height above the table. Both table and roller are water- cooled to prevent warping under the great heat, and when the roller has completed its work, the mass which only a moment before was a white-hot fluid lies on the steel surface a red-hot sheet of glass, in area about the size of the table and approximately half an inch in thickness. The glass by this time has cooled greatly from its original temperature, but still is intensely hot. This is a critical stage of the process, for if it were to remain only a few [ 19 | PITTSBURGH PLATE GLASS COMPANY Where the Glass Becomes a Plate Here is shown the most picturesque and critical moment in the process of making plate glass. Above this great water-cooled steel table (20x 32 feet) swings the pendent, glowing pot; here it is tilted so that the contents pour ina thick, dazzling flood across the table’s width, and immediately the 25-ton steel roller moves forward, spreading out the molten mass before it as a cook rolls out dough. [ 20 ] THE MAKING OF PLATE GLASS The 800-Foot Lehr This is the lehr. or annealing oven; through its carefully grad- uated temperatures the plate now seen to be entering will be moved and slowly cooled. In spite of all precautions, many plates develop fractures in the cooling. minutes in the temperature of the outer air, the sudden cooling would develop insup- portable stresses. The plate must proceed, therefore, without the slightest delay to an annealing oven the temperature of which approximates its own. This annealing oven, or “lehr” as it is known technically, is in effect a great tun- OO wo woe 2 SN eee Inspection at Mouth of Lehr As the slowly-moving sheets reach the far end of this long, low tunnel, workmen carefully crawl out and with portable lights search the surface for cracks, imbedded stones, or other flaws. Every defect is marked with chalk for the cutters. nel, some eight hundred feet long. An elec- trical installation carries the glass plate through it very slowly — so slowly that it requires five hours to traverse the eight hundred feet. During this slow progress the plate passes under gradually reduced temperatures, minutely controlled. ‘There is hardly a moment during the five hours Rough Cutting to Eliminate Flaws The cooled plates, with their rough edges and wavy surfaces, have now left the lehr and skilled workmen are cutting them down to get rid of the flaws marked by the.inspectors. This greatly reduces the footage of finished glass, but is a necessary process. [ae inp sozvjd 94) sploy pue S}os Joysvd ALL ‘So qnq 1G yno 9010} 02} SI SILL, *Solqe} oq} SI9AOO qorg a Jayseid JOM oy} oyu Sst ‘ “SoTqey oy} uo yey oly OF Polo MOT d jolBo oI pue sored O7VUL « ULSUTAS ro) 00 0079) “Sol IB peoys AO woody popuodsns ‘ssBls ysnol jo SPIYS surpuy 1of 1]SD] q Ul ssp] ay #u1gqag bai Z < A = © oO op) W < = S ea ce < = jae as ) oc i pA op ES = Ay THE MAKING OF PLATE GLASS The Warehouse for Rough Storage No wonder that the manufacture of plate glass calls for elbow-room! This immense building contains many acres of rough glass just as it comes from the cutting table. In its present condition it is available for floor lights, skylights, and similar purposes. When this product has passed through the operations of grinding and polishing, it becomes plate glass. when a crisis may not occur, for any irregu- larity in the cooling may, and frequently does, produce an internal stress sufhicient to shatter an entire plate. When the plate reaches the end of the lehr, it has become cool enough to handle and has acquired the requisite toughness. The workmen who here receive it are trained in the business of examining for defects that might cause the plate to break in the operations that are to follow. Any such defects must be cut out, and a large plate may thus be reduced to various sizes of what is called “rough stock,” which is the common rough plate of commerce and is used for glazing roofs, for floor lights, for covering areas in sidewalks, and for other purposes where light without transparency is required. Before rough glass can be transformed into clear polished plate glass, it must pass through the operations of grind- ing, smoothing, and polishing. For the grinding operation the plates of rough glass are lifted by electric cranes and laid flat on huge circular steel tables covered with wet plaster of Paris that is to hold them firmly in place. Plates of various sizes are carefully fitted together, the large ones in the center and the smaller ones around them, till the table is covered. The tables, which are on wheels, then are towed by motor-car to a place beneath the grinders. The grinding machinery is ponderous and costly in proportion. The tables that sup- port the glass weigh seventy tons. The machines that rotate the tables cover an area of fifty square feet, measure more than fifty feet from base to top, and require motors of [ 23 ] PITTSBURGH PLATE GLASS COMPANY Moving the Tables to the Grinders After the glass has been set in the plaster the table thus covered is taken in tow by an electric transfer locomotive and conveyed to the grinders. five hundred horsepower to drive them. The massive iron-shod runners that revolve over the surface of the glass to grind it have an additional combined weight of one hundred and twenty-four thousand pounds. As the table begins to revolve, water and sand are fed under the runners, which are lowered slowly, almost imperceptibly, until at last their entire weight rests on the glass. The Grinders are Ponderous These mammoth disks slowly revolve upon the surface of the : apes I glass and with the aid of sand and emery gradually reduce the plate to perfect smoothness. Under this powerful abrasive action the sur- face is ground with absolute uniformity until all the irregularities in the rough glass have been worn away. As the process continues, finer sands are substituted for the first coarse grades, until the work reaches the point where the finest grade of sand has been used. Then a finer abrasive, emery, is employed. “Jointing” the Glass upon the Table One surface of the glass is now ground but not yet polished. In the meantime it is moved to the “jointing yard” where it is washed, examined, and carefully inspected. Broken plates are replaced and loose joints are re-cemented. [ 24 ] THE MAKING OF PLATE GLASS Grinding Emery In this room, rough emery is subjected to hours of steady grinding in order to reduce it to the degree of fineness and smoothness required for work on glass. At this stage redoubled care is needed, for the work now has reached a point where the smooth surface is so far “processed” as to be readily liable to injury. It must pass through final stages of smoothing with emery of several degrees of fineness, which must be of the best attainable quality, and gradu- ated with extreme care. One single particle of coarse emery, if it became mixed with the finer grades, would destroy the smoothness of a whole tableful of glass. Therefore the erinding and grading of emery, though very laborious, is one of the most important opera- tions in a plate glass factory, in order to avoid scratches and imperfect polishing. The completion of the grinding process has left the glass with a satin-like surface. Again the table-car is taken in tow by the transfer locomotive and is passed to the ‘jointing yard,” where the glass is washed and examined minutely. Broken plates are replaced and loose joints re-cemented, after which the table with its fragile burden is moved once more, this time to the polishing machine. In size and construction this mighty mechanism is similar to the grind- ing engine, but instead of iron shoes, it Grading the Emery Water flows gently through these rows of tanks. ‘The emery is introduced in the top tank and its heavier grains sink, while the finer grains are carried on to the tanks below. carries many bufling-disks of felt, each about eighteen inches in diameter. Once more the table is set revolving, and as the felt disks are lowered to the surface of the glass, a red oxide of iron commonly known as rouge, finest of all abrasives, 1s fed under them in the form of a paste. Under the slow rubbing of the revolving felts, the satiny surface of the roughly eround glass gradually takes on the brilliant polish of the finished product. This opera- tion of polishing, although thus simply described, is by no means the least difficult of the processes in plate glass manufacture. Close attention and unerring technical skill are required to control the operation, so that there shall be continuous progress, without accident, or even blemish in the work. When at last the polishing of one side is finished, the side that has been imbedded in plaster remains to be done. Again the table must resume its journey, therefore, going first to the ‘‘laying yard,” where the plates are lifted from the plaster, turned, and re- laid; then to the grinders and smoothers; and finally to the polishers. When this finishing work is concluded, the table is [ 25 | “qUCIT]LLG pue AVOTO Woy} SOABO] STULL “STIV jo Joysvyd SULIOYpR oy} I? VAOUWOL OF Jopito ul prov o1yenimn ua ul yyeq v IATODOL soyeyd SsUlo oy} . surddiiys,, IJV 1aqspjq ay? fo #urmunvazy a = < a = =) S) op) op) < —e oe) fx — < 1 jae = é) pe 2 jaa) Cp ~ = ae THE MAKING OF PLATE GLASS Where the Glass Receives its Polish Revolving felt-covered disks, with the aid of red oxide of iron, or “rouge,” give the glass its final polish. taken to the “‘stripping yard,” where the polished plates are loosened from their plaster bed for good and all. In releasing the plates from the plaster investment the utmost care is necessary. T’o avoid scratching or other accidental spoilage, the plates must be turned on edge, and in that position they are transferred to the wash-racks. Here a bath of muriatic acid removes all adhering plaster of Paris; careful washing The Final Cutting and Elimination of Defects In this strong light, inspectors search for defects that have es- caped previous examinations; then trimming and squaring give the glass plates their final form. [ 2 vie: & = ka +4 “ii mm | The Process of “Stripping” The table on wheels having completed its journey, the plates must be released or “‘stripped” from the plaster bed. follows; then a painstaking examination for any defects that may have escaped the eyes of the inspectors during the operations of erinding, smoothing, and polishing. When the glass has passed these inspections it is a clear, polished plate ready for use — just such a sheet as may be seen in shop windows everywhere. Its original thickness when it went to the grinding machines, about half an inch, has been reduced one-half by grind- ing and bufing, and the brilliant product Storing the Finished Plates Here, carefully set on edge, are racked the polished plates which - . 5. . . . . have passed successfully the preceding operations and inspections and now are ready for shipment. 7 | PITTSBURGH PLATE GLASS COMPANY represents even a smaller proportion of the original quantity of raw material that went into the melting-pots. Of the original batch of material, about thirty per cent is volatilized and lost in gaseous form during melting. Almost fifty per cent of the rough plate is ground off and washed away in the finishing operations, while a loss of approximately twenty per cent is caused by breakage during machine opera- tions or by rejection, for various defects, in the final inspections. When the glass is delivered to the ware- room after having been cleansed of all plaster and dirt, it is scrutinized by cutters, men experienced in eliminating any small remaining defects. This elimination can be done only by cutting, which means the: re- duction of a plate to smaller sizes. Areas that do not contain defects are shipped out to jobbers as stock sheets, or are reduced to sizes for which the factory has orders. The polished plates now have assumed their final form. From the examination frames and cutting tables they are conveyed by traveling crane to the packing room, where they are boxed and shipped to the markets of the world. Packing and Shipping PLATE GLASS IN AMERICA PLATE GLASS IN AMERICA NTIL comparatively recent times, the history of plate glass manufacture in America was a chronicle of just such failure and loss as attended the early efforts to make common glass. Every attempt to introduce the industry swallowed up all the money that was put into it. The first under- taking of any consequence was at Cheshire, Massachusetts, in 1850, but after having resort to many expedients, including the removal of the plant to Brooklyn, New York, the enterprise failed in 1856. Again hopeful men raised money and revived the undertaking at Lenox, Massa- chusetts, under the name of the National Plate Glass Company, only to meet with like disaster. Members of this organization then induced other men to join them, Theo- dore and James Roosevelt of New York City being among the number, and formed the Lenox Plate Glass Company in 1865. Costly equipment was installed, with much machinery from England, and decided im- provement in product was attained. Among other services the science of polishing was advanced greatly. After only six years, how- ever, this determined and energetic effort failed as had all that preceded it. Business men of New York, Boston, Philadelphia, Chicago, St. Louis, Detroit, and Louisville had reason in this period of American development to rue connection with plate glass manufacturing enterprises, for the money invested and lost aggregated many millions. Up to 1880, not a piece of plate glass had been made in the United States without loss to the manufacturer; all money invested had vanished without result. But suddenly, in the early ’eighties, the situation showed a remarkable change. By 1884, according to the statement made in that year at tariff hearings in Washington, the cost of plate glass to the American con- sumer approximated only one-half of what it had been before 1879. It was evident that the United States no longer need be help- lessly dependent on the glass-making science of Europe, for American workmen had been trained to produce plate glass of transpar- ency, clear color, and polish equal to any that had been imported. pat) PITTSBURGH PLATE GLASS COMPANY This bewildering industrial revolution had come to a business which only so re- cently as 1880 had employed altogether fewer than 1000 workmen. According to the census of that year, the plate glass estab- lishments of all America employed only 956 hands and paid out in wages during the year only $292,253, with a total annual prod- uct of only 1,700,000 square feet, of which more than ten per cent was charged off as destroyed during manufacture. Contrasting these figures with the annual productive capacity of 48,000,000 square feet of high-quality plate glass now attained by the Pittsburgh Plate Glass Company, we have a graphic and impressive demonstra- tion of how, in these United States, in much less than the average lifetime, vast oppor- tunity has opened out before those with the vision and the energy to grasp it. Nor is it accidental that the comparison between the past and the present should have this Company for its central element: for it was the inception and development of the Pittsburgh Plate Glass Company that gave the impetus to native glass-making. Where forty years ago American manufac- turers could not make a single plate of glass in successful competition with foreign glass, today it is this American organization that stands as “‘the largest manufacturer of plate glass in the world.” ; BEGINNINGS AND DEVELOPMENT OF THE PITTSBURGH PLATE GLASS COMPANY HILE the struggling establish- ments in the United States, handi- capped by insufhcient equipment, want of experienced labor, and inexpert technical management, still were making valiant but futile endeavor to produce plate glass in competition with the far more highly favored foreign manufacturer, an American prominent in Ohio River steam navigation, Captain John B. Ford, determined to enter the field. He had visited the existing American plants, had made study of Amer- ican methods, and had gathered detailed in- formation from such European workmen as he found employed in the United States. Fortified with all the knowledge avail- able, Mr. Ford induced a few men to join him and ordered from Europe the best machinery obtainable for grinding, smoothing, and polishing, those being the operations that had presented the greatest difficulties. Pending the arrival of this equipment, a factory was completed at New Albany, Indiana, and to that city belongs the dis- tinction of being the first in the United States where plate glass manufacture was carried on continuously and with any meas- ure of success. But this early and partial success was won only in face of many trials similar to those which had wrecked all previous undertakings. First of the calam- ities was a fire that completely destroyed the new works just as the imported machinery was beginning to arrive. Another factory was built at once, and the investors had the courage to erect it on a scale much larger than that of the first unlucky venture. Some success attended it; but, in the words of the Census Report of 1880, it “had to undergo the reverses that seem the fate of all plate glass houses in this country.” Undiscouraged, Mr. Ford again gathered willing associates, foremost among whom was John Pitcairn, then an officer of the Pennsylvania Railroad, and this group, under the name of the New York City Plate Glass Company, built a factory at Creighton, Pennsylvania. On this same site today stands ‘‘Works No. 1” of the Pittsburgh Plate Glass Company, to which style the New York City Plate Glass Company changed its corporate name in 1883. Difficulties were by no means at an end. Skilled glass-workers were so few that heroic efforts were required to increase the number to meet conditions of growth. Delays in getting machinery were beyond all reason. Capital was almost unobtainable. But the leaders in the enterprise had grasped the fundamental principle that plate glass can- not be manufactured successfully on a small scale—that the very best technical knowl- edge available must have behind it the bold investment of large capital. Foreign competition continued to be seri- ous, and each solution of technical or busi- ness problems seemed to be followed by new ones more difficult; but by 1895 it appeared Paa:) PITTSBURGH PLATE GLASS COMPANY to Mr. Pitcairn and his associates that be- yond question plate glass manufacture as a native industry could be made to succeed. The old formidable problem of quality had been solved; American-made plate glass was equal to the imported article; and continu- ous improvement in process gave satisfactory assurance for the future. The problem of establishing the industry on a business basis equally secure had still to find its answer. The experience of the past, however, fore- shadowed the solution: economy of produc- tion was to be the secret of prosperity, and the only way to attain to this in the neces- sary degree was by that great fundamental economy which is involved in maximum quantity production. | Here was a policy that once more called for large investment of capital. Factories at Ford City and Tarentum, Pennsylvania, already had been added to the original plant. The Company, by reorganizing and procur- ing an increase of capital stock to the total amount of $10,000,000, succeeded in ac- quiring additional plants at Charleroi, at Duquesne, and at Walton, Pennsylvania; at Elwood and Kokomo, Indiana; and also at Crystal City, Missouri. With mastery of process secured, and highest standards of quality firmly grounded in its own native traditions; with every manufacturing cost reduced by quantity production to its lowest terms; with a system of distribution approved by success and full of promise for steady growth in usefulness, the enterprise of making and marketing American plate glass, as exemplified in the development of the Pittsburgh Plate Glass Company, may be said to have reached its permanently successful period. Ford City, Pennsylvania Stretching for a mile along the banks of the Allegheny River at Ford City, Pennsylvania, are the numerous buildings which constitute the largest plate glass plant in the world. THE PITTSBURGH PLATE HE economies in the manufacture of plate glass introduced up to 1896 had so well proved their efficacy that it was logical to seek like economy in distributing the product. In that year, accordingly, the present great system of distribution had its beginning, with Ware- houses in seven cities: New York, Boston, EEL DEEN OG Se RR OR GLASS COMPANY TODAY Cincinnati, Detroit, St. Louis, Chicago, and Minneapolis. Today, forty-two Warehouses are maintained throughout the United States, in all of which expert service is available and large stocks are carried, for immediate delivery. These Warehouses have benefited both producer and consumer by assuring instant supply, and ee a Oe Crystal City, Missouri Another plant of the Pittsburgh Plate Glass Company devoted exclusively to the manufacture of plate glass. [ 35'] PITTSBURGH PLATE GLASS COMPANY Charleroi, Pennsylvania One of several plants of the Pittsburgh Plate Glass Company which make Carrara and heavy plate Black Glass. by eliminating long hauls have minimized break- age. They also have done much, by their wide representative activity, to educate the public to the almost infinite usefulness of glass. An almost unavoidable economic necessity, coincident with the institution of national dis- tributing centers, was an enlargement of the Company’s field of glass production, which until then had been limited to polished plate glass. From time to time after this date, the Com- pany extended its scope, until today the glass products of the Pittsburgh Plate Glass Company comprise polished plate glass, bent glass, mir- rors, leaded glass, Carrara and Black Glass, and window glass. Other forms of glass, also, not manufactured by the Company, are handled by its Warehouses, giving them a complete line of glass, interior and exterior, for buildings. It became apparent at an early date that the building trade would gladly look to a unified source of supply for certain lines not related to glass as a manufacture, but, like glass, im- portant in building construction. Notable among these were paints, varnishes, and brushes, which Kokomo, Indiana This plate glass plant of the Pittsburgh Plate Glass Company is located not far from the center of population of the United States. [ 36 ] THE PITTSBURGH PLATE GLASS COMPANY TODAY Creighton, Pennsylvania Works No. 1 of the Pittsburgh Plate Glass Company. Erected in 1883, the Creighton plant is the second plate glass plant established in the United States. for a long time had been sorely needed in stand- ardized, reliably uniform kinds and qualities. To insure steady, prompt supply, as well as dependable quality, the Company decided, in 1900, to take over the business of the Patton Paint Company, Milwaukee, Wisconsin. Shortly afterward it added the brush factory and busi- ness of Rennous, Kleinle & Company, Baltimore, Maryland. The welcome accorded these exten- sions of service necessitated rapid enlargement. A paint and varnish factory was established at Newark, New Jersey, to serve the Eastern United States and the export trade. Various other manu- facturing units were added, among them the Pit- cairn Varnish Company, Corona Chemical Com- pany, and the Red Wing Linseed Oil Company. These increases of business have compelled successive heavy increases in capital investment. In 1902, the capital stock was increased by cash subscription to $12,500,000. In 1906, cash was again obtained in a sum sufficient to bring the capitalization to $17,500,000. Four years later, Clarksburg, West Virginia One of the window glass plants of the Pittsburgh Plate Glass Company. [ 37 ] PITTSBURGH PLATE GLASS COMPANY "ai a] o.. SAL) Be, * a) ee ee rete SD is oe | hi v il Se at. tie Gio coh bate Mount Vernon, Ohio Another plant of the Pittsburgh Plate Glass Company devoted exclusively to the manufacture of window glass. in 1910, the capital stock was increased, also by cash subscription, to $22,750,000, and, in 1917, by stock dividend, to $25,000,000. On October 5, 1920, the stockholders unani- mously approved the Consolidation Agreement adopted by the Directors to bring under the one corporate name those companies theretofore sub- sidiary to, and now united with, the Pittsburgh Plate Glass Company. In this consolidation is included the Columbia Chemical Company, pro- ducing soda ash, caustic soda, calcium chloride, tanners’ alkali, and lime fertilizer, some of which are used in glass-making. The plant is at Bar- berton, Ohio, and the limestone quarries near Zanesville, Ohio. This consolidation resulted in an increase of the Company’s capital stock to $37,500,000, which later was increased to $50,000,000. Courcelles, Belgium This is the plant of an independent corporation, the capital stock of which is owned by the Pittsburgh Plate Glass Company. During the World War it suffered so severely that it has been rebuilt. [38 ] PLATE GLASS AND COMMON GLASS OMMON glass, by a strange inconsistency, usually is known by the trade term “‘win- dow glass.” While common glass, as a matter of fact, is used in millions of windows, that is not its proper function. Common glass never should be employed, provided plate glass is obtainable, in any position where the glass is in- tended primarily for clear vision. Glass for windows, show cases, or similar use must be practically invisible in order that it may not interfere with the image that lies beyond; that is to say, it must be free from the bubbles, waves, and streaks generally found in common glass. Plate glass alone gives this freedom. The two kinds do not, in strict fact, compete one with the other. Just as there is a difference in price between steel and iron, and a sound eco- nomic reason for using steel for certain purposes and iron for others, irrespective of price, so there is an equally sound basis for choice be- tween plate glass and common glass. Each of these two kinds of glass has its par- ticular usefulness for certain purposes. The buyer whose selection is influenced unduly by the matter of price, begins at the wrong end. Decision as to the kind of glass to be used must be made in the first instance according to its fitness for the purpose. There are many cases in which the use of com- mon glass is perfectly good economy; but it is not good economy to wrest it out of its broad and legitimate field by endeavoring to use it for a service which it cannot perform so well. Wherever the nature of a case indicates plate glass to be desirable, the buyer may feel, with full confidence, that it will be also the most economical. GLASS AND EYESIGHT Cuarces F. Prentice, PRESIDENT New YorK STATE BoarD oF EXAMINERS IN OPTOMETRY A window-pane that is directed to the open and liable to be looked through should not contain stria- tions, bubbles, or other obstructions to the normal use of accommodation and its intimately associated, ever- shifting lines of binocular fixation. It is obvious that highly polished plate glass is the only glass possessing the essential properties to conserve vision. In short, that which most appeals to the eye is also best for it. Georce W. McFatrick, PRESIDENT NORTHERN ILLINOIS COLLEGE OF OPHTHALMOLOGY A glass fulfilling this condition should be a clear, white glass having no striations, bubbles, or strain in its make-up. It should have perfectly parallel sur- faces, and they must be ground and polished, per- fectly, so that each ray of light will pass through without being deflected from its proper course, exactly as if no glass were placed between eye and object. The cheaper flowed glass can in no way fulfill these conditions, as it is only by grinding and polishing its surfaces that this condition can be approached. Plate glass fulfills these conditions as no other glass can, and there is no question that the majority of people will demand its use when these facts are called to their attention, and they appreciate what a harmful effect imperfect glass will have upon their most precious possession, their eyes. A Striking Contrast wall show case, with common glass in the upper section and plate glass below, tells its own story. This PITTSBURGH PLATE GLASS COMPANY Dangerous Track or Common Glass? This view, as seen through the second window, appears to indicate a very dangerous condition of the tracks. However, the left- hand or plate glass window shows these same tracks lying smooth and even. It is evident, therefore, that a window of common glass is what causes the distorted image. A, VA wy \AWABRRAS AED R Ga a. Cok, eek . BA Distorted Vision True Outlines In this picture, the window marked “X” is open, but in the Here the same view is seen through plate glass. A little reflec- others common glass transmits a distorted image. tion is noticeable, but no distortion of the view. [ 40 ] GLASS IN TYPICAL MODERN BUILDINGS EXAMPLES OF THE UNLIMITED USEs OF PITTSBURGH PLATE GLASS COMPANY Propucts FoR BotH UTILITY AND BEAUTY AS ILLUSTRATED BY THE Famous WooLwoRTH AND EQUITABLE BuILDINGS IN NEW YoRK ALLEST of the world’s inhabited struc- tures, the Woolworth Building in New York City, lifting its cathedral beauty seven hun- dred and ninety-two feet in air, faces all the winds. Its observation gallery is a lone peak. No rampart, natural or artificial, is near enough or high enough to wall off the storms. At its base are the sea, mother of tempests, and the Hudson river valley, highway for northern gales. As one looks down the dizzy precipices of its sculptured sides they seem aerial in grace; but behind that dainty garb of marble, carved lime- stone, and moulded terra cotta, is a massive chording of steel beams, plates, struts, braces, flanges, and diagonals that defy the storms. “The huge height and the wind-load,” says one of its builders, “developed enormous stresses and necessitated the use of huge columns and mighty girders.” The Woolworth was indeed built for enormous “wind-loads.” Yet the immense structure is pierced from base to summit with apertures that seem innumerable, where there is neither steel nor stone, but only a thin, transparent material. There are five thousand such apertures—five thousand great windows of plate glass, each with two panes, thus making ten thousand “lights” that must withstand the same winds that beat against the walls. A theorist (especially if familiar with the blasts that volley through New York’s canyons) might logically imagine a stupendous annual breakage. He will acquire unexpected infor- mation if he seeks out the man who knows all about the complex edifice from its nethermost caisson, one hundred and ten feet underground, to its summit, which is exactly one inch higher than the figure already mentioned. This is what Edward A. Cochran, superintendent of the great pile, says about the annual breakage of exterior plate glass lights. “Our replacements do not amount, all told, to two dozen lights a year. The breakage is prac- tically all above the sixth floor. This figure is for all exterior lights, including our great ex- panse of store-front windows, most of which are of bent plate glass.” Even in the old days of buildings that mod- estly hugged the earth, the architects of such cities as New York and Chicago had to give some consideration to wind-pressures; but they dealt with mere zephyrs compared with what men had to face when they began to rear their cities into the air instead of spreading them over the earth’s surface. The architects of New York’s mammoth structures figure on pressures that are titanic; they build against winds of eighty and one hundred miles an hour. Yet fully a quarter, and probably a third, of these precipi- tous surfaces is glass. And it serves. LARGEST OFFICE BUILDING IN THE WORLD Not far distant from the Woolworth, and loom- ing high among the skyscrapers which form the picturesque sky-line of lower Manhattan, is the great office structure of the Equitable Life Assurance Society of the United States. The largest office building in the world, noble in its mere bulk as in its architectural beauty, its forty stories contain one and one-quarter million square feet of rentable floor-space. Of the vast wall-area of the Equitable Build- ing, one-third is Pittsburgh plate glass. There are 5700 windows, all polished plate glass, set and hung in balanced metal sashes. With such proportions of glass in modern buildings, it is easy to understand the importance of using the kind of glass that, besides its value for practical utility, is supreme in beauty, and thus plays per- fectly its part in combination with the costly marbles and terra cottas that enter so largely into these structures. [ 41 ] PITTSBURGH PLATE GLASS COMPANY A Tower of Light The Woolworth Building, the tallest inhabited structure in the world, rears its majestic height almost eight hundred feet above Broadway—a sight never more impressive than when at night the light shines from its myriad windows of Pittsburgh plate glass. [ 42 ] GLASS IN TYPICAL Not to be content with the fullest admission of daylight through exterior windows, the builder of today knows that it is essential that every ray of this natural light deliver utmost service throughout the interior. Light is the one natural gift which, after being used and used again, still passes on, undiminished in value, to other uses. All that it requires is unimpeded passage. So the delightful in- teriors of such build- ings as the Woolworth and Equitable, no less than their outer win- dows, are supplied with glass in vast amount; and the beau- ties of pattern that glass permits give it genuine part in the decorative scheme. The entrance to the thousands of offices in the Equitable Building, for example, are prac- tically of solid glass. The 2500 high office doors are all of Pitts- burgh Plate Glass Com- pany chipped plate glass, each door con- sisting of only a steel frame with a_ great piece of this lustrous glass set in, unbroken by sash or other dis- turbing element. Per- fect for the transmis- sion of light to interior rooms and corridors, and still giving complete privacy, this beautiful plate glass serves as nothing else could. Without such glass, dark or dim corridors in the modern office building would impose a con- tinual expense for artificial illumination. This is entirely obviated by the simple method of “borrowing” the daylight that streams through the exterior windows, and by means of glass doors, glass partitions, and interior wall win- dows, letting it pass on to continue its service in the halls and corridors beyond. In all these architectural triumphs, glass is not restricted to locations where it serves simply ce: 04 La es - Pry 3 pe cae sa | 1 4 «ef - sal 4 Uw a mn 7 wt _= am po pe a) pe BRK see ts Vay eo Es “ aM SR ay The Equitable Building has 5700 Windows MODERN BUILDINGS for transmission of light. Its superior qualities of hardness, light-reflection, lustre, and cleanli- ness give it unique serviceability as structural material pure and simple. Thus in the Wool- worth Building, on which was lavished every art that adorns, glass was a main reliance for bril- liancy in decoration. As Cass Gilbert, the architect, said on its completion: “The wise liberality of the owner provided that the struc- ture should be enriched and beautified so as to give pleasure to the millions of people who will see it.” As in building the great ecclesiastical edi- fices of olden days, all the crafts were called in—mural painters, sculptors, modelers, carvers, gilders, work- ers in copper and iron. It is, indeed, a merited tribute to glass that in this unhampered quest of the beautiful, glass i ecef_ was not merely a ma- : terial selected here and there or by chance, but that all the arts and crafts found it abso- lutely essential. The whole design of the fine Gothic entrance of the Woolworth on Broad- way rests on the use of glass. The glory of the dome ceiling in the arcade, so noble in color and design that it rivals the best mosaic work in Europe’s famous churches, is due to glass—to two and one-half million separate “tessere” or bits of stained glass, that make a radiance of color as if precious jewels thickly set were sparkling overhead. One cannot go anywhere, from the basements to the sixtieth story, without finding glass in some form, charming the eye while it renders its use- ful service. Even in such utilitarian parts of the building as the lavatories, glass of various kinds enabled the builders and embellishers to maintain the 344 ee [ 43 ] PITTSBURGH PLATE GLASS COMPANY same high standard of dignity and elegance that distinguishes more pretentious features of the building. Here is employed a form of glass which, as purely a structural material, has come into wide use, in modern office buildings and other structures, as paneling for the walls of rooms and corridors—the Pittsburgh Plate Glass Company’s famous product, Carrara Glass. Beauty, sanitation, permanence of surface finish, and economy of maintenance were the considera- tions that led to the selection of Carrara Glass for the lavatories of the Woolworth Building after an exhaustive study of all other materials. MODERN LIGHTING REQUIREMENTS Since it is out of the question, from consider- ations of privacy, to rely upon exterior lighting for lavatories and toilet rooms, modern archi- tectural design seeks first of all maximum bright- ness. All surfaces must be white, to reflect the light. In addition, the white surface must be impervious; it must not absorb moisture; and it should have a surface that will not be subject to accidental or deliberate defacement. Most pol- ished white mineral surfaces, such as marble, fall short in these particulars and require peri- odic refinishing. Carrara Glass alone meets all requirements. Hard, burnished, permanently white, bright, un- stainable, defying malicious injury with lead pencils or fluid, it has the richness of costly marble. The Woolworth Building management, in describing in a publication the spacious toilet rooms on practically every floor of the building, says: “The walls of these rooms are lined with white Carrara Glass, the sanitary and most at- tractive wall decoration known for this purpose.” All the walls are lined to a height of eight feet with this material, which after years of service exhibits the same brilliant appearance as in the beginning, unmarred, undefaced, and unstained. There has been no slightest deterioration, and the ease with which it is kept clean has made Carrara Glass one of the great permanent economies. Carrara Glass is used for wainscoting and par- titions in one hundred and eighteen rooms in the Woolworth Building, as follows: ninety-five toi- let rooms, thirteen janitors’ closets, the barber shop, and nine miscellaneous rooms. Approxi- mately 53,000 square feet of Carrara Glass was used in the building, of which 38,000 square feet was three-quarters-inch thickness, polished one side (for wainscoting), and 15,000 square feet one-inch stock, polished both sides (for parti- tions). There are about 750,000 lineal inches of ground edges, 50,000 lineal inches of polished edges, and 10,000 drilled holes. Eighteen freight cars were required to transport the glass from the factory. The immense ground-floor corridors of such buildings as those under consideration are to all intents and purposes public thoroughfares. Equitable Building records show that more than 125,000 people pass through its many entrances daily. The general practice in such buildings is to make these corridors bazaar streets. In the ground-floor passageways of many large build- ings the visitor finds himself in aisles of plate glass, which are the show windows of shops that thus front on an arcade instead of on the public street. On the street frontage, likewise, plate glass store fronts are the rule. The show win- dows which form the lower frontage of the Wool- worth Building are designed with plate glass bent to curves, giving an effect in strict harmony with the general architectural scheme. SOLID PANELS OF MIRRORS Within these shops, in like manner, recourse is had to plate glass, for brightness and cleanli- ness, and to show merchandise to best advantage. For counters and table tops, for show cases and display wardrobes, nothing but plate glass will serve, while plate glass mirrors set in handsome patterns as paneling along the walls complete the picture of elegance. In the great barber shop in the basement of the Equitable Building, the walls are predomi- nantly of mirrors, and the partitions, wholly com- posed of plate glass mirrors, mitered and bev- eled, contribute a strikingly ornamental effect. The various desks and tables have spotless white Carrara Glass tops. In the Woolworth Building barber shop a similar solid paneling of mirrors forms the four hundred feet of walls. In the Turkish bath and swimming pool adjoining, plate glass encloses the hot-room and steam-room, so that they are in effect transparent cases, through which attendants may keep occupants under careful observation. Somewhere in the archives of the Equitable and Woolworth buildings are statistics as to the [ 44 ] GLASS IN TYPICAL MODERN BUILDINGS number of individual plate glass mirrors that are structural parts of the buildings—over wash- stands in offices, in lavatories, and in spots where they serve as decoration or for lighting effects multiplied by reflection. No one ever has taken time to compute just what area they would cover if all were put together; but one statistician has calculated that the beveled plate glass in the mail- chutes of the Equitable and Woolworth buildings, if the panels were laid end to end, would extend much more than a mile; while another patient mathematician says the glass of all kinds in the Woolworth Building would make a generous can- opy over Madison Square, New York’s famous open place that occupies more than four city blocks. Nor is that all: the tenants of the offices have added their quota of plate glass in desk tops, book cases, and the like; the various offices of the Equitable Life Assurance Society alone would furnish impressive figures; the great banking institution that occupies the lower floors of the Woolworth Building has writing-shelves, deal- plates, and other tablets of heavy plate glass wherever one turns; and in the rooms occupie by the administrative and executive staffs of the building, every office desk has its plate glass top. Throughout the remainder of the building no fewer than 3000 private desks are so equipped. GLASS ENDURES HARDEST WEAR A significant fact that develops in any study of great office buildings is this: that the parts subjected to the most incessant and indeed the hardest wear are wholly or mainly of glass. Thus, we find that sixty-three elevators in the Equitable Building and twenty-nine in the Wool- worth, operated on a headway calculated in seconds, have their doors glazed with polished wire glass. So with office partitions, which, with their constantly swinging doors, have to endure the hardest kind of usage: these nowadays are built in by the management of each building for its tenants, and in practically all modern struc- tures such partitions are of steel, with chipped, sandblasted, or other obscure or patterned glass set in to give privacy while conserving light. In both these buildings polished plate glass, as well as the chipped, is much used for this in- terior service. In the Equitable Building there are in all about 25,000 feet of partitions. For Private Offices Plate glass partitions are now widely used for dividing large spaces into individual offices. Thus privacy is assured in each office while natural light is carried to the interior rooms and halls. [ 45 ] ; p } f | The Beauty of a Plate Glass Window Plate glass has many beauties. Sometimes, because of its mirror-like surface, it brings the charm of a reflected landscape into the wall in which it is set; and always, as one looks out from within, it shows the landscape as a picture ina frame. The charming photograph reproduced herewith is that of a library window in the Theology Building of Emory University, Atlanta, Georgia. By an epee ker coincidence both the reflected and transmitted views are shown in the one picture and each is remarkably clear. Common glass used here would have distorted these images and disfigured a beautiful building. The Private Conservatory For the purposes here shown there is no satisfactory substitute for polished plate glass. This illustration shows how bent plate glass may be used to give added beauty and distinction. ADVANTAGES OF PLATE GLASS IN BUILDING N THE Woolworth and Equitable building examples just cited, the special structural values of plate glass—its beauty, clarity, durability, adaptability, resistance to wind, sanitary quality, and the variety of surface pat- terns available—are set forth. These qualities have led architects to specify plate glass more and more freely, so that today it is employed frequently in place of such materials as wood, plaster and metals, with little expense for re- placement and practically none for upkeep. Beauty, in a structure large or small, is a very substantial consideration in the appraisal of value. Architects and builders very gener- ally recognize this, and for great industrial and office buildings are using plate glass to an extent undreamed-of a few years ago. Home- builders as a class, however, are far from real- izing as they should how much brighter, more comfortable, more sanitary, and more beautiful in outward appearance their dwellings may be made by judicious use of plate glass. The average man building a residence is quite certain to specify minutely the wood for floors and trim, the heating and lighting fixtures, and even the hardware for doors, windows, and cup- boards. But when it comes to the glass through which, twelve months in every year, he is to get his view out-of-doors, he takes that for granted. Yet the dwelling that is glazed with plate is im- mediately enhanced in value. It is better to live in and easier to sell. Not only are plate glass windows a comfort to the occupants, but for the very reason that they are a somewhat unusual refinement, they give character and tone to a residence, conveying the impression that all its appointments must be of like elegance. This superior value is attained with astonish- ingly small difference in cost, as between com- mon window glass and plate glass. In the case of dwellings ranging in cost complete from $2,500 to $10,000, the outlay for plate glass windows would represent only from $30 to $150 more than for common window glass. Plate [ 47 ] PITTSBURGH PLATE GLASS COMPANY ¥2 Ben SS The Appropriateness of Plate Glass It is impossible to imagine the owner of such a residence as this permitting the use of anything but plate glass in its windows. disfigure its beauty with panes of common glass would be an offense against comfort and good taste. glass is used almost exclusively in England, and as a matter of economy, in workingmen’s cot- tages and in even the smallest homes. Thus the showing, even on the straight com- parison of mere cost, is altogether favorable to plate. But a further advantage makes the actual money difference still less. This is its durability. Plate glass windows are stronger. They withstand shocks, impacts, and sudden wind pressures that would shatter a weaker glass. Another weighty advantage involved by the gen- eral use of plate glass in large buildings in our cities is the security of pedestrians. The risk of injury by falling glass has been largely eliminated. . All glass, whether common window or plate, is of course non-inflammable and to that extent Cliscdinciased: Parit oahare in many ways a safeguard against fire. But The canopy that protects from rain gains in beauty by the plate glass is more than simply non-inflammable: use of obscure glass, while the crystal clearness of the plate it is fire-resistant. Heavy plate, set in metal glass walls enclosing the entrance is one of the most attractive features of the house. framing, has been found, by actual practical [ 48 ] ADVANTAGES OF PLATE GLASS IN BUILDING 2 Ra hos By hs j ANE ® = eo Es Daylight Illumination Plate glass, clear or obscure, solves many problems of interior lighting in large buildings. In this sectional view of the Union Arcade of Pittsburgh the interior walls and doors of the offices are almost wholly of plate glass, principally of the chipped or sand- blasted varieties, thus admitting daylight from the exterior but insuring complete privacy to the office tenants. The Sun Parlor In no room of the home is it more important that plate glass be used for glazing. Clarity, strength, and beauty are the essential qualities required in glass for such purposes. [ 49 ] PITTSBURGH PLATE GLASS COMPANY al Serving a Double Purpose These pictures strikingly illustrate how an ingenious architect solved a difficult problem by the use of plate glass. The long corridors of the Missouri State Capitol building are lighted by means of artistic plate glass windows in the upper walls of the adjoining rooms. Thus the glass is made to serve the twofold function of beauty and utility. experience, to be far more of a fire-resistant than most persons would suppose. Thus from the viewpoint of fire-hazard alone the glass partition or wall has every advantage over wood. Besides being ornamental and conserving light, it will not burn. In competition with strictly fire-proof materials plate glass may well be used where the importance of light outweighs a minor fire- hazard. Some form of plate glass will be found to adapt itself to any glazing purpose, interior or exterior, and in harmony with any scheme of trim. For partitions and other interior construc- tion where angles are undesirable, the Pittsburgh Plate Glass Company makes bent glass that lends itself to practically any conceivable de- sign. It is made in many degrees of curvature and imparts an elegance that can hardly be obtained in any other material or with equal economy. So great is the versatility of plate glass that architects and decorators are constantly working out new adaptations, some based upon the [ 50 ] ADVANTAGES OF PLATE GLASS IN BUILDING The Modern Bank Plate glass, leaded for decorative windows, polished and beveled for doors and tellers’ windows, polished and rounded for tellers’ deal-plates, wall-desks, and stationery partitions, falls naturally into place in the modern bank interior, where severe elegance is a requisite, and orderliness is the “first law.” thought of decorative beauty and some upon _ it is desirable to break wall space in a decora- strictly structural or sanitary considerations. tive way, without hanging pictures. The ever- Windows which look out upon scenery are changing view through the window-panes in being called more and more into play where _ itself is a picture beyond the skill of any artist. Bank Partitions Many beautiful and artistic effects are secured in bank interiors through the combination of clear or obscure plate glass and ornamental metal work. [52] PITTSBURGH PLATE GLASS COMPANY ae ae i= mm ‘mz ay 1 =y — ral Bs a d erent eT ns bid MAA ALiAiaA nyt ve jathdidiad peavds \ ih Tai ite UP Pibed rorficrate 5 DRadeneenea iiiageae sities 3 4 we iy Doe | An All-Plate-Glass-Front Building: The Hallidie Building in San Francisco, California Any discussion of the importance of glazing with plate glass would be incomplete without mention of the triumph of an all-plate- glass-front building, which secures maximum interior illumination by eliminating, so far as possible, every obstruction to the free entrance of daylight. The illustration shows how the Hallidie Building, recently constructed in San Francisco, in its street elevation has practically a one hundred per cent glazed surface. Coe The chief elements embodied in the design are the structural details and the architectural treatment of the elevation. The construc- tion, which was relatively simple, has been accomplished as shown in the plans below. The center lines of the columns and the spandrel girders are located 3 feet 3 inches inside the building line, and the skeleton of the structure is entirely free from the front wall. At the floors, the spandrel girders extend 2 feet 2 inches above the floor line. The connection between stories is cut off by a thin concrete slab which extends from the girders to the building line, In order to secure proper ventilation and permit washing of the glass, the sash of the all-metal framework is side-pivoted. The treatment of the fire-escape is novel, giving to the elevation the effect of flanking pavilions. OLUMN + we Elevation Section MIRRORS The First “Moving Pictures” Long before the day of the cinema, millions of mirrors were showing the lifelike moving images of all that passed before them. The subject of this view without doubt is well aware that the mirror will hold a beautiful picture so long as she stands before it. A SHORT HISTORY OF THE MIRROR makers of mirrors in Venice, asserting that they possessed a secret then known only in one Ger- EAUTY never has been without her mirror. Nature gave the first woman crystalline pools from which her reflection smiled at her. With man’s first mastery of materials, a way was found to polish stones and metals sufficiently to produce a reflection. Long before the glass mirror was made, there were mirrors of burnished steel and silver. Never would the Queen of Sheba, Helen of Troy, or Cleopatra have been content to know only from the lips of their admirers how dazzling were their charms. The Greeks and Romans of the Middle Ages apparently knew the means by which glass might be made to reflect perfect images; but though Aristotle wrote that “while metal or stone must be polished to serve, glass or crystal must needs be lined with metal to cast back an image,” they probably were content with their metal make- shifts, for we can find no record that they made any others. Early glass was not, in fact, sufh- ciently transparent for use in mirrors. Indeed it was not until about the Eleventh Century that glass mirrors were produced. The Venetians, naturally, figure prominently in this early manufacture, for they were leaders in the art of making all kinds of glass. But they were not the only possessors of the knowledge of mir- ror-making. The archives contain a petition by three Venetians, about 1300, seeking permission to sell certain materials which they had on hand because a German mirror-maker had broken his agreement with them. In 1507, Andrea and Domenico del Gallo ob- tained a twenty years’ privilege as the sole man works. No specimen of their craft is known to exist but every collector dreams of finding one; for, strange as it may seem in the case of so fragile an object, some mirrors have survived through the centuries, and a few in al- most their full original beauty. Indeed, a good mirror, whether of the past or of today, is one of the very enduring articles. In this respect, America may properly be proud of its mirror- making prestige, for, barring accident, an Ameri- can plate glass mirror may remain unimpaired in beauty and usefulness for generations. About 1560, a guild of mirror-makers was formed in the city of Venice. So highly was the art esteemed, that its practitioners often were knighted, and many were carried into the higher nobility. From this it is seen that the mirror- maker was regarded not as a mere workman but as a creative artist of high rank. Venice practically monopolized the field until the latter years of the Sixteenth Century. From that time on, the literature and records of many countries show references to the widening indus- try. In 1664, Sir Robert Mansell, of London, wrote about making, grinding, and foiling. The last-named process, so pre-eminently important, had been greatly improved by that time. The original method had been that of apply- ing a thin sheet of tin amalgam to the glass. This marked an immediate and striking improve- ment upon the polished steel or silver mirror, but it was far from giving the wonderful reflec- [ 55 ] PITTSBURGH PLATE GLASS COMPANY tion of our modern mirrors. Venetian workers originated a method of attaching reflecting foil to the glass by means of an amalgam of mercury. This gave the mirror a back practically inde- structible, but the method has been superseded by the present form of mirror, as mercury is far too expensive in this day of widespread de- mand for mirrors. The mirror as we know it is, as a matter of fact, a genuinely modern development. It was about 1865 when the chemical method of deposit- ing a coating of silver on glass was discovered. This remains the basic process for present-day mirror-making, but it has been progressively im- proved and it seems safe to predict that while fur- ther technical modifications may be made, they will be merely in the line of manufacturing meth- od; in so far as concerns the production of mirror quality, the process is eminently satisfactory. The French are entitled to the honor of hav- ing discovered this method, and for many years they had the unquestioned monopoly of fine mir- ror-making. A “French plate” mirror was the only kind that a person of any consequence would think of owning. Even after plate glass manufacture had struggled to the position of an assured American industry, France still re- mained pre-eminent in this field. But in recent years, as a direct result of the ascendancy of American plate glass, the United States has won supremacy in the mirror-making field also. To- day this country is acknowledged to be the pro- ducer of the finest mirrors in the world, as to the quality of both glass and silvering. It is a source of deep satisfaction to the Pitts- burgh Plate Glass Company that its long battle for the plate glass industry has included among the fruits of success this signal achievement. THE MAKING OF PLATE GLASS MIRRORS N ARTICLE in another part of this volume, describing the methods of grading plate glass, explains that all plate glass turned out by an efficient organization is manufactured by the same process and that the differences in grade are established by critical selection after the glass is finished in the works. The plate glass selected for mirror-making (“silvering quality,” in technical language) must be of the very highest grade in surface and structure, because the silvered back accentuates every defect almost as if it had magnifying power. Only very limited areas in any given sheet of glass are selected by the Pittsburgh Plate Glass Company experts as being of the quality de- manded by the mirror department. An uncom- promisingly high standard in this regard, and undeviating adherence to it, decide the quality of mirrors. It is true that such rigid selection makes necessary a considerable amount of wast- age through cutting out rejected portions; but the processes of mirror-making are elaborate, and it is sound economy to use, from the outset, only the finest material for the work. The first process in making the mirror is the beveling of the edges, if it is to be beveled. After beveling comes the process of silvering. This cannot be done until the glass has been put through a most radical process of cleaning, among other things passing under machines for the removal of dirt and scratches. The formula for the silvering solution is almost uniform throughout the world, but the application of the principle presents innumer- able details of technique, manufacturing system, and resource. Shop management, equipment, the experience and skill of the workers, and many other practical, everyday considerations deter- mine the quality of the mirrors that are turned out by any establishment. No glass can be silvered satisfactorily if it is dirty; but the definition of “dirt”? may and does vary as widely as the term can be stretched. While in many industries a washing with ordi- nary water might be considered an ample cleans- ing, plate glass that is to be prepared properly for silvering must be washed with distilled water. The Pittsburgh Plate Glass Company’s definition of a clean glass surface is one that is chemically clean. The distinction is important, for the sil- vering process is a chemical process and not simply mechanical. The ingredients are sensi- tive and give good results under none but the [ 56 | THE MAKING OF PLATE GLASS MIRRORS The Mirror Receives Its Silvering Someone has likened the pouring of the silver solution upon the sheet of plate glass destined for mirror-making to the pouring of pancake batter upon a griddle. most favorable circumstances. From the mo- ment of cleansing, the washed plate must be protected scrupulously from any fresh soiling— even so much as a little dust. The mirror-maker who intends to maintain uniformly his standard of excellence must provide a silvering room that is dust-free. The washed plate is brought into such a room and placed on a blanketed table equipped with devices for warming the plate to a uniform temperature of from 90 to 100 degrees Fahrenheit. When the workers have assured themselves that the plate is in every way ready, a solution of nitrate of silver is poured carefully over it. A reagent, added to the solution before pouring, begins to operate in a few minutes and precipi- tates the silver on the glass, leaving the liquid on top, where it serves to exclude air from the silver, thus preventing its oxidation. When the precipitation is complete, the plate is dried. A preservative coating of shellac is spread over the silver and over that is painted a weatherproof coat of mirror-back paint. This completes the processes involved in making a modern plate glass mirror of the highest grade, known to the trade by the standard name of “patent-back mirror.” The purpose of the coats of shellac and paint is to protect the film of silver from moisture or abrasion, and extreme care must be taken to preserve intact these protective coats. When the mirror is set in place, provision must be made Drying the Newly Silvered Mirrors These mirrors have been silvered, as is shown in the preceding picture, and now are lying on the silvering table in order that the metallic silver may be precipitated. to prevent moisture from condensing on the painted back of the mirror. An air space be- tween the back of the mirror and the walls always should be provided, and this space should be such that some circulation of air can be assured. Mirrors never should be exposed to extremes of heat or cold. The silvering is assumed to be good for at least one year, but there is no reason why a mirror, which originally is made _ properly, should not remain in perfect condition for many years under the conditions found in the average home, if it is properly protected from moisture, and the protective backing is preserved from damage of any kind. If the mirror is not properly set, and is sub- ject to moist conditions, the moisture eventually will penetrate to the silver coating and cause oxi- dation of the silver, which shows on the surface of the mirror as minute black spots that grad- ually spread, as oxidation develops, until the mirror presents an unsightly appearance. This damage: will appear and develop much more rapidly should the protective paint coating be damaged in any way. A’ mirror which has become oxidized, or “spoiled,” can be made practically as good as new by removing the silver and treating the glass as in the original silvering process. This will restore only the silvering; any scratches or de- fects in the glass will remain. This point will be found more fully discussed on page 206. [ 57 | PITTSBURGH PLATE GLASS COMPANY The Three-Panel Mirror The beauty of this form of treatment is obvious. It accords well with the architectural features of the room. THE MIRROR N THE cultured civilization of today the mirror is far more than a mere looking-glass. It is one of the most beautiful objects produced in all the development of man’s esthetic faculties, and in our time it is coming into its rightful place. No longer is it restricted to places and occasions where we use it simply to see our own image. The gratifying increase in public under- standing of beauty and ornament has encouraged and enabled architects and interior decorators to place mirrors for other purposes. te as The Horizontal-Panel Mirror A familiar use of the mantel mirror in which it has its highest value as a looking-glass as well as for wall decoration. The Large Mantel Mirror In the room above pictured the unusual size of the mirror area adds greatly to the apparent spaciousness of the room. IN THE HOME While every use of a mirror depends on its property of reflection, the kinds of reflection to be gained are innumerable. A mirror may be so hung in an interior as to reflect a bit of landscape outside. Thus used, it is a picture, and a picture within the reach of any purse. It may be hung to reflect a color, in order to make the “spot” so dear to the artist on a wall needing such a touch. It may be used to “catch” daylight and thus brighten a part of the room that otherwise would be lifeless; or it may serve to give brilliant Mirrors in a Mantel This shows a very attractive use of mirrors in a mantel. The unused grate area is made to reflect the room. THE MIRROR IN THE HOME Types of Wall Mirrors Upon this page are shown three of the many types of wall mirrors in ornamental frames. Such mirrors are particularly effective as reflecting backgrounds for plants, statuettes, vases, and other ornaments. reduplication of artificial lights. A room that is too short or too narrow will gain in appearance “squat” can be relieved by cunning use of a of spaciousness if a mirror be placed at its end single mirror, if one of the right shape be hung or opposite the entrance. A mirror of correct in exactly the right place. A room that seems proportion hung between two windows at the end An Effective Dining-Room Mirror A Gold-Framed Mirror The glass here shown is contrived to form an integral part of the — This superb frame and the glass it encloses are in perfect accord scheme of decoration. with chair, lamp, and console table. PITTSBURGH PLATE GLASS COMPANY Mirrors in a Millinery Shop A millinery shop is made attractive by its mirrors no less than by its display of headgear, and the two are inseparable. Such inte- riors as the one here pictured present attractive vistas of reflecting surfaces and, still more to the purpose, enable the purchaser to try the effect of the hats. of a narrow room will make an amazing change and will convert an uninteresting or even un- pleasing apartment into one that has the inde- finable charm of “style”; for style, as the artist knows it, is a matter of touches like this. There is no easier or simpler way to give dis- tinction to a hallway. This, the first place to be ae ears as It is probable that the mirror is the principal sales-person in such transactions. entered by guest or owner, too often is: sombre or at least unattractive. Most halls are too small for pictures or for the effective use of other decoration, but no hall is too small, or too unpre- tentious, fora mirror. It is always appropriate, always an improvement; in a dark hall or on a dark stair, it is more than an ornament; it dispels Mirrors in Dressers and Wardrobe Doors A dresser must have a mirror, and if this be supplemented by a full-length glass in a near-by door, as shown above, all toilet purposes are served. In some cases it adds to the architectural effect to have the door made of plate glass mirrors in small panes, set in a sash effect as shown in the smaller picture. [ 60 ] THE MIRROR AS A LOOKING-GLASS gloom. A _ statuette or similar object gains immeasurably when a mirror of appropriate size is placed immediately behind it. There is no more exquisite thing than flowers with a mirror for background. A corner too low for a picture, too small for any other use, instantly is lifted from its nothingness by such a bit of polished and silvered glass. A mirror is a thing to use deftly, with sensi- tive appreciation of fitness. A single mirror in one room may be just right, while two or more would “fight each other.” But another room may gain distinguished character by a number THE MIRROR AS HE successful establishment of plate glass manufacture as an American industry, which has made plate glass, formerly a luxury, now a practical, common, everyday utility, has done more than that: it has brought into well-nigh uni- versal use the full-length plate glass mirror. Within the memory of the elder of the present generation was a time when a full-length “French mirror” was a precious thing indeed, and its pos- sessor envied—and also eagerly visited by callers who “just dropped in” for a moment to have a look at themselves. Those were the simple days. Today the most unpretentious home can afford even a pier glass, and it is not merely the woman of fashion who requires the facilities of self-in- spection: the well-groomed man thus serves his self-respect rather than his vanity, while the deft- fingered woman who has the knack of gowning herself finds the full-length mirror not only a convenience but a very practical home economy. Coincidently with its wide use, there have come many ingenious ways of placing these large mirrors. Whereas the old-fashioned mirror was either a so-called pier glass or else a glass hung on a large and cumbersome stand, the large mir- rors of today are set where they are neither in the way nor inconvenient. For example, a most economical and attractive method of our time is to set mirrors in the doors of wardrobe cupboards and similar closets in bedrooms, boudoirs, sit- ting and sewing rooms, and so on. Sometimes they are on the outside of the doors, if the scheme of decoration makes this arrangement suitable. At other times they are on the inside, of mirrors so disposed as to send a play of beauty flashing around the walls. In the average dwell- ing there is not a room that cannot be improved by at least one mirror in the right place. Mirror frames may be of the utmost sim- plicity, or they may be in themselves a part of a scheme of lavish decoration. In many cases, as in tiled bathrooms or in paneled or otherwise fancifully decorated apartments, it may even be effective to use them with no frame at all. In- deed, the adaptability of the mirror for ornament is so unlimited that a volume might be written on this one theme of interior decoration. A LOOKING-GLASS a method much used where there are small chil- dren who in their play might scratch exposed mirrors. A strikingly beautiful way of using a full- length mirror for the combined purpose of look- ing-glass and decorative element, is to set it at the end of a long front room or of an upper hall. In a room with two doors that face each other directly or approximately so, a full-length re- flection in each door enables women to study their costumes from all angles. Such an ar- rangement, moreover, almost always increases the illumination. MIRRORS IN BATHROOMS In the bathroom the correct use of mirrors will make a permanent saving in the artificial lighting bills. Too often the attempt is made to make shift with a single mirror in this room. This almost always is a mistaken economy, for there are very few bathrooms where the same mirror will be equally serviceable for both natu- ral and artificial light. Therefore, whenever a single mirror is used, it necessarily is placed with reference to the artificial light, for other- wise it would be useless after dark. The conse- quence is that there are surprisingly many bath- rooms with plenty of natural light but with the mirror so placed that even in the brightest morn- ing it is necessary to use artificial light. There is hardly to be found a bathroom that will not benefit in comfort and economy from at least two mirrors, one for use with natural light and the other with artificial light. In a house [ 61 ] PITTSBURGH PLATE GLASS COMPANY SS ARE NT Re RR le eat it~ ca eam ia, Lavatory Mirrors Plate glass mirrors have prominemt place in all well appointed lavatories. In some cases they aré made adjustable ais to position, a considerable convenience in shaving. THE MIRROR IN FURNITURE Mirrors in Bathroom Cabinets The obvious convenience of having a mirror inserted in the door of the cabinet which hangs before the wash-basin has made its employment almost universal. where there are several men, it is a convenience to have a shaving mirror in addition, either alongside a window or over the bowl, so that two men may use the room simultaneously. The bathroom walls, being either tiled or of special material, lend themselves well to mir- rors permanently set in. They may be used with or without frames according to circumstances. The reception room in every dwelling should have a mirror primarily for use as a looking- glass, since every woman desires to be sure that her costume is in perfect order before her hostess greets her. This little provision for the comfort of guests often saves the household from the fuss of taking visitors upstairs. It is also a decided convenience to the women of the house- hold by permitting them to get a last glimpse of their apparel before going out. THE MIRROR IN FURNITURE HE mirror in furniture serves two purposes— for pure decoration or for use as a looking- glass. In the bedroom, dressing room, and bou- doir, its primary utility is that of a looking-glass, which suggests its use in wardrobe doors, also on dressing tables and bureaus, where, as a rule, the mirror is most serviceable when so arranged as to be adjustable in various positions. In the dining room, on the contrary, the mir- ror as a back for the sideboard and the china closet or glass cabinet is to be treated entirely as a part of the decorative scheme of the room. Its property of reflection in these cases should be studied with direct reference to the silver, porcelain, and glass. The reflection is for the purpose of enhancing the beauty of these objects by bringing out their full grace and lustre. The correctness of using mirrors in such furniture has been recognized in all periods of art. It is one of the distinguished modes of ornament. The same principle applies to the glass cabi- nets in drawing-rooms and reception rooms for the little objects of art that always have been a favorite and appropriate element in the furnish- ing of such apartments, where a general effect of formal elegance is quite correct and justified. If the Keskonsea 3 in the library are glazed, as they should be to protect the volumes against dust and injury, mirrors may very well be sub- stituted for glass to hide shelves the effect of which is unsightly, either because they contain books with damaged or otherwise displeasing backs, or because they have to be used for pre- serving necessary but unattractive and untidy [ 63 ] PITTSBURGH PLATE GLASS COMPANY Dressing Tables A dressing table without mirrors is unthinkable and the value of setting the two wing-mirrors at an angle to the center glass is one that needs no argument with any woman. The designs here pictured are merely two of the infinite variety of mirror applications for this purpose. pamphlets and similar literary material. The remedying of such bad spots in the library often adds marked brilliancy if the arrangement of mirror doors is judicious and harmonious. The use of transparent plate glass tops for furniture has become one of the standard methods for preserving and beautifying and at the same time displaying costly furniture of high polish. The principle can be applied with equally good results for the purpose of conceal- ment, by using mirror tops. For example, if a Vanity Cases Generous mirror surface is as important in connection with the vanity case as for the dressing table. In this picture a full-length view is easily obtainable and the mirror in itself is a decorative feature of the room. certain piece of furniture happens to have an expanse of top out of keeping in color or finish with the rest of the apartment, the objection can be removed by covering it with plate glass in mirror form instead of transparent plate. Dining-room tables may have tops wholly of mirror glass, or there may be merely a mirror center-piece. The center-piece effect is appropri- ate on a table with its surface entirely uncovered, or on a table that is covered for protection with a transparent plate glass top. Buffet Mirror The purpose of a buffet mirror such as is pictured is largely that of architectural ornamentation. In this case it accords perfectly with the Chippendale furniture and other appointments of a handsome room. [ 64 ] THE MIRROR IN FURNITURE The mirror in modern house decoration serves in many useful ways. By reflecting an exterior or interior scene, a mirror makes a picture in all the exact lights and shades and colors of nature, or it may be used to produce a “spot” of color or a pool of light wherever needed. Many a sombre, uninteresting wall is thus changed to something with character and charm—all by means of a mirror in the right place. | P| | | > Z, < A. = S o DN 5 o [2 > =< = A. ss O pe 2 fa Nr = = A designs in mirrors appropriate for hallways and other places. Here are a few THE MIRROR IN FURNITURE A mirror image can be enhanced by a beautiful frame as personal appearance is improved by handsome clothing. hy 9 2 a i | ii [ 67 ] PITTSBURGH PLATE GLASS COMPANY Wall and Column Mirrors: Plate glass mirrors are coming more and more into use for decoration in the modern public dining room. Diners enjoy the added sense of companionship and interest thus produced. THE MIRROR IN PUBLIC PLACES N HOTELS, restaurants, and other places of refreshment where there are many tables, the mirror has a highly practical value that literally can be counted in the dollars and cents of daily receipts. Very few people are willing to sit facing blank walls. A feeling of discomfort is common to most human beings when they sit thus turned away from companionship, but a certain An All-Mirror Room This is a room of such far-reaching vistas in every direction that the eye finds entertainment in following the oft-repeated reflections. [ 68 ] THE MIRROR IN PUBLIC PLACES pm it tis 3 en aes CAIN Rear-Counter Mirrors How uninviting the soda fountain would be without its background of mirrors can well be imagined. proportion of the seats must be so placed. By placed, others are visible. No one is compelled the simple expedient of using an unbroken series to face a blank wall, and thus every bit of space of mirrors for the walls, all seats are made _ in the room can be utilized for profit. equally desirable. No matter where a guest is In addition, these mirrors give brilliancy The Modern Barber Shop Walls and columns are given over to mirrors in the up-to-date “‘tonsorial parlor.” shows miter-cut lines for decorative effect. The column mirror on the right in this illustration [ 69 ] PITTSBURGH PLATE GLASS COMPANY Refrigerator Accessories In the picture here given the attractiveness of a handsomely appointed butcher shop is largely enhanced by the liberal use of mirrors in the fronts of the refrigerator. both day and night and impart to the scene vivacity and cheer. This probably is the most economical form of decoration for places of such character, where tobacco smoke or incidents of catering soon discolor an ornamental surface. The wall of mirrors retains its beauty perma- The variation of form has been ingeniously employed to make the room more interesting. nently and has the advantage over every other sort of decoration, that it always is exquisitely clean. Furthermore, alterations that inevitably destroy other ornament do not lessen the value of such mirrors, since they may be removed in- tact and reinstalled wherever desired. A value Column Mirrors One of the more recent applications of mirror surfaces is to enclose the bases of otherwise unsightly columns. Columns are necessary for support and usually obscure the view, but this disadvantage is practically obviated by making them reflect their surroundings. The use of mirrors for this purpose is extending rapidly. [ 70 ] SPECIAL USES that appeals to interior decorators is that mirrors may be made to serve diametrically opposite purposes. For example, a wall presenting too large an expanse can be so broken by mirrors that it is reduced to dimensions satisfactory to the eye. Or, on the contrary, wall-spaces that seem constrained or pinched are altered so radi- cally in appearance that it is as if some magic had expanded them. This is merely a matter of placing a few or many mirrors according to certain simple rules of optics. The usefulness of this form of glass for public places is not based by any means upon showiness. It is possible to panel an entire room, and even to give it a ceiling of mirrors, and still keep it in perfect artistic style and quiet elegance. One of the charms of mirror decoration that tempts the modern artist lies in the fact that it lends itself subtly and intimately to the most delicate and unobtrusive beauties of style. Some of the best effects in such locations as SPECIAL USES HE mirror, both of plate glass and of cylin- der or sheet glass, has long served in a vast variety of ways for industry, from fancy box tops and other minor ornamental purposes to the most important duties, as for locomotive head- lights, searchlights, and even telescopes. The giant searchlights are implements of daily work no less than instruments of war. They serve the miner, the engineer, the contractor, the manufacturer, the farmer. They serve trans- portation on land and sea, and do it all so well because of their high-grade glass mirror. Signaling in the daytime by heliograph (which is telegraphing with the sun’s rays) is the origi- nal wireless. It was used long before the World War and served men efficiently for the works of peace. In new country, heliographing still remains a ready method for communication be- tween parties of explorers, surveyors, engineers, and other advance agents of civilization. It requires no heavy equipment and lays no tax on the slight transportation facilities of parties that have to force their way through wilderness. A few small mirrors will do the work. At any moment men far apart and out of sight and hear- OF MIRRORS hotel and theatre lobbies are obtained by mirrors unnoticed by the public, because, though in plain sight, they are so adjusted that neither polished surfaces nor reflections are conspicuous. The service performed by mirrors in shops is, of course, too well understood to require elabo- ration. The reader will be surprised, however, if he will devote a half-hour to observing the number of shop mirrors and the variety of serv- ice they perform. As with transparent glass, we moderns have become too thoroughly accustomed to mirrors to realize how they fill our daily life. Such places as barber shops, drug and confec- tionery stores, and beverage shops would be quite inconceivable without them. Thousands of shops and stores would be disfigured with ugly corners, blank walls and columns, or ob- structive pillars, were it not for the ever-ready and ever-effective mirror that instantly trans- forms such incongruous spots into features of real attractiveness. OF MIRRORS ing of each other are thus able to communicate. An enumeration of all the industrial, commer- cial, and scientific uses of mirrors would involve a list of many modern enterprises. It is hardly necessary to refer to the fact that automobile lights, electric pocket flash-lights, and other articles of common use all need mirrors. The automobile driver, speeding along with his atten- tion fixed upon the road before him, has no need to turn his head to see whether he must allow for a swifter car coming up from the rear: he has a telltale mirror at his elbow. The road over which he has just passed unrolls continuously to his view and an extensive image is reflected from the small surface because its concave curve acts as a reducing glass. The interior of the car also, if it be a limousine, is likely to have its mir- ror in which the occupant on her way to ball or theatre party may take late note of her coiffure. Bits of looking-glass are very much the rule in the innumerable penny-in-the-slot vending machines. Experience has demonstrated that the mirror will attract possible customers—men as well as women—who then are apt to heed the suggestion of the waiting slot. [71] PITTSBURGH PLATE GLASS COMPANY Distortion Mirrors The old-fashioned mirrors in which defective common glass was silvered must have suggested the humorous possibilities that lay in distortion mirrors. There now exists a regular demand from amusement places for looking-glasses in which the surface has been so skillfully waved and curved as to transform any beholder into a weird monstrosity. SPECIAL USES OF MIRRORS Distortion Mirrors The man with the turtle neck, the man with the zigzag legs, the pair of human step-ladders, and the three-headed wonder, all g g LS ‘aded wo are here. Such mirrors are always popular and are surrounded by groups of visitors, who seem to find a fascination in seeing to what extent their own familiar features can be caricatured. PITTSBURGH PLATE GLASS COMPANY The oculist, in making his examination, hangs a circular perforated mirror over one eye and thereby is able to reflect a strong beam of light upon the organ under scrutiny while he peers through the tiny hole in the center. The dentist uses a tiny mirror set at an angle on a slender handle and thus detects the significant discolora- tion, however hidden it may be. Without this glass his work would be seriously hampered. The world’s entertainment utilizes mirrors ex- tensively. The spot-light, so beloved of actors and audience, is a creature of the mirror. The stage uses it for illusions, for its most gorgeous vari-colored lighting effects, for storm, and for moonlight. The “distortion mirror” in amuse- ment places makes all the world laugh at its own wry image. These weird masterpieces of crafts- manship are made with such scientific knowledge of visual angles that their complexities of surface produce the most startling effects. A still stranger use of mirrors is that long em- ployed by stage “magicians.’ 2 Thaumaturgy has certain mysterious cabinets that when opened to the view of the audience are plainly seen to be empty. People placed in such cabinets are found when the door is re-opened to have disappeared apparently into empty air, but all because of the cunning arrangement of mirrors so disposed as to reflect the top and sides and thus create an illu- sion of emptiness over a concealed compartment. Perhaps the most inspiring use of mirrors is that connected with astronomy. Many of the world’s greatest telescopes are of the reflector type, which is to say that the observer does not look directly up into the sky but down into a huge mirror of a special type. Upon this are reflected, in a marvelous panorama, planets, suns, comets, and nebulz, and as their rays find their way through the lenses of the instrument they may be studied and even photographed. In this there is a kind of appropriateness, since the moon and planets are themselves mirrors of a sort shining down upon us by means of the light which they, in turn, reflect from the sun. PLATE GLASS AND THE AUTOMOBILE The Joy of Motoring There would be little pleasure in even so luxurious a car as the one here shown were it not for the constant panorama of changing views that passes in front of the windows. These windows must be of clear plate glass or vision will be strained and the outlook unsightly. PLATE GLASS AND THE AUTOMOBILE N THAT vehicle of the Twentieth Century, the automobile, plate glass is the only practical, desirable, and really economical glass. For the indispensable windshield, for the doors, and for the windows, plate glass is the one satisfactory material, while the plate glass mirror reflects to the driver a perfect view of the road behind, with its possibilities of danger. Bent plate glass used for windows gives to the lines of the car an elegance all its own, sub- stituting graceful curves for the ugly angles that strike so discordant a note in motor-car design. Altogether aside from the superior strength of plate glass and the security its use entails, its transparency is a compelling argument in its fa- vor as regards a vehicle the use of which is so largely for sight-seeing. The windshield is one of the modern triumphs of plate glass, exemplifying as it does the in- trinsic merits of this material—strength and endurance, transparency and_brilliancy—all united for practical service of highest importance. An automobile can be used, to be sure, without this protection, but only at cost of discomfort and of many perils. It is a shield, not only against rain and snow and the wind-blast of swift motion, but against dust and flying frag- ments of road-metal, which, by momentarily blinding the driver, might cause accident. Every car-owner today may have a plate glass windshield that is perfect for its purpose. Not even the cheaper makes of automobile can afford to omit this refinement; for the difference in cost between the highest grade of glass and the poor- est is an exceedingly small percentage. The initial saving being negligible, and the “econ- omy’ so mistaken, no manufacturer would give second thought to the substitution of common glass. In case of repairs, however, the customer is wise who distinctly specifies plate glass. Window glass, which is made from blown cylinders rolled flat, although inevitably of wavy and uneven surface, is one of the immensely valu- able products of human skill. For countless uses it is eminently suitable, but when a material so rightfully possesses its own legitimate field, it is economic folly to try to force it to a service [ sy id for which it is not at all intended, and which it cannot render as it should. Certain inexorable requirements there are which must be met by a windshield. Not only must it be strong enough to remain unaffected by continual and severe jarring and vibration, but it must have in reserve abundant strength to resist at any moment shocks of unusually pro- nounced violence. Besides being resistant to shock, it must have such uniform strength throughout its extent that it will withstand the heaviest wind-pressure. It must defy the abra- sive assaults of dust and flying bits of road- metal, as well as the impact of an occasional missile. It must be not only truly transparent, but perfectly free from all lines of waviness or optical distortion such as must of necessity ren- der the driver’s view unreliable. Such are the requirements; and such, is: wise, are the perfections of plate glass, for which no other glass can properly be substituted in this wide application. Clear vision, entirely free from distortion, can be had only through glass with its surfaces parallel. Grinding and polishing constitute the only method thus far discovered for obtaining perfect surfaces of exact parallelism. While improved methods of making window glass greatly reduce the old-time distortion, this mate- rial still is unequal to the exacting requirements of automobile use. Emergencies are constantly arising where the motorist’s margin of safety is only a matter of inches. Instantaneous decision must be based on clear vision. He must steer as he sees. If he sees straight, well and good; but if through the interposition of glass that distorts by refraction he sees objects out of their actual position, ac- cident sooner or later is unavoidable. Polished plate glass in windshield and windows means see- ing things exactly where they are. Seeing things exactly where they are spells safety. Apart from this vital element of safety, com- mon glass does not compare with plate glass in shock-resisting or pressure-resisting strength. The gravity of many a collision has been min- imized by the solid strength of plate glass. ] PITTSBURGH PLATE GLASS COMPANY Plate Glass versus Common Glass in Automobiles No manufacturer would think of using common glass for car windows, but occasionally substitution is made in replacements. These pictures tell their own story. On the right, window glass, or “‘ crystal sheet’’ as it is sometimes called, means eye-strain and general discomfort to the occupants, while in the other, all images seen through plate glass remain clear and true. The superior transparency of plate glass in windshield and windows is particularly notice- able in a vehicle moving swiftly because the eye has not the usual time to take note of objects by the wayside. In respect to this fact alone, plate glass amply repays its cost in the added pleas- ure of the passengers, and this is one of the con- siderations that move the makers of automobiles to use plate glass and nothing else. Even if the arguments of utility and safety were not so con- vincing, superior smartness would tip the scale in favor of plate glass. At a time when makers are vying one with another to embody in their newest models every conceivable appointment of Image Seen through Two Windows Here is a further illustration of the value of plate glass in automobiles. The left-hand picture shows the columns of a resi- dence as seen, without the slightest distortion, through two lights of plate glass, while in the other picture their outlines are seen distorted by common window glass. [ 78 ] PLATE GLASS AND THE AUTOMOBILE Windshield and Protectors No automobile driver who values his safety will sit behind a windshield of common glass, for his view of the road must be clear at all times. The wing-form side protectors now in general use are necessarily made of plate glass. elegance and luxury, it is not to be thought of clear and scintillating, to which his majesty the that any should ignore the irresistible esthetic American citizen owes so much of the splendor appeal inherent in polished plate glass, crystal- of his chariot of state. DL. cad Sw usr | Tonneau Windshield Glass windshields protect the occupants of the tonneau from wind and dust without slightest interference with the pleasure of the outlook so long as clear sheets of plate glass are used. The strength of plate glass and its resistance to road shocks and impact of flying pebbles are obvious advantages of the highest importance. [ 79 | PITTSBURGH PLATE GLASS COMPANY Tosa tcgremreeclist _ LT F * rp TZ ¥ Automobile Instrument Board The driver must get quick and accurate judgment of his indicators. This cannot be expected if flawed glass is employed. Individual Plate Glass Protector Through his windshield the driver must keep his eye upon the road ahead. Distorted vision is dangerous. PITTSBURGH SERVICE TO THE AUTOMOBILE MAKER ERFECTION” is a relative term; progress is the watchword of the present. With a view to the refinement of the plate glass to be used in the automobile, research and experi- mentation are being carried on constantly in the factories of the Pittsburgh Plate Glass Com- pany. Maintaining a highly efficient corps of service engineers and experts in the handling and setting of all glass, the Company is in posi- tion to be of real service to the motor-car manu- facturer. Problems of thickness, quality, and size of glass best suited for any given require- ments should be submitted to the branch of this Company nearest to factory or assembly plant. Nearly all cities now require that mirrors be so placed that the driver may have a reflected view of traffic behind him. These mirrors never should be makeshift. Their importance merits the use of selected plate, so that distortion of the image will be quite impossible. Designers of coupé, town car, and limousine bodies will do well to investigate the possibil- ities of bent glass and the endless opportunities it offers for imparting the last touch of style. Automobile Bracket Lamp and Spotlight The maximum of clear and perfect illumination for such purposes can be given only by plate glass. [ 80 ] PLATE GLASS AND FURNITURE URNITURE of certain sorts, such as cases and cabinets for porcelain, crystal, silver, curios, and various rare objects of art, would be comparatively useless without glass to protect at the same time that it displays the contents. In such pieces glass is a practically indispensable component. No matter how beauti- ful the wood may be or how costly its carving and finish, the dominant feature is the transpar- ent front. The quality of glass so used, there- fore, deserves the close attention of the maker and the user. Naturally plate is the only glass that can be considered. Futile indeed would it be to expend artistic effort, labor, and money on rich cabinet- work, only to destroy its quality at the last by glazing with inferior sheet. Such an error would mean to the furniture maker loss of prestige as well as of trade, and to the buyer permanent and altogether needless disappointment. In modern times glass always has been more or less inseparable from fine furniture. Its use has widened with each generation, and today the furniture manufacturer includes glass among the essential materials. All periods of modern art have so justified the addition of glass in ornamentation of certain pieces of furniture that they would be considered incomplete with- out it, while in others it is glass that gives the article its utility. In the latter class, bent plate glass, taking the place of side-walls, angles, and front, as in china cabinets, produces an effect of beauty that belongs strictly to the present period. In very recent years a new and most impor- tant field of usefulness has developed, which makes glass not a built-in component of fur- niture, but a separate accessory; namely, the use of plate glass as a permanent protective cover- ing. While preserving the finish from acci- dental defacement and extending indefinitely the life and usefulness of the article, this rich plate of polished glass adds a beauty of its own. Present-day art education in America has taught us the beauty of polished woods. Not so many years ago, the custom was to cover table- tops and dresser-tops with linen or other fab- rics wherever possible, but today furniture is left uncovered: the grain of the natural wood is valued and displayed. The furniture industry has been quick to respond to this change in popu- lar taste, and is producing, even for everyday use, furniture that compares favorably with the choice pieces of earlier art-periods. The change in style noted has not been without its drawbacks, however. Keeping polished fur- niture in perfect condition was none too easy in the old days before the problem of domestic help became so serious, and no doubt the former prac- tice of covering dining tables with snowy napery, and library tables, dresser-tops, bookcases, and the like with throws of various sorts had _ its origin partly, if not wholly, in the desire to keep the polished surfaces unmarred. Even where there is no danger of rough usage, there is dust; and dust has a steadily abrasive effect on lus- trous surfaces of this sort. In this modern emergency appears the pol- ished plate glass top as a defense against injury of every description, a sure shield from dust that nevertheless leaves unconcealed the beauty of the cabinet-maker’s art. It is an unobtrusive armor for protection: what the eye can see of the plate glass top is only an added richness of lustre. The aged effect of many an ancient treasure of cabinet-work is merely the grime of centuries, fixed by successive refinishings. The grain of a once-beautiful wood is buried under layer after layer of dirt and varnish. Plate glass has changed all that. The antiquary of the future will admire Twentieth Century art for itself, rather than for the dinginess of its antiquity. The plate glass top, aside from its own simple beauty and the service it renders in exhibiting the beauty which it protects, greatly reduces housework. Dusting becomes a most simple operation, for dust, which clings to the most highly polished wood, merely settles on glass, but adheres not at all. Liquid stains that would destroy varnish mean nothing to plate glass, but vanish under a dampened cloth, while the labo- rious daily rubbing of polished wood becomes altogether a thing of the past. In using plate glass upon finely finished fur- niture tops, it is highly desirable to maintain at [ 81 ] PITTSBURGH PLATE GLASS COMPANY ql PEGI NONE Re Ser tea — hi Sis tooo ; y ES at ee ate a) -~ ib i a Rip I or 4 ahs Plate Glass in Private Libraries Plate glass is an essential part of such an interior as the one here shown. It protects the books from dust without obscuring the beauty of the bindings and preserves the ornamental tables from injury. The fact that plate glass can be cut to conform with the outline of the table top increases the range of its beauty and service. Plate Glass on the Dining Table The growing custom of using doilies instead of table-cloth on the dining table makes a plate glass top a necessity whether in a modest home or in an establishment with liveried attendants. Women guests may be trusted to be considerate of a polished top, but men forget. Unhappy is the hostess who sees mahogany threatened with the hot ashes of cigar or cigarette. No such worries mar her pleasure if her table is protected by a polished plate glass top. all times a slight space between glass and var- nished surface. Thin disks of felt or similar material will accomplish this. Under certain conditions glass condenses moisture or “sweats,” and the glass top, if laid directly upon the wood, is likely to draw the varnish. This field for the use of plate glass is only in the first phase of its development. It offers incalculable opportunities to furniture makers and dealers, and to dealers in glass as well; for the plate glass top may be applied not only to furniture in the making, but to choice pieces already installed in household and office. The furniture maker, in availing himself of this new utility, is confronted by no manufactur- ing problems whatsoever, because plate glass can be supplied in all desired shapes and sizes. By its aid he is enabled to use many rare woods and to apply delicate finishes which without such protection would be too liable to injury and therefore impracticable. The furniture dealer, likewise, finds in these plate glass coverings a new accessory merchan- dise that is readily salable by itself, and helps ereatly in the selling of other goods. [ 82 ] PLATE GLASS AND FURNITURE SS 4 . i AS Ornamental Furniture Pieces Tabourettes, pedestals, and other purely ornamental pieces of polished furniture have the duty of holding some equally ornamental object—a jardiniére, a vase of flowers, porcelains, bronzes, or statuettes. Most of these are heavy and their bases highly abrasive, yet they must be moved daily to prevent the gathering of dust. Varnish cannot survive such friction. Plate glass protects the furniture from injury yet does not hide the beauty of the wood. Glass-Topped Dressers and Tables A few years ago the use of glass for such a purpose was unknown. Today it would be a real hardship to return to plain wooden tops. [ 83 ] PITTSBURGH PLATE GLASS COMPANY The Directors’ Table The directors’ room is essentially a room demanding dignified elegance. Infrequently used, it must not look as if it were a scene of daily work and bustle. Its most important furniture is the long and massive table that is inseparable from its pur- pose. This table must never show a sign of negligence, yet it is sometimes subjected to hard usage. Hard-backed ledgers and account books, letter files and writing pads, ink and cigars do not improve fine cabinet-work. The plate glass top insures the table against injury. Glass-Partitioned Work Tables Plate Glass Ventilators In rooms where desk-workers must be placed close together in Fresh air is requisite for efficiency, but drafts are dangerous. order to economize space, glass partitions have particular value, | This problem of the open window has been solved by means of since they do not obstruct the light that falls upon each table and __ the plate glass ventilators which admit air without a draft. yet permit a semi-privacy for each worker. Such ventilators are coming into very general use. [ 84 ] THE MODERN STORE FRONT ecatranrntri =$0*Anniv ersary= oe! CLOSING UP SHOP IN THE EARLY DAYS Then and Now Fifty years ago when the department store had its humble beginnings, its one show window of fragile common glass ‘must be boarded up at night for safety. Today the great sheets of plate glass not only provide protection for the window contents, but serve as the merchant’s most effective selling help. THE MODERN HE use of plate glass for the modern store front is practically universal. No builder or shop-owner would think seriously of sug- gesting inferior glass for this purpose. As a matter of fact, it would be impossible for a shop with a common-glass front to compete in the same neighborhood with those having fronts of plate glass. Even in secondary business streets and among the very small scattered shops in out- lying districts, the superior durability of plate glass induces its use as an economy. If the modern plate glass store front is not quite so recent as the automobile, it still is very much a matter of our own generation. Persons scarcely past middle age can recall the days when American merchants were proud to advertise the fact that they had installed show windows of “French plate glass.” Older inhabitants also can remember how in the old days merchants everywhere used to put up heavy wooden shutters over the shop fronts at night. One would have to seek far today to find a shop thus barred. Plate glass has become the universal safeguard against burglary at night. In addition to its strength and the noise made by smashing a pane of plate, its transparency, mak- ing interiors plainly visible to passers-by and to the police, makes plate glass the most effective burglar-proof device extant. Adequate display of merchandise is recog- nized as inseparable from modern salesmanship; but not all merchants apply the principle to best 2 ‘D doee l 1f ac LE wai, STORE FRONT advantage. It is the successful merchant who willingly expends all the thought and money that bid fair in any way to increase the value of his show windows and show cases. He knows what they are worth to him. The ground area they occupy, he has proved, is the most productive floor space in his establishment, and not in a single square inch of the space so devoted can he afford to fall short of the most effective use of it. The shop front or show window is in fact an auxiliary store, selling without salesmen. It attracts men and women in the street, arouses their interest, sells what is exhibited, and by inviting people inside leads to further sales. In planning the shop front, its related but dis- tinct purposes should be kept in view. The first duty is to catch the eye of the passer-by and induce him to stop; this may be accomplished either through artistic beauty or by means of some striking feature. Having stopped the pros- pective buyer, the shop front’s second function is so to hold his attention that he will study the display. Therefore the articles in the window must be easy to see; the glass front must be clear as alr. : The shop front or show window may be aided in performance of its functions by the exterior show case or “island,” so made nowadays as to have no obtrusive framework, being merely a case with walls entirely of glass, put together with neat metal clamps, almost invisible. The con- tents thus may be viewed from all directions. [ 87 ] PITTSBURGH PLATE GLASS COMPANY ae A Double-Story Show Front In this illustration two stories of show windows appear in one story of the store. In other words, the height of the ground floor makes possible an upper and lower series of show windows across the front with adequate room for each. METAL CONSTRUCTION FOR STORE FRONTS HE method of using plate glass for store front or show window today is to set it in metal. This gives a shop front practically all of glass. The metal parts are so few and so unobtrusively adjusted as to be almost unseen at a casual glance. The thick bars and sills that marked the old wooden construction have been eliminated. Everywhere glass joins glass and the beautiful atmospheric clearness of the pol- ished plates is unbroken throughout the entire area of display. Metal store-front construction may be de- scribed truly as an industrial triumph. Not only has it done away with unsightly clumsiness, but it gives a rigidity and strength impossible under the old-fashioned plan. Metal construction, furthermore, brings with it many permanent economies: The metal-set window, once installed, is installed for good and all; it needs no periodical renovation; there is no paint to peel and fade, no woodwork to be- come scarred and dingy; the saving in upkeep alone will, in brief term, more than cover the whole expense of metal-set construction. Fire underwriters, of course, always prefer metal to wood. Not infrequently the difference in hazard will effect a very notable reduction in insurance rates. There are several standard makes and systems of metal store-front con- struction. Experts of the Pittsburgh Plate Glass Company are prepared at all times to work out the details of any desired installation for archi- tects, contractors, or others. By observing cer- tain simple rules for setting store-front windows a perfect result is assured. Among the various systems is one distributed by the Pittsburgh Plate Glass Company which is eminently satisfactory and successful. Made by men intimately acquainted with the properties of plate glass, and tested by many years of elaborate trial, it is believed that this system embodies all possible qualities of simplicity, strength, and durability. Not the least of the recommendations of this system is its beauty. Supplied in solid copper or bronze, and in a large variety of such finishes as statuary bronze, nickel, and gun metal, it is found highly effective in harmony with prevail- ing architectural styles. An invaluable feature of all forms of good metal construction is the fact that it makes the show window absolutely dust-proof. The char- acteristic strength of such a system is achieved by means of an outer construction and an inner reinforcement that draw the outer covering up to the glass plate under tension, thus providing a [ 88 ] METAL CONSTRUCTION FOR STORE FRONTS Securing Larger Window Area Because of the arrangement of the glass frontage in these windows it is impossible for a visitor to enter the door without obtaining a distinct, arresting impression of two diverse lines of goods. bearing that is permanent and unvaryingly uni- form. The glass is gripped sufficiently far from its edge to give absolute freedom from any strains or fractures that might possibly be produced by what is known as “pinching.” The plate of glass rests on setting blocks so arranged that at no point can the edge of the glass come into contact with the metal. A Simple Store-Front Arrangement The windows here shown are pleasing by reason of their very simplicity, yet give a considerable amount of room in which a few garments may be displayed with an effect of spaciousness. The use of decora- tive glass in the upper panel adds attractiveness without diverting the eye. [ 89 | PITTSBURGH PLATE GLASS COMPANY fale HHHAHHE er —~ rere 7 on etme LELEOL POSESRGDRERUGRALARRUDLSVERUCCREVGCTORR ADAG ATRROD OG ARDS ib: Windows of Plate Glass and Prism Glass In this arrangement the front of the store is greatly recessed and the windows have almost the effect of detached show cases. By means of the prism glass panels above the show windows, daylight is thrown over the rear cases into the store. This front is a striking example of the chastely decorative possibilities of the prism panel, along with its singular utility as an aid to illumination. | Sg ee a ma kan IR TT td ee pTrtitrt itt rire Ts 8 : Where the Entrance Door is at One Side This picture shows an effective arrangement— one show window suitable for large exhibits, supple- mented by a side window that adds materially to the comparatively narrow front, [ 90 ] METAL CONSTRUCTION FOR STORE FRONTS Doubling the Exhibition Space Almost the effect of an arcade has been obtained in the store where the above picture was made. The visitor approaches the door between plate glass lights set in metal framework and attractively dressed with merchandise. In this case the pillars that occur with- in the windows are surrounded with panels of mirrors as shown on page 70. Display Windows for Narrow Store Fronts These simple but effective windows are in marked contrast and suited to different types of display. In the left-hand picture a con- siderable amount of space has been borrowed from the shop’s interior and turned into window display, thereby making an appeal to the passer-by quite impossible with the old type of store. [91 ] PITTSBURGH PLATE GLASS COMPANY It would be difficult etal show windows upon the three levels of an arcade. lay facilities than are here obtained. ld yield greater disp succession of plate glass and m & Ss 8 NS ~ = = 8 = Ls} a iS a) RQ a ww, S ie) rv = ~~ Ge S i) ~” ~”n -) AL i) << ~ yay = ~ = j=) <= <2) to imagine how a given ground area cou ib power, since it presents a This is window display carried to the 7 METAL CONSTRUCTION FOR STORE FRONTS aT RN a tc SR tc le Other Types of Narrow Store Fronts Here are still other devices for increasing the display area possible for shops of comparatively narrow frontage. The casual visitor who steps in far enough to examine the rearmost cases will find himself close to the door and is likely to enter. ‘suinqer £10jORIsTPRS JsSouI oy} SppaLk JouNVUT sIqy UT peztyyn soeds wy} psoutAauod ose syUBYOIOUT Suipeoy Aueyy wamnate *4s00 [BJUaI a[qeJepisuod & syuasaddes pasnqord aJoy OUO oY} SB MOPULM MOUS B YONS OF pI}OAep BIB o104s OY} pLYsip [reyor Asng & UT aopd ¢ fo as/) ajqniy Old soppy ay J > Z, < = = = > N 5 o x) = J — = z pe = = ep = = oe | METAL CONSTRUCTION FOR STORE FRONTS Shop Front of Decorative Design This little frontage has been treated in an unusually artistic manner, including curved panels of plate glass in the door and the use of harmonious curves in the setting for the glass above the entranceway and above the door itself. The windows at either side of the passage gain in effectiveness from this setting, and the marble-and-spindle bulkhead supplies an adequate base. Ornamentation on a Larger Scale In this shop front a somewhat similar idea has been worked out much more elaborately and the effect speaks for itself. Plate glass, prism glass, marble bulkheads, and metal settings have been combined with unusual beauty and effectiveness. [ 95 ] PITTSBURGH PLATE GLASS COMPANY Double Frontage This is a design of the plainest simplicity, in which no ornamentation is attempted, save that of the valance at the top of the window. Thus attention is directed to the goods alone. Two-Story Window Windows with Higher Bulkheads In this case the lower windows are available for close inspec- For the purpose of exhibiting small articles for close examina- tion while the goods shown above are such as will attract tion, a somewhat higher bulkhead than that in the upper pic- attention from across the street. ture becomes appropriate. SUGGESTIONS IN STORE-FRONT DESIGN HE unobtrusiveness of metal store-front construction, which notwith- standing its great strength requires a comparatively small amount of material, permits the largest possible area of display space. It also permits an unlimited adaptation in size and form to the requirements of display, is remarkably attractive, and of the greatest endurance. In this section (pages 97-104) are presented many of the adaptations of plate glass show windows that are in use in various parts of the country, but these by no means exhaust the possible effects. The illustrations already given show metal store-front construction as it appears in actual use, while the following pages give in greater structural detail a few of the available designs. For example, on page 98 are shown the possibilities of a front approximating fifty feet in width and on page 104 one of twenty-five feet. In these plate glass and metal are the essential materials used in construc- tion; the bulkhead may be of copper, as shown on page 100, or of stone, marble, or brick, if one of these materials better accords with the style of the building. Among the essential requirements are the following: Simplicity of design, both for reasons of beauty and because of its practical economy in the installation and maintenance of the window. Inner reinforcement as well as outer strength, with the outer covering of joints drawn up to the glass under a slight tension— thus insuring a bearing both uniform and permanent. Uniform tension against glass, the glass being gripped far enough from its edge to prevent breaking from “pinching.” Scientific arrangement and use of the setting block on which the glass is to rest so that its edge shall nowhere come into contact with metal. Protection of the joints to preclude the entrance of dust. Ventilation and drainage. All other characteristics that will enhance the display, preserve its beauty, and insure its safety. Where an architect is not available, the numerous distributing Ware- houses and factories of the Pittsburgh Plate Glass Company may be called upon to give expert advice and assistance. At these points are available thoroughly trained men who have studied carefully all points of importance in metal store-front construction. Thus they are prepared to advise as to the most appropriate design and to give competent instruction and direction in the matter of its execution. [ 97 ] — ‘= TABS HINGE : i a a a a a a r (| | | } U Hf i : Ht =. SSSSSssee te Sasa a — SS == pet See Lae = SSeS SS — — * = SR: an SS i HH 4 HH ——— _—— | Lt PITTSBURGH PLATE GLASS COMPANY yt a a i eeerparenas Hea aaseeanne Thy iia iii | a eat 4 H } i HH Hl Oi it [ | An Attractive Store Front for the Display of Clothing and Furnishings SUGGESTIONS IN STORE-FRONT DESIGN } \ W L i r i | os ae re SARE ETT at a Coord sSRSSEEE EE a aanGsSERSRSEEEE Sean 23 a — Fl IR Ne a NE Va HH ey | =sases a HH Sess = ‘ Sees aEanesee et Be == _zae z==5 gases 0 aS SDSS Ga mn eae aa TA APES OF ime Ta ae oes 1) Tf ,) a] . WV ‘2 be KL y , } = 2 + SAOROAUARALDNALAIA am Ceeeeeeucen =— STARR ET aR AER RE HAHAHA HMMA AH LTT | h - | Ne | N \ “ \ . V ae —C I A = I r I 2 es ae eee = =a I = 6 x a a I L c- = Fe =x == a oak E ae = I-15 4 =a WE vasa oa ae ees See Fan se ae ae j ES IT, I I ig as aaa ea iii jan FUIRNITUEE ae a | Szzz HHISESGEHHosasnavstestonsetentententtanttosteteie ae Sse 22S Metal Store Front with Carrara Glass Bulkhead 4 [ 99 | PITTSBURGH PLATE GLASS COMPANY ae CO a VERRY VE SOO ACEO RES EIR eS ip eae iE FRU () =i, PITT Tee SREB RP CRP EMEP RTM NaN Two Attractive Store Fronts Showing Copper Bulkheads SUGGESTIONS IN STORE-FRONT DESIGN itbadadalsbatabotaditeled Poo ie BaRER Bee SPS THEEL Ms ay, | pe tes ——— 4 nen aarti Ew A Ze Ms i J Leal | » Nf \ f y t+ See eR. LLL, 2) LLLLG a {77s oe Z 4 AN TEES RR auEneT Scans anes ae 2) % Ea OY ) Yaz Y) WMA. an ae q So Lod HS 4 y 7 hy Sana ree LLL, ey Cn GY Z a g Z ee ae ae fern VILLA A Y Y y 4 susrs ; za 2 DEG EG SD \ , \ A A i falafel aclarlehhurchahobaehaheladidalaiaedapatbated} Litt titi lit ri eer erty SE TTT SS Lower—Built-Brick Bulkhead Marble Bulkhead. Upper [ 101 | f m™ ApaqayaqaneqUyOyOyuQeiApApATUECTANCDCUApapNgUguOaE — —- TEE i niMMst a Be a We oe fy | ; Uteliettetstettaasltlstastte pit % ; WY rN J \ Other Designs Showing Marble Bulkhead a Zz, — AL = os) O op : es) — be =< oe a an O (aan a) = Nn es = Poy PUTRI HAH EHH ite Hs Fe SEE EE ET ie SUGGESTIONS IN STORE-FRONT DESIGN ‘uorjoodsut Jo} wood ojdure yA sods Avidsip wnuxeu spsioye yuory Jo adAy styy, asp) NOYS puns] yn quosy Anjdsig om ‘e, INebaabsbatctlodatafatat-illodabehcabalelatakataaatedaet sate = seers TITEOSTaes Se STASIS KSIS. SST socassseoee eer SS == = = = [ 103 ] PITTSBURGH PLATE GLASS COMPANY os Sees cee secs oe eS eee er Sr a RS SS Cee ae er a a ee se rm SS a re re eS re EEAUuOdanaadnacoana zeae alate aaa I imma aaiotolole aan Paar cba? a a a a & &68 EY TT Po oAw CCCCe eect | | TA y eB feria) pet TT H aletatitaletalal SOP SSSSees se aseeeesseesssesseesesae ~ HHH Store Front with Brick Bulkhead a: eee eee a Fs foo, — Mephitis Hl Se Otaee » : = aii i ie | INTERIOR SHOP DISPLAY HE display in the shop interior continues and reinforces the function of the exterior display in the store front or show window— that of selling without salesmen. It should be considered, therefore, always in its relation to the exterior display. The interior shop display has the additional function of permitting close examination of a considerable number of articles, showing them in a variety of ways to meet all possible personal % No Distortion or Weird Reflections As this photograph lay on a salesman’s desk, a friend picked it up and said, “‘ There is no glass in that show case, is there?”’ This was an unconscious tribute to the clear, rimless sliding door of plate glass, invisible to the camera and to the eye. preferences on the part of those who are drawn into the store by the window display. Incidentally the interior display makes cus- tomers ask to be shown specific things and thus gives sales-people their chance for personal work. Thus alone can be provided the facilities for close scrutiny which buyers demand; at the same time they are inoffensively prevented from yielding to the general, almost unconscious, habit of handling goods unnecessarily. The Customer Makes Selection Countless drug stores have this type of show case, enabling the customer to select goods without handling and giving sales-people opportunity for personal work. The advantage of rimless plate glass sliding doors is plain. [ 105 ] PITTSBURGH PLATE GLASS COMPANY iit pe aM EEE A Sales Increase of One Hundred Per Cent A Philadelphia drug store removed its antique show cases of window glass and replaced them with a modern plate glass equipment. This change resulted in increasing the display space from 144 to 428 square feet, and in adding one hundred per cent to the sales in a single year, in spite of general business depression. The new equipment is here pictured and the old is shown below. The customer selects his own goods from the display and sells himself more than a_ good salesman could persuade him to buy. Without plate glass this display would be impossible. The plate glass show case gives clear vision of the goods with protection from dust and handling. An equivalent display without a show case would cover the tops of six counters, filling eight times as much floor space. A plate glass show case multiplies sales. Actual experience proves it conclusively. For example, in the drug store shown on this page, it was found that during the period of the old equipment not two customers out of ten made any purchase in addition to that for which they came in. After the modern plate glass show cases were installed, however, it was found that more than seven customers out of ten made some purchase in addition to that originally intended. The net result was a fifty per cent increase dur- A few years ago such equipment as this caused a druggist’s heart ing the first month, the increase continuing until to glow with just pride. Now it merely shows by comparison oO. : how rapidly the science of show-case display has progressed. within a year it had reached almost one hundred [ 106 ] The Old Equipment INTERIOR SHOP DISPLAY Department Store Interior Delicate merchandise such as that here shown would soon be damaged by dust and handling were it exposed on open counters. Show cases with glass tops and sides preserve its fresh and attractive appearance. | This picture also illustrates an effective use of bent glass. department store would have a gloomy interior. per cent, although the period was one of business depression. The store simply increased its aver- age sale per customer, and plate glass played a large part in producing the gain. The new method of using frameless plate glass sliding doors in wall display cases increases the display capacity thirty per cent by doing away with cumbersome and unnecessary wooden frames. Plate glass is the only glass that can safely be made into frameless doors. The edges of the glass are rounded and polished. A finger- hold is ground into the glass. The door slides on ball-bearing rollers and fits into dust-protecting grooves at the ends. The breakage on frameless doors is negligible. One chain-store system using more than five hundred frameless doors reports its breakage as almost nothing. The ability of a merchant is shown in his use of space: store space in high-rental districts is too costly to be used for the storage of goods that are not “moving.” There is no “under the coun- ter” or “up on the shelf” in stores like those Without plate glass and mirrors, the large lA | Eee ; emia,’ he asl lia Great Gain in Space Without Increase in Rents One six-foot unit show case of the type here pictured displays more merchandise in a much more attractive manner than the tops of six counters. [ 107 | PITTSBURGH PLATE GLASS COMPANY Jewelry Store Interior Show Cases General as is the use of plate glass for exterior window display, vastly more is used in show cases inside the store. The clear, transparent plate glass, by reason of its brilliancy and beauty, is particularly appropriate for the display of gems and plate. End Display Case The use of plate glass bent to curves multiplies opportunities for displaying goods effectively in restricted spaces which other- wise might not be utilized. shown on these pages. Every wall is devoted to showing goods and there is space in the center to give customers abundant elbow room as they inspect the displays. When a store is equipped with plate glass dis- play cases prominence is given to merchandise instead of to elaborate cabinet work. “How can I increase my sales when I already have all the good customers in my community?” This question is on the tip of most retailers’ tongues. The best answer—the way that in- volves least risk and expense—is to sell more goods to the same customers. This can be done by personal salesmanship and by advertising. The effect of both is more than doubled by lin- ing the walls of the store with fine displays of goods now hidden under counters, on storage shelves, or in the depths of old-fashioned, deep show cases with window-glass fronts. With efficient plate glass display equipment, saving time and saving labor, sales can be in- creased substantially without the employment of additional sales-people. [ 108 | INTERIOR SHOP DISPLAY Column Show Cases Otherwise unsightly columns may be made an element of beauty by surrounding them with built-up cases having large display surface. The flanking cases here shown have glass tops, sides, and ends, and mirror backs. The managers of the five-and-ten-cent stores maintain that their profits come from extra sales of articles that the customers did not have in mind when they entered the stores. In other words, their profits are dependent on displays made in plate glass cases. Thus it is seen, curiously enough, that plate glass has had a large share in making possible the erection of the huge Wool- worth Building that makes such extensive use of this remarkable material. At the other extreme of merchandising, the great Wanamaker stores find that visibility is responsible for eighty-seven per cent of their sales. For this reason, all leading merchants use practically no glass except plate. In all stores there is a gaining or losing limit for each sale: the retailer loses money on cus- tomers who buy under a certain amount. If it costs, as it does in one chain-store system, six cents on the average to get a customer into the store, and if there is a gross profit of thirty per cent on the average sale, there will be a net profit of only six cents so long as the average sale Confectionery Refrigerator Certain goods in a confectioner’s shop should be kept chilled, but with this form of refrigerator case, the temperature require- ments need not interfere with display. [ 109 ] PITTSBURGH PLATE GLASS COMPANY eee el i me = Oe Me A EAE Me «0 Glass-Covered Tables In places dedicated to the sale of light refreshments, particularly of liquid nature, glass table tops obviously are desirable. is forty cents. But if through selling more goods to the same person the average sale can be in- creased to sixty cents, the net profit will be in- creased to twelve cents, or an increase of one hundred per cent. This is a practical showing of the way in which plate glass show cases may mean to a merchant all the difference between success and failure. Glass-Top Display Tables This picture shows a clever development that is particularly applicable to drug stores. It combines the sanitary advantages of the glass-top table for soda and ice cream with the selling functions of a show case. The patron, while seated at the table, has candies or other goods constantly under his eyes. [ 110 | INTERIOR SHOP DISPLAY eneeiiee : ENE NENEIE NE NE NEN VENT 2 IENENENE Cue neur a fenene ne mene — Display Cases for Costly Merchandise There is something subtly suggestive in the way in which these dainty and valuable articles have been enshrined in individual cases, almost like jewel caskets. This use of glass within glass enhances the effect of value. Partition Cases Exterior Display This shallow case forms part of the partition between two rooms. | Weatherproof plate glass cases afford ample protection for the Its contents may be viewed from either side. contents and increase display space. (486 ] PITTSBURGH PLATE GLASS COMPANY Modern Grocery Display Compare this attractive interior with the groceries of your childhood days. The idea that grocery stores can be made beautiful and sanitary is a comparatively new one, but is spreading rapidly. The partly covered show case on the left makes it possible easily to take goods from the interior while preventing promiscuous handling by purchasers. Cafeteria Displays New as is the cafeteria idea, already it has passed through several stages of development. This form, having glass front and glass- top cases with open backs, is the most modern and obviously has come to stay. eee INTERIOR SHOP DISPLAY Butcher’s Refrigerators with Glass Fronts Refrigeration is not allowed to interfere with display. The meats seen in actual cold storage behind the plate glass are for that reason all the more attractive to the eyes of the visitor. Ht ie Florist’s Display Refrigerator The roses here shown attract the attention of the passer-by through clear sheets of plate glass, while still preserved from wilting. Bien PITTSBURGH PLATE GLASS COMPANY ee tig ten bade “hacen cot ipelc tpeacomtiot «> Through Three Thicknesses of Plate Glass The perfect vision possible through plate glass is strikingly demonstrated in this illustration. The goods in the windows are protected by plate glass front and rear, while the merchandise on the inner shelves may be seen behind a third thickness of plate glass. cud. PEERS: “FOR ALL OCCASIONS TE ee a Taking Advantage of Small Spaces Two small plates of glass, their edges fastened with metal clamps, so small as almost to escape notice, make possible a genuine display in incredibly small space. [ 114 ] oes” ze} HOPE JONES Plate Glass in Theatre Fronts All modern playhouses, and particularly moving picture theatres, find many uses for plate glass. In this view we see plate glass in the ticket seller’s booth, on the street boards, show signs, and display cases, and in the panels of the entrance door. MISCELLANEOUS USES OF PLATE GLASS EN of the present are so accustomed to glass that they take it for granted. It is such an inseparable and familiar part of their daily lives that they no longer realize how utterly all their modern activities depend Civilized men literally live surrounded by glass. Most of the world’s daily work is done by grace of glass. At work or at play, awake or asleep, man is assisted by glass and protected by it. Yet, astonishing as are the multitudinous uses of glass, to every man who pauses a moment to think, there is a fact that is far more astonish- ing, namely: that mankind in truth has barely made a beginning of appropriating to his own benefit the usefulness of this material. Though glass has been known since time out of mind, it is only in our own era that it is becoming recog- nized as one of the chief factors in every in- on it. dustrial activity. It is perfectly correct to say that the use of glass in the past (and even in the immediate present) is as nothing compared with the vastly larger use that may be expected for this material in the future. Glass in the past provided us with countless conveniences, beautiful as well as useful, but it remained an accessory material. This was nota- bly true in building; the building was always thought of in terms of stone or wood, and later of iron and steel. Windows were planned in subordination to these materials and to prevail- ing modes of construction. Today a business building of any kind is planned first and fore- most with reference to light. It is window-space that is the leading concern of the investor; and this refers not simply to the openings in the ex- terior walls, but also to the advantageous ar- rangement of interior space. [ 115 ] PITTSBURGH PLATE GLASS COMPANY Office Directory Cases Both interior and exterior office directories are protected by panes of plate glass; also the photographer’s display case. Wherever natural light can be had, it in- volves a permanent economy for the building, for every space that requires artificial light means continual expense. Thus, by an irresist- ible economic force, glass has become a building material of commanding rank. It has advanced far beyond the point where its use is important merely for windows and skylights. It is consid- ered today as eminently a building material for interior walls, partitions, even for paneling and floors. Its manufacture has kept abreast with the extension of its uses. Hanging Window Signs There is no more attractive form of window sign than that which is painted or etched upon glass. It is incomparably more elegant than the sign made from metal. Plate Glass Door Shields Sheets of plate glass set in frames are often used to protect an interior from drafts without loss of light or transparency. In plate glass the growth of recognition has been particularly marked. It is not many dec- ades since plate glass was used nowhere except for mirrors; in fact, its invention was due mainly to the search for mirror glass of better reflecting surface than anything to be found in ordinary sheet or cylinder glass. For generations after its invention and suc- cessful production, the cost of plate glass re- mained so high that the very name was almost a synonym for extravagance. Even after its use extended beyond mirrors, it remained a luxury. srprton scree “ - Fe Aaa RRR i Ree te Sage pie Store Front Signs The United Cigar Stores Company has studied efficient mer- chandising in every branch. It is one of many great concerns that have learned the superiority of glass signs. [ 116 ] MISCELLANEOUS USES OF PLATE GLASS Plate Glass on Shipboard A ship is built to stand heavy weather and common glass would be worthless in face of wind and waves. Extra heavy plate glass is universally employed for portholes, bridge windows, and other similar purposes. Thus equipped, the ship-builder does not consider his windows as points of structural weakness. However, so manifest was its wonderful utility, that men never ceased striving to make it avail- able for ordinary use. But their success was very gradual, and it is only in our time that plate glass has become one of the everyday neces- sities of civilization. The following pages will suggest additional values of plate glass as it is yearly coming into wider and wider employment in countless diverse applications. In what we may call the “service rooms” of a house, such as bathrooms, kitchen, and pantry, glass doors and shelves save endless trouble. Toilet accessories in the bathroom and the household medicine supply, kept on glass shelves and behind glass doors, are always sani- tary and quickly to be found. Plate glass has been adopted so generally for every possible bathroom purpose, that artistic unity and attractiveness call for its use in the smaller appliances as well as the large. Among these, delightfully cleanly and agreeable to the eye, are towel rods of glass. They far and away outlast enameled woods and plated metals. In kitchen and pantry, glass doors, sliding or swinging according to convenience, save the busy housewife much time and many steps in Portholes Bridge Windows PITTSBURGH PLATE GLASS COMPANY ie 5.9.9 ¥ & os & > » & v. > 9 Plate Glass Dining-Car Windows The tranquillity of a comfortable meal in a dining car would be distinctly disturbed if the views of the landscape were blurred and distorted. search for the countless articles that she needs from hour to hour. There is indeed a basic economy in installing glass in the kitchen, for painted work grows dingy unless frequently re- newed. Even glass in oven and refrigerator doors is a refinement rapidly growing in favor. see Telephone Booth At least one pane of plate glass is required in every telephone booth; sometimes the booth is entirely glass-enclosed. A dining car without plate glass windows is almost unthinkable. Practically all theatre owners make extensive use of color reproductions of dramatic scenes for outside displays, where the tempting dis- closures of fascinating bits of the play will in- vite passers-by into the theatre. The ideal cov- ering for these displays is plate glass. It keeps Exhibition Booth In such a booth, plate glass is employed in a variety of ways to enhance the attractiveness of the exhibition. [ 118 ] MISCELLANEOUS USES OF PLATE GLASS Familiar Uses of Plate Glass Upon this page are shown four familiar uses of plate glass which are suggestive of many others. In all of them the requirements of protection and clear vision are combined. the advertising material free from dust, protects it from rain and snow, and affords a clear view of the illustrations. For the moving picture theatre, plate glass serves admirably as an ef- fective background against which white letters announcing the title of the movie and the star actors stand out prominently. The modern operating room may be dreaded 1 ms rma emma sete, oeemeenee a uancoersnitannnnstene eT by most of us because of its significance, but there is nothing dreadful about its appearance. The first impression that it gives the beholder is that it is made all of glass. That is not exactly so, but glass certainly predominates, and surgeons would be quite unable to conceive of aseptic con- ditions for operation except by aid of a material so easily cleansed and kept clean. Glass is the [119 ] PITTSBURGH PLATE GLASS COMPANY NTS OT Plate Glass Covers Convert Radiators into Sightly Window Seats Low radiators in window corners are coming increasingly into vogue. A most attractive way to finish and utilize such an arrange- ment is by means of an extra heavy plate glass cover-shelf such as that shown in the illustration. one and only material that meets all their re- quirements. The powerful antiseptic liquids and washes are for the most part highly corro- sive. Metal, even when enameled, nickeled, or silvered, is at best only to a degree resistant. Glass is not merely resistant, it is immune. Un- der the microscope the most highly polished metal surface shows pits and other roughnesses that are lurking-places for disease germs. Glass, because normally its surface is so smooth, can be made clean not only in the housekeeper’s meaning but in the bacteriological sense. In the commercial and industrial building, the use of glass push-plates for doors has be- come obligatory wherever attention is paid to appearance and wherever it is recognized that Making Blackboards out of Glass Whether employed for stock quotations in brokers’ offices, train announcements in railroad stations, or use in schoolrooms, glass for blackboards has proved beyond question its superiority over slate, wood, or other materials. [ 120 ] MISCELLANEOUS USES OF PLATE GLASS Museum Exhibition Cases A modern museum without plate glass would be a sorry affair. ticularly from handling by visitors. grime is “poor business” and expensive. There are many doors in the home that should not be without this unobtrusive, inexpensive, undam- ageable, ever-clean little shield. Rear entrance, kitchen, pantry, and nursery doors suggest them- selves as obvious places for its use. There are occasions when glass is to be used in a part of the building where a uniform color Gas Buffalo Fe Exhibits must be protected from dust, excessive moisture, and par- On the other hand, they must be made easy of inspection. scheme is desired. In such circumstances it is necessary merely to paint the back of the sheets of plate glass to match the other material. The effect of such color showing through the lustrous surface is peculiarly rich and distinguished. Few indeed there are who realize how steady is the process of abrasion. A case in point is the famous Egyptian obelisk in Central Park, New rier Air Conditioning Company. <. I £ as rea HF e ape eco ; ae BS Seeing Things in Action Here is a demonstrating machine and also a popcorn machine: both of them are types of that form of display in which the operation of some process is made visible through plate glass. This is always attractive, because people like to see things doing. [ 191] PITTSBURGH PLATE GLASS COMPANY eee ee Re ew Te eR ESSERE HTEE ROHS FOR ; \ \ ' A Diving Tank of Heavy Glass The submarine lady in the illustration must remain in full sight of the audience while giving her exhibition. An extra-heavy type of plate glass is required for such tanks. tee Se a Y Beane sa Light in Libraries Rough plate glass is now widely used in public libraries for foot- ways and ceilings between the tiers of book shelves, thus taking fullest possible advantage of natural light. York, which is being so worn away by flying dust and the ordinary effects of “‘weathering” that students fear its hieroglyphic inscriptions will become quite indecipherable. All the build- ing stones known to mankind, and even structural iron and steel, are prey to the slow but relent- lessly destructive processes of nature. Glass is the one material that is practically resistant. It does not oxidize, peel, chip, or weather. Plate glass for paneling has the advantages of never needing paint or other refinishing, defying scratches and similar injury, and add- ing impressive richness. The surface behind it may be painted in any color, or the glass itself, stained, opal, black or otherwise ornamental, may give the finish. In the cold months the great majority of sub- urban and country houses waste their verandas utterly. This means that in the greater part of our north temperate zone the veranda is in use only about one-half the year. Yet for many pur- poses and in many circumstances the veranda often is the most desirable spot in the entire habitation, when a simple system of removable sash with plate glass windows has converted it [ 122 | MISCELLANEOUS USES OF PLATE GLASS Shower-Bath Protection Plate glass is rapidly displacing the old-fashioned, insanitary waterproof curtain. Besides being one hundred per cent efficient, the glass fa} . I Do Cea: bas F to} protector saves labor and gives striking character to the appearance of the bathroom. in place that the glass sun parlor may have any form and dimensions. It may take in the whole roomy veranda, or it may be no more than a tiny, into a bright, warm, spacious sun parlor. Glaz- ing it thus is a notable economy, also, for such an air space insulates the house and cuts down fuel- bills. Sectional sash are so easily made and put cozy, sun-catching den. Glass Water Tanks for Indoor Decoration Tanks made of plates of glass in some such forms as here shown and supplied with plants and goldfish make a particularly attractive decorative feature. [ 123 ] PITTSBURGH PLATE Thousands of lives depend on the unfailing transmission of warn- ing signals. Heavy plate glass in lighthouses answers every requirement. It would be an almost endless task to enu- merate all the possible uses for the various types of plate glass, but many of the more ob- vious applications described or pictured in this | i Diver’s Helmet The diver’s life depends on his helmet remaining watertight under great pressure, yet he must be able to see his work. Heavy plate glass gives safety with visibility. GLASS COMPANY Aeroplane Signals This is a new use for plate glass. Beams of light must be thrown far and clear in order to guide the courageous bird-men when they fly in the darkness. volume will serve to show how in the space of less than half a century plate glass has developed from a costly luxury to one of the everyday necessities of civilized life. | An Unusual Table Anyone would agree that this glass-centered table, with potted plants below the opening, is unique. It suggests views through the glass-bottomed boats at Santa Catalina Island. [ 124 ] Chipped Plate Glass Windows Frequently it is desirable to obscure vision without obstructing the light. One of the popular means to this end is the employment of that beautiful and varied surface known as “chipped glass.” GLASS WITH PATTERN SURFACES GRINDING OR SANDBLASTING, CHIPPING, ENAMELING, EMBOSSING, ETCHING LASS with patterns of various kinds on its surface is needed for many places where light is desired without permitting vision, as in partitions for private offices, doors leading into private rooms, corridors in build- ings, and windows that face other windows, as well as for other uses of a purely ornamental character. The modern glass-maker has at his command a great number of simple processes which enable him to produce, economically and quickly, results that are highly attractive, and which in the earlier days of the industry would have required much labor, besides calling for the most expert craftsmanship. GRINDING OR SANDBLASTING By means of compressed air fine sand is driven against a sheet of glass. The process at- tacks the surface, producing a fine effect obtain- able in no other manner, a milky finish that has the appearance of being frosted. CHIPPING This process employs the natural stresses and strains of the glass to produce a pattern that is beautifully varied, no two areas being exactly alike in detail. Glass that has been ground or sandblasted is coated with glue, and then sub- jected to gradual heating. The contraction of the glue as it dries causes it to shrink and shrivel off in flakes, and each flake tears off with it a thin sliver of the glass, leaving a delicate tracery pattern in the clear glass. No two flakes of glue will peel off exactly alike, and this makes the haphazard pattern en- tirely different from work done by more labori- ous mechanical means. The varied forms are what the artist calls “interesting,” by which he means that they present a multiplicity of detail on which the eye can rest with unceasing pleas- ure. There can be no monotony in the deli- cate designs produced, altogether by chance, in chipped glass. [ 125 | PITTSBURGH PLATE GLASS COMPANY Chipped Glass Used Ornamentally The illustrations give a suggestion of the decorative possibilities of chipped glass in interior use. The door-plates in the picture on the left show an ornamental effect produced by a marginal line of clear glass. DOUBLE-PROCESS CHIPPING MARGIN, LETTERING, OR DESIGN A sheet that has been chipped, often is sub- If ornamental marginal designs are wanted jected to the process a second time. This method on chipped plates it is possible to produce clear removes the sandblast lines entirely and makes margins, clear lines, sandblast margins, sand- a wonderfully rich pattern of intricate detail. blast or clear border designs, or any desired Sandblast Line This illustration and the one on the left above offer a comparison between the clear line and sandblast on chipped glass plates. [ 126 | GLASS WITH PATTERN SURFACES Ground Glass Windows Ground glass is too familiar to need description and is very largely employed where obscure or semi-transparent glazing is desired. combination of the two effects. When the mar- gin, lettering, or design is to be in clear glass, the required pattern is protected from the sand- blast or from the glue coating and its chip- ping effect. The processes described then affect only the surface that is exposed and when the work is finished the clear glass design stands out handsomely. An interesting combination of clear and sand- blast glass is illustrated in the photograph at the bottom of this page. The lower three-quar- ters of the plate is made obscure by sandblast to prevent vision into the office from the corridor, while the upper section of the plate remains transparent, with the exception of the ornamental sandblast border lines. This arrangement gives an effect of spaciousness that is not obtained when a solid sandblast light is used. EMBOSSING AND ETCHING Very often a soft white light is desired with- out any conspicuous decorations or patterns, and for this requirement there is a glass known as Embossed Plate which is translucent without Combination Plate In this illustration the lower section is sandblast finish and the upper portion clear. por. PITTSBURGH PLATE GLASS COMPANY Rolled Figured Glass Various ornamental patterns may be rolled into the surface of the glass during manufacture. These frequently are employed in office doors and partitions, as here pictured. being transparent, and pleases with its delicate satin-like finish. ; Embossed plate glass is produced by treating the surface with an acid, hydrofluoric, which at- tacks glass. It is permitted to eat into the an- nealed surface till a subdued, delicate effect, semi-obscure or wholly obscure, is obtained. For the Photographer’s Studio A combination of ground and clear glass, windows enables the artist to secure needed variations in his lighting effects. ROLLED FIGURED GLASS This is a cast glass product, the molten glass being poured and rolled into sheets. Instead of being ground and polished, however, it is im- pressed on one side with'a more or less elaborate ornamental pattern. This result is obtained by means of a pattern on the roller or sometimes on the rolling table. The primary object is to obtain a translucent but not transparent glazing material, to serve in the many cases where light is needed but visi- bility is not desired. The figures rolled into the surface give parti- tions made of rolled figured glass a highly orna- mental character, but light-admission with pri- vacy and ornamental appearance are not the only practical values of this material. The patterns are so devised that they are essentially prismatic —that is, they serve as prisms to admit, diffuse, and distribute all the light that can possibly be brought in. The designs are of a wide variety, some being most fanciful. They range from arabesque to geometric forms, and include also rippled, cob- webbed, straight ribbed, hammered, and many other effects. [ 128 ] GLASS WITH PATTERN SURFACES ziz22 saat Baszz? EE Rolled Glass for Factory Installations The modern factory consists largely of windows; in fact, its walls are little more than huge window frames, since daylight is cheaper and better than artificial light. Varieties of glass largely employed for this use are rolled, rough, and ribbed. ETCHED GLASS By the use of dilute hydrofluoric acid the glass is treated superficially without being eaten into deeply enough to make a perceptible de- pression on the surface. The appearance is sim- ilar to sandblast or ground glass of fine texture. The result of this treatment is a snow-white ob- scure glass. An endless variety of fanciful sten- cil designs may be obtained by use of patterns that resist the acid. ENAMELED GLASS The feature of this glass is a pattern over the whole surface, usually in some geometric figure. It is used exclusively in the ordinary cylinder or window glass. If the pattern itself is sandblasted, while the background of the glass is left clear, the glass is known as Clear Enamel. If the pattern is sand- blasted on a glass that has been ground, it is known as Obscure Enamel. e d imitating ipped and sandblasted patterns ciently ior. ter il may in ight . RiBBED ite variety. ght and brighten illumi- igns in stenc it any purpose or any taste an reat detail, even to the extent of Fa FOSRS eS 2G SB & Seem Pex ve Rees infin an ae ; i sh oes " th and a wonderfully br In ying no mason-work above the ground floor, ae et te streng favor because des be made to su prismatic, serve to diffuse li ornamental character of rolled figured glass su arity. lace designs. Ch can be made up ill of daylight, hav in g NTECOR essentially [ 130 ] PE ypes of Rolled Figured Glass atterns here shown, being his practical utility, coupled with the tallation gives adequate ess is in s of Windows Wall ht be called a we ally doors, d similar uses. The proc- ins accounts for its popul b) i s form of re many pat- Thi Other T what m ae : wrens ~~ = Pe eee Oe ee nn Lceceece senses suwweeeeereteeeetee ee Stee SSS Te Tee S SoS Tee eel ptab hhh _ REESE ing is They are most usu T but little. PATTERNS ibbed p Id > Zz, - Ee NN ee ee - 2+ [Seocnccesssaenscansscarpercteacecsesne crs eseesepeeee tener eaeenSheetAbeeAARSASARBS [SeSteccenceneccecensncsccanssanevonssesnshasenensehes tes beasss SShenbSSREASERES SE: ereee eh eee eee eR EARE ER ESAS RES ERA RS Re OARS A E® Oe Om ee eee Am toe Ca eee oe CF SESS YS 4 RRR RERE ER RRR RRR RRA RA Dw eh Bh te ei, while the end wall As in the enamel glass, there a terns of sandblast glass. Lak RRA RARER REESE EAE EERE ERE ERE EL EE =_ — RTI ipplied to such purposes as transoms ra nation, while obscur In the picture the side of the bui The Factrolite, P deck-lights on sh Sante GLASS WITH PATTERN SURFACES ” . 4 ar ae : . ? Tuaaatys hatgen ata tee NDI 4 if} : : ees € LEE BE BEE I BS EE ME RN BE BT EEE SIE RIG ING PAP HOR ie BORE aS OR era ee ee teeter eRe a NE, Etched Glass Sign One of the principal applications of etched glass is in sign-work. Signs of this character permit a large degree of ornamentation and may be designed with reference to the arrangement of doors and windows. ihe RRS, emma app = , 1 Coe. mn WZ =a 4 We Ze coe Prous | i ass a) 4 ¢ Fas © ° wy é a oe NN V4 ie ~~ FISTS Th Nitle: gi |i Re oat 2. 9 i ae Hea || TO | AYG | AO ley = Qe = a"! ‘. He-4 I] [p30e-4] | ez & i] a jis SN » ‘6 r Ne@7tNg 7tNe 7 |) LNG Paar Fee Nes, [ist ete hte | 4 | "sie St is SR 6G SEAE ey + se ; | eM" OA ONES PS A ae Su \ ~ ; 7¥s Fees are Page Soa! 17 N17 ftpegeyezty oe fb a Sis ro ae oe | oe Foo cm + N74 Vee 7 \ 2 ee 14 171,74 ose 5 Cee FoF Niet NZ N17 BaP 2802 0 ote be eaietied wre 92 SZ IMSAYVS REKAXK Pa a mk Bye oye Bye LA Ye LN 4 VS \. ER je we vig | até. Bra fee d \ po ata O59 ga foe te + BaD a ead St a ‘ Myr oye P afr ? {Lr Via ef * ene aos en ‘s were et VaeeVves Coy \ Nad Oey ene ag) |\NGEA K af, ON 2 fal els fae f = ee aie A ave. rt ear \ \ es Fi a oO oe fie Ee 2 BED CED as eds ois ats ae tLe a ‘Te ‘ View * eS * ie are eee Th WV QWs V Ww VENI Pg a a Pere | Patterns in Etched Glass All these patterns for etched glass panels can be supplied to suit the taste of the purchaser. [ 131 | PITTSBURGH PLATE GLASS COMPANY GROUND CHIPPED DovuBLe-CHIPPED Ground, Chipped, and Double-Chipped Surfaces Ww RoMANESQUE ONDOYANT RipeLeD Patterns in Rolled Figured Glass [ 132 ] Prism Glass for Store Fronts The efficacy of sheet prism and prism plate glass as conveyors of light has been demonstrated through their use in thousands of stores and buildings throughout the country. The refractive qualities of the prism ribs serve to direct light to the farthest corners of a room, which would not be the case if clear glass were used. PRISM GLASS RISM GLASS is a commercial high quality glass for exterior and interior windows, with its face patterned in rows of prisms that direct light to places where it is wanted. Thus the same principle of optics that makes possible the modern binocular field glass and range-finder is turned to the broadest prac- tical account in the daylighting of factories, offices, and homes. Exactly how the principle applies is explained on page 137. Prism glass does not pro- duce light, for it can gather and direct only what light there is. But its practical effect is almost the same as if it actually did produce light, since it does increase to an astonishing extent the available light in the inte- rior of buildings. Thus, in rooms on a deep court or well, or on a nar- row street bordered by tall buildings, all the light that strikes the prism sheet is concentrated where desired. The saving in artificial lighting effected by prism Sheet Prism Glass [ 133 | glass is so well recognized that formulas for all purposes and situations have become highly exact. Knowing the relative height of obstruct- ing buildings and their horizontal distance from a given window, a simple calculation tells exactly the kind of prism required. All the Pittsburgh Plate Glass Company’s Warehouses are in position to give expert advice and to deliver the particu- lar pattern best adapted to any use, on large scale or small. Prism glass is one of the important structural ma- terials of the industrial world, for it renders many an interior, otherwise too dark for any good use, prof- itably serviceable. PRESSED PRISM TILES Pressed Prism Tiles are made in squares either four or five inches square. Tile prism work is set in hard metal, all lights being rein- forced with steel bars to make them solid and rigid. Geometric designs made from sheet prism glass set PITTSBURGH PLATE athe x ti Lik EA dh da UA DASA Dd LA Ek kd ed i 1 His mn it ee tatatsiaied r GLASS COMPANY Pressed Prism Tiles for Store Fronts Beauty and utility are attained through the use of prism tiles in store-front construction. The tiles are set in hard metal, either zinc finish or copper-plated, with ornamental tiles to enrich the decorative effect if desired and sufficiently reinforced with steel bars to make them solid and rigid. Pivot ventilators can be inserted in the prism tile construction. These ventilators (as shown in the illustration below) are mounted in steel standards, and may be equipped with screens for protection when open. Two examples of ornamental border tiles also are shown below. in metal, plain or copper-plated, may be obtained and used with very artistic and satisfactory re- sults. Prism glass may be set also in solid copper bars if desired. Pivot ventilators are mounted in steel standards and may be equipped with screens. Fancy border tiles used with this form of glazing make it highly decorative, in a style dignified and quiet and one that presents a distinctly artistic appearance. PRISM GLASS FOR SIDEWALK LIGHTS Sidewalk Slabs, which carry glass set in rein- forced concrete panels, are the established means for lighting vaults, cellars, and dark basements in cities. The glass is either square or circular, and is imbedded in concrete reinforced with steel bars. The construction has been improved by long years of study of what has best endured trafic in the busiest places in the world. The panels can be made to any desired dimensions. GLASS LENSES To meet various conditions, Sidewalk Glass Lenses are made in a number of different forms which have been found best suited to their par- ticular purposes. They may be had in flat > : SR os BES £2 Border Tile Prism Tile. Construction Border Tile [ 134 ] PRISM GLASS & Sidewalk Vault Lights Lighting the Basement Sidewalk slabs with glass in reinforced concrete panels are widely used for the lighting of dark basements and make it possible to utilize valuable space under sidewalks. Various forms of glass lenses are used for different conditions, either flat pressed units, or drop lenses of a single prism, or multiple-prism lenses, according to the effect desired. pressed units, or in drop lenses, and these types again are supplied either in single prism or in multiple prism. INSTALLATION A detailed drawing or a blueprint must show accurately the sizes of openings. The order should be accompanied also by a good descrip- tion of the space that is to be illuminated, so that the factory experts may select the best prism lenses for the work. The slab is made up complete, glazed and finished in any desired size to fit the opening. Sidewalk Glass Slab Where more than one slab is required the neces- sary T bars are cut to proper length and shipped with the slabs. These slabs can be installed by any workman who will but follow the directions that accom- pany shipment. The slabs as they come from the factory will be found of perfect fit, ready for the calking of the joints. In ordering, sizes of openings must be given either by detailed drawings or by blueprint, and the conditions of the space to be daylighted should be described fully in order to secure the proper prism lenses for the best results. Sidewalk Glass Lenses [ 135 ] PITTSBURGH PLATE GLASS COMPANY Prism Puatr Guass PE PY PR FUIRPUPRIR IY PRIORI PRPRPe Pr wy ey Pr} aii 4 iii es VVeON V7 RRR StyLe O— 8. ImprEriau StyLe O— 4. Imperiau StyLe O— 5. ImMperiau Ornamental Polished Plate Prismatic Glass [ 136 ] PRISM GLASS SCIENTIFIC EXPLANATION OF THE PRISM HEN transom sash are set with 3-Way Luxfer Pressed Prism Tiles, the entire room is daylighted. Plain glass, on the other hand, permits the lighting of only the part adjacent to the window. The effect of the prisms is to bend up the light rays and project them to the farthest corners. This use of the prism is made possible by a funda- mental law of optics. Light rays always travel in straight lines unless reflected or refracted. Accord- ing to one law of refraction, when light rays pass obliquely from one medium into another of different density, they are deflected, but upon passing through, and re-entering the original medium, they are restored to their original direction, provided the planes of approach and of exit are parallel. When light rays pass through a sheet of plain glass (figure 3), they are refracted toward the perpendicular to the surface as they enter the glass, and away from the perpendicular as they leave it; the angles of de- flection being determined by the angles at which the rays strike the two surfaces of the glass. But, as these surfaces are parallel, the resultant direction at exit is the same as that of approach. In figure 5 the rays approach the prism surface at the same angle as the angle of approach in figure 3, but, because the second surface of the prism is not parallel, but at an angle, to the first, they still further change their direction as they leave, different-angletl prisms giving different resultant directions. The commercial prism is a series of small prisms moulded into the face of the tiles. These prisms, in the 3-Way Luxfer Tiles, are of different angles, so as to bend the light in different directions. Figure 1 shows how light passes directly through an ordinary pane and is reflected by the walls. Figure 2 shows how light passing through a plain glass window with a 3-Way Luxfer Transom above is bent up by refraction in new directions, searches out and daylights every part of the room, and is reflected from every wall. Figure 4 shows this in another way. 3-Way Luxfer Pressed Prism Tiles are made in two types: Luxfer, or Flat Back, for average installations, and 3-Way, or Lens Back, for locations where daylight must be gathered from sides as well as from above. Only experts should be consulted, in order that prisms of proper angle be selected, as is essential. Fig. 3 Fig. 5 PITTSBURGH PLATE GLASS COMPANY Wire Glass Saw-Tooth Lights The modern saw-tooth lights, that give a northern exposure and thus obviate the unpleasant effects of direct sunlight, frequently are set with wire glass. The lower picture shows the degree of daylight illumination thus secured. WIRE GLASS IRE GLASS is a very modern utility. It was hardly known until the late ’eighties, but its surpassing value as a structural material has brought it into such general use that today the volume of production is amazing. Wire glass is used in various types of build- ings, ranging from factory construction, where a We ‘© 188 MEEMMLEs. CHAE. le hee Tn 3 FA 8 ns ‘BE RE A | aa se ei cee the rough and ribbed patterns are serviceable, to structures of highest class, in which polished wire glass is employed for windows, elevator doors, and the like. Usually it is set in metal frames, rather than in ordinary wood sash. Where light is a factor, wire glass sometimes takes the place . of wood or other opaque materials for partitions, AP tu rho ev ae ees 1 git iat WIRE GLASS Ribbed Wire Glass Daylights this Immense Pier Boh 9 eee rere mae meets a In the three divisions — Head Section, Freight Section, and Outer Section— of Chicago’s great Municipal Pier, which extends 3000 feet into Lake Michigan, upwards of 100,000 lights of Ribbed Wire Glass admit and diffuse the sunlight. as the figured or pattern-surface wire glass is translucent without transparency. As all the decorative forms of pattern and figured glass can be supplied in wire glass, its use aids ma- terially in brightening forms of factory construc- tion that without it would be most unattractive. Wire glass is quite obviously the material to be used for safety, because its wired construction gives it great strength. For this reason it should be specified for skylights and similar glass cov- erings, as also for elevator shafts, stair walls, factory roofs, and similar purposes. HOW WIRE GLASS IS MADE Wire glass is cast and rolled into sheets like plate glass, and the wire is made a component Wire Glass in Doors and Transoms Garage and factory doors and transoms must withstand violent impacts without shattering; wire glass installation prevents personal injury, and property loss. [ 139 ] PITTSBURGH PLATE GLASS COMPANY Figured and Polished Wire Glass In hospitals the en of wire glass, as well as the simplicity and beauty of the polished and figured styles, makes it singularly available for use in elevator doors and other passageway doors and partitions. part of it by introducing the mesh while the hot glass still is plastic. There are three methods for imbedding the wire mesh, as follows: I. SHUMAN PROCESS After the molten glass is poured on the cast- ing-table and rolled out, the wire mesh is spread out upon the plastic sheet and pressed deeply into it by a method which at the same time smooths the surface. II. APPERT OR SCHMERTZ PROCESS A sheet of glass is rolled to half the desired total thickness. The wire mesh is laid on it, and a second sheet of the same thickness as the first is poured and rolled on it, thus producing a solid sheet with the wire mesh in the middle. Ill. CONTINUOUS OR SOLID PROCESS The wire mesh is stretched and held firmly on the casting-table, so adjusted that it is sus- pended at a desired height above the table sur- face. The molten glass is poured and rolled over it, thus producing a solid plate with the wire mesh firmly imbedded inside. ORNAMENTAL WIRE GLASS All the rolled figured glasses can be cast and rolled with wire mesh, and this is a favorite form in the case of buildings that make any pretensions to beauty. Prism glass also can be furnished with wire, and various forms of plain transparent wire glass are rolled in such patterns as plain corru- gated and other designs that have the prismatic property of diffusing or redirecting light. Wire glass construction may be wholly trans- parent, semi-obscure, rough on one side or on both, or polished. Thus its value ranges from usefulness for walls and saw-tooth roof construc- tion in factories, where utilitarian service is the end in view, to highly decorative glazing for the interior of the most elaborate buildings, where strength is required but where beauty also is a consideration of first moment. [ 140 ] WIRE GLASS Se re eed | Sa it RIBBED Rovucu POLISHED RoMANESQUE ENITE a) S hr d Khair ahaa eenrma J iddudtacdanasastiaTeacawraaed FACTROLITE PENTECOR Various Styles of W SE - v) MuvrANE ire Glass s giving all desired variety in decorative effects. All the shown can be supplied. atterns, thu patterns here ss may be finished in various SY Wire glass as well as plain gla ] [ 141 LA ott % uk : ANAAAN 5 <& ¥ matii- ll Leaded Glass Curtain Designs In this illustration is shown an effective set of leaded glass curtain designs, color blocks. These windows have become extremely popular; colors to harmonize with the draperies and the general color glass lanterns in keeping with the window designs. composed of clear glass with delicately-tinted and iridescent dispensing altogether with lace curtains, the glass is carried out in scheme of the room. In the middle foreground may be seen two leaded ee LEADED GLASS CLEAR, STAINED, AND COLORED EADED GLASS” is a term referring to a method of treatment, rather than to any particular kind of glass, or indeed, to any particular metal as a setting for it. Inasmuch as the purpose of this treatment is almost exclu- sively ornamental, it is natural that only the finer kinds of glass, or in other words, plate glass quality, can consistently be employed. In the popular idea, the term leaded glass no doubt generally suggests the rich stained-glass compositions that illuminate the windows of libraries, churches, and the like, in the design- ing of which art is unfettered by financial con- siderations. It is a fact, however, that leaded glass is available also for many modest forms of decoration, interior and exterior; that it requires neither stained nor colored glass, but is adapted admirably to interpreting the forms of art that find their expression in simplicity. Any plain transparent plate glass can be used with excellent results in leaded form, as like- wise all the various kinds of semi-obscure and figured glass. The term “leaded” does not sig- nify, furthermore, that lead is of necessity the metal employed; harder metals, such as zinc and copper, also are used to a considerable extent. Leaded glass, owing to the fact that it must be cut into pieces of irregular shape, each of which must have its own framing of metal, falls within the manufacturing department of the glass plant, and many special, conventional designs in leaded glass have become staple products. Thus every architect, interior decorator, cabinet- maker, and furniture manufacturer has almost indefinite latitude, as to the variety of designs available, in the economical employment of leaded glass decoration. In any glass-work built up of metal-joined pieces, the leading itself is a real element in the beauty of the composition. Whether the glass be colored or clear, and no matter what design the whole may represent, the lines of the leading never should be considered as an interference with the treatment of the subject, but, rather, as giving additional values. In some cases, for example, lines of unusual weight may add dis- tinction and impressiveness. So well recognized was this principle by the makers of medieval church windows that many of the most famous designs in stained glass were based wholly upon the lines of the leading. In succeeding periods, as the art declined, the workers manifestly began to treat the leading as a defect, or at least an obstacle. More and more they tried to make the leaded stained glass look like a painting. In yielding to this cardinal error, the vital spirit of leaded glass art was lost. This art, whether colored or clear glass be its medium, is a decorative system that belongs exclusively to glass, and should imitate no other system. Thus clear glass may be used for decorative effects almost unlimited in variety and produced entirely by the leading. The lines of metal may form an intricate pattern, or one beautifully simple. They may be fantastic, or they may [ 143 | PITTSBURGH PLATE GLASS COMPANY Tae? sata te ta a Swepey | Te We ni Clear Leaded Glass Grill Design This illustration presents an excellent example of a clear leaded glass grill design widely used in Colonial houses. Curtain Design An example of curtain design using clear or semi-obscure glass in delicate tints, to harmonize with the draperies. employ some simple geometric form indefinitely reduplicated—one of the earliest revealed prin- ciples in art, and one never superseded. Clear glass in a great variety of such leaded designs is produced by the Pittsburgh Plate Glass Company. From clear polished plate to the same brilliant glass with beveled ornamentation is only a step, but it is one that opens up a wide, new field in the development of leaded glass designs, a field singularly rich and diversified. Proceeding a step further, we come to the clear leaded glass with colored decorations, and then to the leaded all-color colored glasses, the leaded mosaic opalescent glass, the leaded opalescent painted glass, and so on to opalescent and cathe- dral glass. These latter belong to the discussion of stained and colored glass that follows. There remains, however, another use for lead- ing, growing year by year in favor as the eco- nomic value of scientific lighting compels recog- nition: this is in connection with the prism glasses. Prism glass, cut in elegant patterns and set in hard metal bars, constitutes an adaptation and a combination that links true art with the very highest degree of utility. [ 144 | LEADED GLASS An Artistic Office This illustration shows an artistic use of polished plate glass set in leaded panels. The view from the inside is not seriously obstructed, while from the outside and especially from a distance objects on the inside cannot well be observed. STAINED AND COLORED GLASS Y THE use of the terms “glass painting” and “nainted glass,” specialists no doubt have contributed considerably to the current misap- prehension as to the precise character of colored glass. The two terms have been used loosely to denote two things entirely different. Literally, one would imagine that “painted glass” was the art of painting a picture or a color scheme on a piece of glass, whereas most artists in using the expression have reference to pictures or designs built up with colored glasses that have been stained during manufacture. Glass that is to be leaded frequently is in fact painted, but the paint used is of like sub- stance with the glass itself, and in the process of firing actually becomes a part of the glass. This painted work is quite unlike that employed in commercial sign and decorative glass painting. The art of painting with brush and pigment on glass is one widely practiced, especially for the commercial purpose of advertising signs, decorative panels, and similar modern products. But this is a field that does not really concern the glass-maker. It is simply the same kind of painting that is done on canvas, although glass lends itself remarkably well to striking effects. Such painting can be done on any kind of glass, and a measurably high, specialized technique has been developed. | The masters of painting on glass recognize as fundamental the fact that they are working on an opposite principle to that underlying the pic- ture made of stained glass. The painter on glass lays a rich, obscuring medium on the glass. No matter how delicate and luminous his colors may be, or how dainty his treatment, he must superimpose another surface on the surface of the glass itself. This may enrich the glass, ob- scuring it but little to the ordinary eye; but actually there has been interposed to the light a material foreign to the glass itself. Stained glass, on the contrary, is inseparable from its color. The color is part and parcel of its substance. Instead of presenting a foreign [ 145 ] PITTSBURGH PLATE GLASS COMPANY a a enn omnes Ne” French Windows In this attractive room the French windows are glazed with polished plate glass in leaded panels. In aroom of this character shades only are used, the artistic treatment of the windows obviating the need for curtains or other draperies. material to the light, it presses the sunlight into service as painter. In truth, a very exact name for stained glass would be color-lighted glass. Its color has been diffused throughout its molten substance. It is truly a child of flame, for it seems to hold forever some of the fierce, splendid fire that gave it birth. The coloring of stained glass being produced in the furnace, it is not possible to apply the colors known to the artist who works with the brush. Every color is a chemical compound, and in the intense heat of glass-making all com- monly known colors would disappear or change into undesired hues. Therefore the glass-maker who wishes to pro- duce a red, for example, has no such simple resource as that of mixing red pigment into the batch. The coloring materials required for his use are substances that look quite unlike any color that he hopes finally to get; they are chem- icals which under fierce heat will break up, rearrange themselves in new combinations, and thus develop into color. This makes the task highly difficult, for even when the theory of producing a given color is well understood, there are a thousand and one difficulties to be overcome. The chemical com- binations are complex and produce strangely unexpected effects. But the successful result is an achievement as great as are the difficulties— the “fire color” is the most splendid color known to man; the magic of chemistry and heat has put into it the light of the sun itself. The color-materials of the glass-maker are chiefly metallic oxides. In their natural state they would not suggest to the layman what glo- ries of tint lie hidden in them, to be brought forth by the heat of the melt. Of the oxides, the oxide of iron, or plain, com- mon iron rust, is a veritable mother of colors. The colored canyons of the West are largely painted by nature’s iron rust and we get browns, greens, blues, yellows, reds, all from the self- same oxide, either by itself or in combinations. It is this same oxide of iron that has produced much of the glory of the great cathedrals whose arched and rose windows bring something of Heaven’s sublimity near to man. The glass-maker produces his wonderful reds by mixing with the batch in the melting-pot a [ 146 | LEADED GLASS Church Windows The windows shown here are of modified antique design appropriate for the modern Gothic edifice. The pictorial subjects are taken from the life of Christ. combination of oxide of iron, sub-oxide of cop- per, a little gold, and silicate of sodium, all in varying proportions. For blues, he introduces an addition of cobalt, zaffre, and copper. His greens are won by using various oxides of iron, peroxide of copper, and chromium oxide. By adding oxide of manganese, oxide of uranium, and perhaps some antimony and sil- ver, he makes the chemistry of heat give him glowing violet. And with oxide of iron, anti- mony, and a few other chemicals he produces the tints of orange, ranging through all the sunset hues of that gorgeous color. The glass trade deals in many colors and tints of glass, known by such trade terms as Opal Glass, Cathedral Glass, and Opalescent Glass. All these are used for countless purposes, some- times on a large scale but extensively in small form, as for lamp shades and ornaments. CATHEDRAL GLASS This is a cast and rolled glass, and is furnished in smooth surface or in an ornamental “ham- mered” effect produced by rolling a pattern into it while it is still plastic. It is cast in sheets approximately one-eighth inch thick, measuring about thirty by ninety inches. OPALESCENT GLASS Opalescent glass is made in smooth surface finish or granite surface, and is cast in sheets about twenty-six inches wide and forty to fifty inches long. COLORED FIGURED GLASS The patterns obtainable in plain figured rolled glass (described elsewhere in this book) can be furnished in all standard colors and_ shades. There are also colored glasses, known as “pot colors,” made from cylinder glass (window glass). They are described on page 184. [ 147 ] PITTSBURGH PLATE GLASS COMPANY = Se SR ft ‘ ‘aad \ ale = 5 ' nt f OA aC, a : Vg. 4)", 8 & BBN aes | Ogey STs AA Pi ( amt 6) Per NIT Chancel Window This design depicts Raphael’s Sistine Madonna, beautifully worked out in painted antique glass. [ 148 ] LEADED GLASS ee md terns s = =e RATT PA Cet \ Sea ove So sae Wp “en (ee ef ee ere used. lass w pieces of antique g 2 an 998 o fewer th N anada. 9 | Memorial Window [ 14 ras © Ibe ,A Soldiers ary alg Church, C an Knox Presbyteri Designed for effective. 1 windows of this class, although color schemes also are > Z < A = o O TN ep) < = C f=] > < = Ay = O pc = jaa) DN EH Ei A LEADED GLASS Fie Leaded Beveled Plate This type of art glass usually is glazed in hard metal, copper plated, instead of in lead. [ 151 | Colonial Clear Glass Designs Pt Z, \ i " 4 i | ‘ ve) ee a aati lia Appropriate Transom Designs j H Ht e H is ie i j HE i H | i These designs illustrate harmonious and effective uses of leaded opalescent and prism glass. [ 153 | PITTSBURGH PLATE GLASS COMPANY . ihe evict ; i Res, s is « } ‘ it a ee BS wy te ES : tie te a 8 N yy Z E gs Zz g Z aA LLL Wh NIA Art Nouveau Panels Some attractive panel designs in leaded clear and colored glass for stair-landing windows, dining rooms, and living rooms. [ 154 ] LEADED GLASS ally Transoms and Special Windows Several interesting designs in leaded opalescent glass, for transoms, dining-room, living-room, library, den, and stair-landing windows. [ 155 ] PITTSBURGH PLATE GLASS COMPANY | Church Windows Many ornamental and interesting effects are obtainable through the use of opalescent and cathedral glass in combination. [ 156 ] LEADED GLASS Church Windows In these illustrations is shown effective use of opalescent, mosaic, and painted glass. [ 157 | “spueys dIAlos PUB Avydsip 94} UO pest st SuLApeys BIBIIB’) opty “SSBIX) orld jo uoide pue oseq Uy “BIBIIB’) d1B Si9}ZUNOD a} jo syuod} pus edo} oy} > UIT} SSB[*) yor[d ya BIBIIC’) JO o18 syjes pue SUIOOSUIBAL anL ‘JUBINGYSOL uJopoul B ul SSB[) TFS | pue BIBIIE’) jo osn dATSUI}X9 ue uUMOYs sI 310 aqgjaddpy uo aspy uv ng stuawjzuiodd py ssazjod¢ 1 b PA d : i [#048 ete a ane: ee ee ee! ee ee Oe ee ee ee ne An Attractive Fountain The swift service necessary at most soda fountains calls for a surface that can be cleaned easily and quickly. Polished Carrara Glass is ideal. The paneling of Carrara with Black Glass base and trim gives a strikingly brilliant effect. CARRARA AND BLACK GLASS BEAUTIFUL STRUCTURAL MATERIALS AVAILABLE FOR IMPORTANT UsEs MONG the highly important products of the Pittsburgh Plate Glass Company are the famous Carrara Glass, a beautiful white, opaque structural material, and Black Glass, which is exactly the same as Carrara, but has the appearance of polished jet. The nature and purity of the substances used to create these unique glasses are such as to achieve absolute permanence of color, for the white of the Car- rara and the black of the Black Glass are inher- ent characters of these two products. Carrara Glass is produced exclusively by the Pittsburgh Plate Glass Company. It is used generally in building construction and wherever marble is applicable, except where mouldings and decorative features are required. Both Carrara and Black Glass are widely used for table tops and counter tops in restaurants, drug stores, butcher shops, markets, and other places where food products and beverages are dis- pensed and where cleanliness, economy, and per- manent beauty are important considerations. They have innumerable other important uses, many of which are enumerated or shown in illus- tration in this volume. Carrara and Black Glass are made from secret batches, which in a general way are the same as for plate glass, but with the addition of spe- cial chemicals to produce. the colors and also to impart to the products their characteristic molecular structure. While the batches are somewhat similar to the plate glass batch, the fusing and annealing are entirely different. The Carrara and Black Glass batches are subjected to melting conditions considerably longer than is the rule for plate elass, and the annealing covers from three to seven days, depending upon the thickness of [ 159 | PITTSBURGH PLATE GLASS COMPANY a, shall i Tone Tete ‘ canbi ail ee ryLal = Scrupulous Cleanliness Wins Favor Any grade of restaurant finds in Carrara Glass a material perfectly suited to its needs. The polished surface, non-porous and impervious to stain, is cleaned instantly by simply wiping with a damp cloth. Each diner is served on a spotless surface. the material. These two factors—the different materials in the batches and the scientific anneal- ing—give Carrara and Black Glass those special structural qualities which make them available for various uses in buildings, such as wainscoting and partitions, for example, for which plate glass of similar thickness would not be practi- cable or appropriate. Both Carrara and Black Glass are made in three surface finishes: honed, satin, and polished, in thicknesses ranging from one-half to one and one-quarter inches, in multiples of one-quarter. ’ Y Wierremesias Pe, | » A ' Carrara Glass Wainscoting In addition to its use for table tops and serving counters as shown, this picture gives an example of the use of Carrara Glass in a wainscoting. [ 160 ] CARRARA AND BLACK GLASS An Air of Richness The use of polished Black Glass for table tops gives the ice cream parlor an air of distinction. The Black Glass, giving depth and contrast to the color scheme, provides a rich decorative element. A distinguishing and invaluable feature common to both these glasses is their absolutely true and even surfaces—made possible by a process of grinding which produces an exactitude of surface impossible by any other method with any other material. The honed finish gives the glass a smooth finish without lustre. The satin finish produces the rich, soft, distinguished effect implied by its name. The polished finish results in a bright glassy surface. A supreme merit of Carrara and Black Glass is that they are impervious to stain, will not Minimum of Labor This great industrial dining hall speaks for itself as to the practicability of Carrara Glass for the table top. Cleanliness is fundamental, yet it is also imperative that cleanliness be assured with a minimum of expense for labor. The rich, white surface of polished Carrara Glass is pleasing at all times and the care of it is simplicity itself. [ 161 | PITTSBURGH PLATE GLASS COMPANY Practical Elegance in the Cafeteria Characteristic of American enterprise in meeting popular demand are the cafeteria and the quick lunch counter. The cafeteria pictured here has made extensive use of Carrara and Black Glass. The rich, dark tabl e tops supply an element of style lacking in the average lunch room. The use of Carrara Glass for the steam tables is sanitary in appearance and in fact. absorb moisture in the slightest degree, and be- cause of the homogeneous structure of the material the different finishes are practically indestructible. Unlike marble, there is no deteri- oration of the highly polished surface of these glasses. Marble quickly stains because of its porous nature, the voids soon become filled with foreign substances, and the polish rapidly dis- appears. Polished Carrara, on the other hand, because of its non-porous, non-absorbent qual- ities, will not retain odors and is the ideal ma- terial even for urinals and like uses. Carrara Glass and Marble Under the magnifying glass the polished face of the Carrara Glass dis- closes its smooth, non-porous surface, while the marble reveals rough- ness and permeability to moisture and dirt. [ 162 ] CARRARA AND BLACK GLASS Impermeable to Dampness The possibilities of Carrara Glass and Black Glass are well represented in this illustration of a store front. The base of the window, upon which the frame rests, is of Carrara with a strip of Black Glass at the bottom. Marble often is used for a similar purpose, but Carrara has been found greatly superior. Construction of this sort has to be cleaned frequently—as a rule every morning—and it is essential that the material be impermeable to dampness. Temptingly Clean This spotless little rétisserie, with its Carrara grill and its table tops and trim of gleaming Black Glass, presents a most tempting invitation. [ 163 | PITTSBURGH PLATE GLASS COMPANY Black Glass Counter and Table Tops Here is shown an extensive use of Black Glass in a modern quick-service restaurant. and the black tops offer a pleasing contrast to the white bases, stools, columns, and walls. Carrara Glass is worked and shaped by methods very similar to those employed in the working of marble, and although, as has been said, it is not available for mouldings or curved surfaces, it is thoroughly adapted to all flat work for which marble would be found practical. Carrara is useful for the wainscoting of cor- ridors on many accounts besides the important one of its non-staining and non-defaceable sur- face. Compared with marble the cost of main- tenance for Carrara is practically nothing; no expense is involved for bleaching and refinish- ing as is the case with marble. Carrara gives the corridors a permanent clearness and bright- ness of appearance, at the same time attractive and cheerful. For effective lighting in corri- dors, architects are coming more and more to rely upon Carrara, because its white, perfect surface reflects artificial light in a prismatic manner that greatly increases the illumination. The highly-polished surface is easily cleaned The cost of providing artificial light in such cor- ridors is therefore reduced materially. The honed finish is desirable for many special uses, such as the walls of hospital operating rooms, where it is of highest importance that light shall be ample but at the same time without glare or eye-distracting reflections. The surgeon, in performing the most delicate and critical ma- nipulations known, must be assured of inviolate conditions. Walls of Carrara Glass in honed finish leave nothing to be desired in this regard, for its diffusion of light is perfect, while positive reflection is at the minimum. The use of Carrara Glass or the Black Glass for table tops has spread rapidly in recent years. In many types of restaurants and in such estab- lishments as welfare dining rooms, these mate- rials have almost entirely taken the place of linen. The Carrara Glass department of the Pittsburgh Plate Glass Company has obtained [ 164 ] CARRARA AND BLACK GLASS Even where decorative considerations play no part Carrara Glass has important industrial values, as for example, in the switch- board of the engine room of a large industrial plant. from certain public restaurants figures that show the annual expense of laundering linen covers for a table thirty by forty-eight inches to be double the cost of a Carrara or Black Glass top, to say nothing of the initial cost of the linen and of replacements. The same advantages and economies apply in varying proportions to coun- ter tops in restaurants, packing and sorting tables in stores and factories, and innumerable other uses. The polished Carrara Glass owes much of its popularity also to the fact that it is practically impossible to mar or deface it. It is not possible to enumerate all possible uses for Carrara or Black Glass, but the follow- ing obvious uses will suggest others: Base and border for hotel corridors. Wainscoting in buildings, stores, barber shops, bathrooms, toilet rooms, and operating rooms. Table tops in restaurants, confectioneries, kitchens, and hospitals. Interior walls, paneling, and ceilings for res- taurants, food markets, and similar establish- ments where strict cleanliness is requisite. Tops and fronts for counters and shelving. Bases and tops for soda fountains. Rubbing tables and other equipment for Turk- ish baths. Partitions and stalls in toilet rooms and showers. Deal-plates for banks and cashier windows. Trim and other parts for show cases and for buffet tops. Packing and sorting tables in factories. Scale platforms, drawing tables, coin plates for cash registers, signs and outside covering for metal store fronts. [ 165 ] PITTSBURGH PLATE GLASS COMPANY Wainscoting in Office Buildings An important use for Carrara Glass is as wainscoting in office buildings. Its gleaming surface and enduring structural properties are particularly desirable in a building not well supplied with windows, for the brilliant white expanse catches all available light and diffuses it without glare through the corridors or rooms. 2 Aseptic Walls for the Operating Room The operating room here illustrated is an admirable example of the use of Carrara Glass with honed-finish surface. This imparts to walls and ceiling the same element of cleanliness that obtains in the surgeon’s implements and apparatus. The honed finish provides a surface which is rich in appearance, will not reflect light, and is restful to the eyes. [ 166 | CARRARA AND BLACK GLASS Hygiene and Sanitation Carrara Glass is unexcelled for purposes requiring the utmost in hygiene and sanitation, as instanced by this public toilet room in an up-to-date hotel. Unlike marble or other porous materials Carrara Glass is non-absorbent of moisture or odors. CARRARA AND BLACK GLASS SPECIFICATIONS W ainscoting is made in 4-inch thickness, pol- Partitions are made in ‘-inch and 1/4-inch ished on one side and rough on one side; also _ thicknesses with both surfaces in any finish. honed on one side and rough on one side. For Trim for windows and doors and cap of wain- header pieces requiring exposed edges, plates scoting is made in %-inch, 1-inch, and 14-inch are furnished with the back surface ground and _ thicknesses, in all finishes. properly gauged to thickness. Table Tops are made in any desired thickness. Public Comfort Stations No product known is so serviceable for the purpose here pictured as is polished Carrara Glass. Its smooth, hard, non-porous surface prevents defacement, absorption of moisture, and consequent retention of objectionable odors; it is easily cleaned, practically indestructible, and therefore widely used in public buildings, schools, hotels, and other large structures. [ 167 ] ‘os doy Aptsva pue uvap A[snopndnios st JUIUTYS![GeIS2 9OUM OT, “OUIOYOS VATPBIOOP SUIYO}OJ JOYJOoO]e UB JNO PUNOI UOTPEUIGUIOS UT ssBpX) P’l Pue VIvITE MOY puL ‘Sap{s-UOseG PUB sUTBY BUOSY}OO} 9Y} YO Syos ssv[x) BABIIBS) oPIYM ound jo punoi3youq & MOY ‘eSB MOYS SUIZBIVSLIjoI ay} UI Syeaut ay} sABidsIp ssvjs aze]d_ poysijod MOY JOYAVUL [OpOUL SIG} UL a}ON “syNyspooj a[qvystiod Suisipuvyosoul ul 9[}72q OY} J[eY WEY} oJoUl st 9104s uoIstAoid ay} UI ssourTURa]D poyjodsun jo sduvivadde ouMlosojoyA OY], appl J, POH Puy jovinp OT > Z =< A = oO oO op) ep) =< = CO [2] > < = Ay a7 O ac a pO op) co EH ae CARRARA AND BLACK GLASS Baking in Full View The modern method of baking in full view of the public is made possible by using ovens with plate glass fronts and Carrara Glass for every surface that comes into contact with the bread itself. The walls and ceiling of Carrara Glass combine to produce the necessary effect of sanitation. N ESSERE SAPP A it YOU Pay : ™ CLEARING sul ‘4 . LESS HERE ie ne 4 ‘ UWS g Ome PRICE, _— ne ; one +4 : nae: = AC SAATLERD | Me faddens, : ial vou PAY Leste Carrara and Black Glass Signs This illustration shows an interesting and effective use of these two glasses for store front decoration and advertising. The pattern of the lettering is sandblasted on the highly polished black or white surface and paint or stain is then applied. [ 169 J PITTSBURGH PLATE GLASS COMPANY from % to 1% inches, with top surface in all finishes and the under surface ground true to provide an even bearing. Table tops are not gauged to exact thickness. Soda Fountains and Counters. Tops for soda fountains and counters are made in '%-inch, “44-inch, l-inch, and 14-inch thicknesses, with the top surface polished and the under surface ground and gauged to an even thickness. Frieze and Pilasters are made in ‘42-inch, %4-inch, and l-inch thicknesses, with one side polished ‘and one side ground. Die Plates are made in %-inch, °4-inch, and l-inch thicknesses, with one side polished and one ground. In cases where the construction of the counter admits of adjustment for variation in thickness and where none of the edges of the die plates is exposed, it is permissible to specify polished one side, rough one side, for the 42-inch and %4-inch thicknesses only. Honed or satin finish instead of polished also may be specified when desired. Store Fronts and Signs. Materials for the covering of bulkheads and piers and exposed portions of store fronts may be *4 or 1 inch thick. The areas to be covered do not, as a rule, per- mit adjustment of the glass and it is usually necessary for the back surface to be ground true and the glass gauged for exaci thickness. Deal-Plates for cashier windows and counters are made in *4-inch, l-inch, and 14-inch thick- nesses. The honed finish is the most practical for this use. Rubbing Tables for Turkish baths are made in 1%-inch thickness, in all finishes, and ground on under side. Shelving material is furnished in %-inch, °4-inch, l-inch, and 14-inch thicknesses, with the top surface honed, satin-finished, or polished as desired, the reverse side ground. THE MANUFACTURE OF WINDOW GLASS Like Cathedral Columns Some manufacturing processes aire grimy but here is one that is undeniably beautiful. As the blowing mechanism is drawn slowly upward from tlhe white-hot molten glass, huge cylinders are formed by the pressure of the air blown into them. Later these will be split, flattened out, and cut into panes. THE MANUFACTURE HE difference between plate glass and the sheet known by the trade term “window glass” lies in the manner of making. Plate glass is cast (poured) in molten mass and then rolled into flat form, while window glass is “blown”—that is, a portion of the melted glass is picked up at the end of a pipe and blown into the form of a hollow cylinder, which then by a succession of operations is flattened into sheets. The latter is an economical method of glass- making and for that reason has a most important place in the industry, although, for the reasons already made clear, it does not produce so excel- lent a product as does the plate glass method. There are many ways to attain the best pos- sible results in this method of glass-making, and the Pittsburgh Plate Glass Company has suc- ceeded in improving the product greatly by utili- zing to the full all advanced formulas for purity and correct admixture of the raw materials, and by introducing scientific equipment, such as im- proved furnaces and other appliances. Glass-blowing is an old art. Through many ages it remained wholly a manual art, or, to be precise, a man-art, since the glass-blower used not only his hands but more especially his lungs. It is a skilled trade of high order, calling for rare dexterity and nice judgment. Even until our own time, it was exclusively such a man-art, for the technical difficulties in the way of mechanical elass-blowing were not easily overcome. Today, however, while a considerable amount of window glass is still made by hand, most of America’s product is blown mechanically. OF WINDOW GLASS As the principle is alike in both cases, a de- scription of the manual method will give the reader the clearest understanding. When the mass in the glass-kiln has reached the correct stage of fluidity, a worker known as the “gatherer” dips into it with his “blower’s pipe,” an iron tool about five feet long which has a mouthpiece at one end and a bell-shaped aper- ture at the other. A solid ball of melted glass adheres to the bell-shaped end and when enough has been gathered the pipe is passed to a work- man known as the “blower.” The floor in front of him is cut away to form a space called the swing-hole. He first raises the pipe, blowing gently till he produces a pear-shaped bubble, the upper part of which gradually assumes the diam- eter of the cylinder desired, while the bottom is thicker and rapidly cools and stiffens. The partly blown “gather” then is re-heated to soften it, and the blower swings it downward into the swing-hole, where its weight causes it to elon- gate into an approximately cylindrical form. Meanwhile he continues to blow into it, to form it as he desires, until finally there is produced a shape of sufficient length. The next operation is to open the lower end of this hollow cylinder. The blower fills it with air from his lungs and stops the pipe with his thumb. The glass then is submitted quickly to the heat of the furnace, with the result that the imprisoned air expands and bursts through the softened end. The blower again lowers the cylinder into the swing-hole, whirling it swiftly on its axis by spinning the pipe between his hands. This [ 173 ] PITTSBURGH PLATE GLASS COMPANY Preparing the “Gather” In “manual” glass-making, skilled workers prepare the “gather” of molten glass for the blower. brings centrifugal force to bear, and the glass assumes a true cylindrical form, with sides prac- tically parallel and a fairly uniform thickness throughout its entire length. The product now has become a smooth, shin- Shaping the “Gather” In the “hand-made” process the molten glass is ‘“‘gathered’’ on the bell-shaped end of a blower’s pipe. By skillful manipulation the blower is able to accumulate a quantity of material which, when blown, will make cylinders of proper size. ing, transparent, hollow thing of glass, but its surface is round. How is it to be transformed into a flat sheet? Simply enough, although to the uninformed spectator the steps of the succeed- ing operations do not seem to tend that way. Blowing The blower swings the molten glass on the end of his blowpipe to and fro in a pit or opening in the floor, blowing into the pipe as he swings and reheating the glass at frequent intervals during the process until a full-sized cylinder is formed. [ 174 | THE MANUFACTURE OF WINDOW Skimming the Molten Glass Impurities which come to the top in the process of melting must be removed before blowing. First the workers must get rid of the neck or cap that marks the place where the glass was held by the blower’s pipe. They dip up a bit of molten glass and with a deft motion draw it like a thin hot string around the cylinder top. The neck cracks off, and one part of the task is ac- complished. Sometimes the same result is ob- tained by drawing a red-hot iron around the The “Bait” The big blowpipes are dipped into the molten mass as here pictured and then raised gradually, meanwhile blowing steadily into the glass which adheres to their ends. This is the first step in the “‘machine-made”’ process. GLASS Forming the Cylinders In this picture the shining cylinders of blown glass have partly emerged from the tanks of fluid batch. When they have reached a length of approximately forty feet the racks shown in the foreground will be raised to receive and lower them as illustrated in the picture on the next page. glass and quickly applying a touch of cold water to the suddenly heated place. The result in either case is the same—a perfect cylinder, hol- low and open at both ends. In the same way the cylinder is divided into sections, or shawls. Then a worker draws a brightly heated iron along the inside, from end to end, producing a straight line of heat. With a small cold iron rod the outside is tapped following the inner line of heat and the tensions [175 | PITTSBURGH PLATE GLASS COMPANY Lowering the Cylinders This is the process of lowering the fragile cylinders of glass after blowing. of the mass cause it to split clean along the entire length of the cylinder. The cylinder then is conveyed to a flattening oven, heated until soft and pliable, and laid on a flattening stone, with the split side uppermost. Under continuing heat the glass softens still more and begins slowly, gracefully, to “wilt” or open out. A workman called the “flattener” deli- cately assists with an implement that gradually spreads the pliable glass into a flat sheet. Following this, the sheet is taken from the heat of the flattening compartment and allowed to cool and harden slowly, after which it goes through the successive stages of scientific cooling in the lehr or annealing kiln. After being properly tempered, it is dipped in acid to cleanse it and finally is passed to the warehouse to be cut into the sizes required by the trade. Up to this point the modern individual glass- blower goes through processes that are not un- like those pictured in the wall-paintings of the ancient Egyptian tombs. Indeed, it is probable that if an old workman who lived and produced along the banks of the Nile in the time of Pharaoh Rameses II were to find himself in a modern factory using the process just described he would feel strangely at home. However, human ambition never is content to stop short of mechanical efficiency, and if our ancient Egyp- tian were next to step into a plant where machine- blowing was in practice he would doubtless be overwhelmed with terrified wonder. He would see a spectacle as amazing and beautiful as, perhaps, any other in the entire field of industry—one that thrills the most sophis- ticated modern observer who happens upon it [ 176 | THE MANUFACTURE OF WINDOW GLASS The Shawls Here we see a quantity of shawls, which is the technical name for the sections of glass cylinders after they have been divided into lengths and split lengthwise. for the first time. Some hint of its spectacu- lar impressiveness may be gained from the full-page picture facing page 173, but anyone who has an opportunity to see for himself should by no means neglect to do so. The evolution of machine-blowing came only as the result of laborious invention and costly These sections, or shawls, are now ready for reheating and flattening. experiment. As has been remarked, the prin- ciple is simple, but the technical and mechanical difficulties long were baffling. The glass-blower always has been recognized as one of the highly skilled craftsmen, and for a long time it was im- possible to devise machinery to match his intel- ligent judgment. The glass-blowing plant of the Dividing the Cylinders By means of red-hot metal applied to the glass, the cylinder is divided into sections of various lengths as a preliminary to the processes of shawling and flattening. Shawling After the cylinder is cut in lengths these sections are split length- wise preparatory to reheating and flattening them into sheets. This operation is known as shawling. PITTSBURGH PLATE GLASS COMPANY The Heating Oven Here the split section or shawl is reheated and softened until it loses its cylindrical shape and becomes flat. Facilities for the application of intense heat are essential. present, however, is a marvel of smooth, unhur- ried industrial operation. All the puzzling and constantly changing problems of air pressure, varying supply of molten material, and manipu- lation according to circumstances and conditions are met by a machine controlled by the judgment of one man, who with no apparent effort achieves prodigies of result. Invention is largely a means for multiplying human powers. Our telephone ears are able to hear for thousands of miles and our telescope eyes can explore the stars. We leap thousands Flattening Oven When the glass is sufficiently flattened out it is lifted from the iron carriage in the heating oven, transferred to a flattening stone of fire clay, and then ironed into.a flat sheet. Turning the Cylinder While in the heating oven the shawl is gradually turned so as to permit it to flatten out as the glass softens or wilts under the heat. It is then removed to a flattening oven. of feet into the air with airplanes and with can- non we strike blows miles away. In almost any modern factory the workmen have become in ef- fect giants, by virtue of the forces they control with a finger-touch. In the process under discussion human lungs are displaced by compressed air apparatus that is able to blow strongly and without stopping, until the lump of melted glass swells to towering proportions. Meanwhile, the lift- ing power of human arms gives way to a pulley hoist that raises the great cylinders to a point Lifting to Lehr From the flattening compartment the sheet of glass is moved to a cooler one and then to the lehr, or annealing oven, where it is allowed to cool and temper by degrees. [ 178 | THE MANUFACTURE OF WINDOW GLASS Cutting Room Here the window glass is cut into various sizes and shapes ready for use. many times the height of 2 man. All is done swiftly and yet with such delicacy that the fragile glass remains uncracked. The machine does almost exactly what the human glass- worker did, only upon a colossal scale. It dips its big blowpipes into the molten batch and then slowly withdraws them, all the while blow- ing steadily into the great masses of glass. Then Packing Room Where expert packers daily prepare thousands of “lights” for shipment. suddenly there rise before the spectator beautiful tall phantoms of transparency, mighty glowing columns that stand like pillars in a ghostly cathe- dral. As against the man-made cylinder, which obviously was limited to the weight and dimen- sions a man’s strength and stature permitted, ma- chine-blown cylinders can be made almost forty feet long and more than two feet in diameter. Ready for Shipment [ 179 | PITTSBURGH PLATE GLASS COMPANY Sunlight is of vital importance in the modern industrial plant. Where an essential requirement is to admit light, considerations of clear vision and beauty being unimportant, window glass is as serviceable as plate glass and costs less. ay ia fee Lal 1a i ~ iit i + pice mein Oe Ee : rie Seana MLL WW TO) TT A seedaeida The Summer Dancing Pavilion For the purpose here illustrated, window glass serves every requirement. The walls of glass are usually a series of windows that can be flung wide, so that the building may be easily converted into an open-air pavilion. [ 180 | MANIFOLD VALUES OF WINDOW GLASS The Summer Kitchen Here is another example of an ideal use for window glass—where it is used principally to admit light and not to look through. MANIFOLD VALUES O USE common glass where plate glass should be employed is a short-sighted sav- ing of pennies at the cost of dollars, but it is excellent economy to use window glass in its proper place, and so wide is its field that this form of glass serves a most important purpose. The usefulness of window glass extends away beyond domestic purposes, to almost every indus- try, large and small. It is window glass that provides thousands of acres of vegetable farms with the very means for their existence, in the form of glazing for the hotbeds and coldframes which enable the grower to anticipate the seasons. It furnishes photographic art with its indispen- sable plates. Cellar windows, storm doors and windows, kitchen additions, attic windows, and other little-noticed parts of the dwelling will be entirely serviceable when glazed with common glass, while the rest of the house makes use of the more desirable and handsome plate. Merely as an indication of the almost bound- less field for common glass may be mentioned the OF WINDOW GLASS following few uses that confront one everywhere in daily life: Skylights, where fire protection, security, and beauty are not essential. Fronts for gas and electric meters, for fire alarm boxes, and for the cases on ships and rail- roads that contain life preservers, axes, and other implements for use in accident. Conservatories, hothouses, greenhouses, and sash for outdoor plantations. Tops for fancy boxes. Glazing for photographs and pictures. Cheap mirrors, either for reflecting the person or for backs to fancy receptacles. Fronts or tops for receptacles containing foods. On machinery, either to protect delicate work- ing parts, prevent accident, or permit control by making the necessary parts visible. Coin boxes, automatic devices of all kinds, and ticket chopping boxes. Glazing for stables, barns, and other out- buildings. [ 181 ] PITTSBURGH PLATE GLASS COMPANY ee ee = Ta SEE SEE EES AIS How Glass Aids the Plant-Grower Greenhouses and coldframes as pictured on this page require merely the transmission of sunlight and protection from cold. For this purpose window glass is perfectly adapted and is largely employed. GRADES, WEIGHTS, AND SIZES OF WINDOW GLASS Window glass usually is supplied in Single strength, which can be made up to 24 x 60, Strength or Double Strength. In double strength 30 x 54, or 36 x 50 inches, in sizes contain- itis made as large as 30 x 90, 38 x 86, or 60 x 70 ing ten to twelve and one-half square feet. inches. Such extreme sizes contain up to twenty- five square feet, but it is not advisable to use PERCE hee, BND WEI ES glass so large, because of breakage and other Single Strength measures twelve lights to the disadvantages. The same is true of the single inch, approximately, but a small variation either Cold frames Protected by Glass MANIFOLD VALUES OF WINDOW GLASS + ¥ +i % iepatg aes 44 : Glass for Pictures In the novelty section of the big department store there may be found thousands of articles in which common or cylinder glass is used. Such glass can be cut to any size or shape for unique and novel picture frames. way is permitted. The weight per square foot is approximately eighteen ounces. Double Strength measures approximately nine lights to the inch. The weight approximates twenty-four ounces to the square foot. There is also a heavy blown or drawn glass, heavier than the so-called Double Strength, made by the same process as ordinary window glass and subject to the same inherent defects. This glass is graded in first, second, and third quali- ties by the same rules as are observed in the erading of common window glass and is made in different weights and thicknesses as follows: twenty-six ounces to the square foot, about eight lights tothe inch; twenty-nine ounces to the square foot, about seven lights to the inch; thirty-four ounces to the square foot, about six lights to the inch; and thirty-nine ounces to the square foot. which is three-sixteenths of an inch thick, or about five lights to the inch. QUALITIES OR GRADES Qualities run AA, A, and B. “AA” or first quality is clear glass, free from any perceptible quantity of air bubbles or blis- ters, burnt specks or burns, cords, and strings. It has good gloss, even surface, and is well flat- tened. Tiny blisters that are not perceptible on the cutter’s table, but can be detected only by placing the sheet directly toward the light, are not considered objectionable. Reliable manufac- turers always will make conscientious and close selection for this grade. “A”? quality is the normal selection of class when no special selection is desired. It permits Window Glass in Steel Sash [ 183 ] PITTSBURGH PLATE GLASS COMPANY Tea Wagon small defects such as small strings or lines or small blisters not too close together or located in the center of the sheet. It is well flattened, of even surface, and devoid of noticeable scratches or other prominent imperfections. “B” quality has a wider scope than AA or A. It permits many of the defects incident to manu- facture—waves, strings, lines, blisters, scratches, burns, and like defects. This quality embraces everything below A quality, not stony or full of Studio Skylight blisters or other large defects objectionable for any common purpose, such as heavy scratches, heavy blisters, cords, and sulphur stains. FACTORY PACKAGES Window glass is packed in regular sizes ap- proximately fifty square feet to the box up to the united 100-inch bracket (adding width and length) ; and 100 square feet to the box in sizes over 100 united inches. COLORED CYLINDER GLASS Pot Colors. This colored glass, produced by mixing the necessary color-making chemicals in the pot with the molten batch, is extremely useful for signal lights, danger signals, colored lanterns, show-window displays, dials, railroad switch lights, and countless commercial and in- Game Exhibition Case dustrial purposes where both translucency and color are desired. The color, being an insoluble part of the glass, defies time and weather. Double Strength and Single Strength ruby, green, blue, orange, violet, yellow, and white are produced, in sizes as large as 37 x 59 inches. For Small Package Goods [ 184 ] MANIFOLD VALUES OF WINDOW GLASS & WW Res Other Miscellaneous Uses In the various cases indicated on this page the expense of using plate glass hardly would be warranted, while common glass meets every essential requirement. Flashed Colors. These colors are, like the pot colors, a component part of the mass of the glass, but they are produced by a different method. A thin film of colored glass is blown over the surface of a blown clear glass, the two adhering and becoming one as they harden. It is a convenient and effective way to make color designs, such as embossed lettering in signs. It is made in Double Strength and Single Strength and comes in the same sizes and colors as the Pot Colors. SHIPPING WEIGHTS Single Strength in factory packages weighs from sixty-five to seventy-five pounds to the box (shipping weight). Double Strength in factory packages weighs from eighty-five to one hundred and ten pounds to the box, 50-foot boxes (ship- ping weight). Double Strength in 100-foot cases weighs approximately two hundred and_ twenty-five pounds (shipping weight). PRICES Full information regarding list prices of all qualities and sizes of window glass in both single and double strength, in factory box lot, or by the light, may be found in the current “Jobbers’ Window Glass List,” which may be obtained from any of our Warehouses or distributors. The list also designates the number of lights per box in each size. PITTSBURGH PLATE GLASS COMPANY IN EMERGENCY | BREAK GLASS 7 Miscellaneous Uses of Common Glass This page shows a number of uses in which common glass is entirely adequate, and much more economical for the purpose than plate glass would be. Store Directory | | 4 FURNISHING ENHIBITION of Summer Furniture THE PITTSBURGH PLATE GLASS COMPANY SYSTEM OF DISTRIBUTION, EDUCATION, AND SERVICE HEN the Pittsburgh Plate Glass Com- pany had succeeded in establishing plate glass manufacture as a sound Ameri- can industry, able to meet all competition both in quality and in cost, there remained a grave business problem in the matter of distribution. Glass, one of the most difficult materials to transport and handle, is needed in such a large variety of kinds, sizes, and shapes, and must be supplied so promptly in order to meet the press- ing necessities of the builder and contractor, that it was necessary to furnish all dealers with a means for performing the service with the utmost economy of time, money, and effort. There could be but one solution—the estab- lishment of a nation-wide method of distribution through a complete warehousing system which should be equipped to carry full stocks and to deliver them promptly, wherever needed and in any desired quantity. Today this system is the most complete of its kind in the world. The Warehouses are not sim- ply stock rooms or selling agencies; they are local institutions equipped to serve in all ways the territories in which they are established. Their managers are men long trained in the methods and principles of the Company, thor- oughly informed by personal experience on all points of glass manufacture and glass science, and competent to give full information and in- struction on matters the most technical. EDUCATIONAL SERVICE The sales force in each territory is similarly equipped with exact knowledge. In addition the staff includes specialists in various branches, particularly the structural sciences, and work- men who are skilled in handling and setting glass. Educational service is given freely wherever it may be of benefit to the community, to dealers or even to individual users. National advertising is continuous, and its governing prin- ciple is that of helping the dealer, the architect, and the contractor—in a word, everyone in the trades who uses glass as a large or small part of his business. Further, the Company’s advertising benefits the public by teaching the genuine ad- vantages to be obtained by using glass. Terms like “‘welfare work” have been so much used in recent years, that the Pittsburgh Plate Glass Company would prefer not to touch in this book on the subject of its attitude toward its em- ployees save that the consumer of any manufac- tured material has a direct business interest in the conditions under which it is produced. The assurance of steady and prompt supply, and more important still, of the quality of the prod- uct, depends in a very real sense on the spirit of the workers responsible for it. THE COMPANY S EMPLOYEES No degree of genius in administration, no system or equipment, can alone attain and main- tain quality. It is essential that the men direct- ly engaged in every part of a manufacturing process shall be interested in their work and shall take personal pride in the best results that can be produced. From this point of view it will be of interest to customers to know that a great many of the Company’s trained workers have been with it during the whole working period of their lives and that the labor “turn-over”’ is per- haps smaller than that of any other great manu- facturing business in the United States. The significance of this may be seen when it is understood that in Ford City, Pennsylvania (the site of the parent plant of the Pittsburgh Plate Glass Company), practically the entire working population of the town is employed in the plant. Two things are commonly said about Ford City: that it holds the largest and most completely equipped factory for making plate glass in the world, and that it is one of the most attractive manufacturing communities in the United States. The Company’s expenditures for housing facilities amount to many millions. Life, health, and accident insurance, a pension system, provisions for recreation, hospital facil- ities, and other care for health and hygiene, all play their part in making the place what it is. 875] PITTSBURGH PLATE GLASS COMPANY A SYSTEMATIC ORGANIZATION FOR GENUINE SERVICE “CYERVICE,” as understood by the Pittsburgh Plate Glass Company, has the following comprehensive significance: Systematic and harmoniously directed activ- ities of manufacturing, distributing, and ware- housing and selling organizations, all controlled by the ruling principle that customers of the Pittsburgh Plate Glass Company are to receive something more than what is ordinarily meant by “service.” Raw materials economically produced, mostly from Company-owned properties, and economi- cally delivered to wisely located plants, making possible a basic saving that benefits both the dealer and the consumer of the glass product. Direct and constant contact of manufacturing organizations with the market through the dis- tributing Warehouses and sales offices, producing quick adjustment of production to meet condi- tions at all times and under all circumstances. The organization and equipment of each Ware- house to be not simply a distributing and selling station, but a commercial member of the region it serves, an institution of use to the community, and a co-operative force for all in the business. Norte: It is a recognized and important part of Warehouse service to supply technical and trade information to architects, contractors, and dealers, and to help the latter to take the best advantage of the Company’s national advertising, trade- mark advertising, and other educational publicity, and to di- rect its usefulness to earning the fullest possible profit for the entire trade. SERVICE TO DEALERS Complete stocks, at all times and under all conditions, in each Warehouse, thus ensuring prompt and economical delivery. Readiness to fill any order, whether of great magnitude or for a single light of glass. Distributing facilities that cut down all non- productive expenditures to the minimum, mak- ing it feasible to deliver a maximum of quality at a minimum of price. An organization of trained men who study the promotion of business for the dealer and visit him regularly to assist him in problems and sup- ply information tending to his profit. An energetic national and local campaign to educate the public to an increased use of glass on the sound and legitimate basis of facts that show its value for all purposes. A long-established manufacturing policy that recognizes quality as a supreme factor in hold- ing and creating business, thus enabling the dealer to earn prestige among his own trade. Systematic study of possibilities for the future, and measures taken in advance to meet them, thus giving the dealer the assurance that behind him stands a permanently attentive pro- ducing and delivering organization. SERVICE TO ARCHITECTS Experienced men in each Warehouse organiza- tion who can furnish information about glass to cover every problem that is likely to arise in the application of glass to buildings. Unprejudiced and absolutely reliable advice regarding glass specifications necessary to get desired results. Estimates of cost for all different kinds of glass, with a view to enabling the architect to save money, while equipping his building with the best glass for each specific purpose and place. Expert attention to the specifications and pro- duction of the quality called for, thus relieving architects of anxiety and trouble after contracts are awarded. Maintenance of distribution facilities between factories and Warehouses, and maintenance of sufficient stocks in Warehouses to make quick delivery certain. Manufacturing resources that are equal to any requirements. Equipment and organization adequate to meet all demands and to cope promptly with unusual and sudden problems or emergencies. Alert and interested attention to all under- takings, whether small or large. SERVICE TO CONTRACTORS An organization in each Warehouse that fully understands the unexpected and harassing difh- culties that confront contractors, and is ready to assist at all times. Full stocks of complete variety, covering every kind of glass for every possible purpose. Thorough efficiency both in manufacture and erading, thus providing responsible delivery to meet specifications in all cases. [ 188 | DISTRIBUTION, EDUCATION, AND SERVICE Service on a Large Scale lass valued at $400,000 as it left the Pittsburgh Plate Glass Company’s factory at Crystal Small shippers could not give service under these conditions but this Company was able to accumulate entire trainloads of orders which could be shipped as a unit to one destination. Here is a solid train of 23 cars of plate g City, Missouri, at a time of great freight congestion on the railroads. Delivery facilities at each Warehouse to meet a “rush” summons at almost any time. Co-operation by all the factory staffs and the technical departments in efforts to give customers what they want, when they want it, and as they should have it for their best profit and success. ADVANCE INFORMATION If architects or contractors will call for this expert advice early in their work, they fre- quently will save themselves much unnecessary delay, for the Pittsburgh Plate Glass Company men will be able to show how many contingencies can be anticipated. They may be able, as they often are, to suggest important economies. There are so many kinds of glass, known by so many trade names, that sometimes a builder who knows quite well what kind of glass he wants is not sure as to its precise trade name. It happens continually that architects and contractors are indefinite in their use of such terms as “rolled figured glass,” “figured glass,” “obscure glass.” It is hoped that this book will facilitate their efforts, but in addition, the service staffs are pre- pared at any time to suggest the particular kind of glass suitable for any desired purpose. OTHER SERVICE FEATURES Estimating Department is maintained at each Warehouse to give detailed and accurate cost estimates for any use of glass. Expert Advice. Staff mechanicians and spe- cialists are available at the various branches and factories and are prepared to give expert assist- ance to manufacturers, architects, dealers, and others in all problems involving the use of glass. Installation of Store Fronts. The Warehouses are prepared to install large store fronts, and furnish trained workers. Motor trucks and teams are provided for the purpose and either long-distance or short-distance hauls will be undertaken. PAINTS AND VARNISHES AS PART OF PITTSBURGH SERVICE T IS not out of place here to say a word as to the Warehouse stocks of paints and varnishes, since these accessories of the building trade were added to the Pittsburgh Plate Glass Company’s [ 189 | group of manufactured and sales products as 66 2 _ 99 part of the system of “Pittsburgh Service. The architect or contractor thus can get from the same trained organization that provides his PITTSBURGH PLATE GLASS COMPANY glass specifications and information, the best technical information and specifications as to useful paints and varnishes. The paint dealer especially, knowing how vital it is for him to be assured of unbroken main- tenance of supply and of constantly uniform and reliable quality and grade, has been benefited by the fact that such a permanent organization as the Pittsburgh Plate Glass Company serves him. Too many dealers throughout the United States have been obliged, again and again, to change brands at heavy loss of prestige and profit, because their manufacturing source has failed, either by going out of business, by alter- ing product, or by selling out to some concern that gave exclusive rights to some competitor in the neighborhood. It is difficult to conceive of any product in which the element of sustained quality is of more importance than it is in paint. THE GRADING OF PLATE GLASS HE various uses of plate glass require a careful grading of the finished product into different qualities. The highest possible quality is known as “first silvering”; “second silvering” is a high-grade quality only less perfect than the first-named. Both of these grades are used for mirrors and are produced by select- ing limited areas of superior quality and finish from the larger sheets that are delivered to the wareroom from the factory. A third grade of reasonably good quality and finish, known as “mirror glazing,” is selected for the manufac- ture of “commercial quality” mirrors. Much greater in volume of sales is the next, or “glaz- ing’ quality. This grade generally is used for store windows, residences, windshields, enclosed automobile bodies, and other places where com- paratively small and inconspicuous defects are not objectionable. It is the impression among many people that the better qualities of glass are manufactured by a special process and that by some slight change in the method of operation these better qualities may be increased or decreased at will. This is not the case. It is impractical to attempt to man- ufacture the higher grades exclusively, and it is the experience of manufacturers that the best results are obtained by making every effort to secure the highest possible standard of quality in the entire product. PRINCIPLES OF GRADING Unfortunately, however, all glass is defective to a greater or less extent, a perfect light of any appreciable area never having been produced. The better grades, therefore, are merely the re- sult of selection and are definitely limited by the success or failure of the general operations of the plant. The volume of the higher grades never exceeds twenty per cent of the total production and the normal production of these grades is generally from five per cent to ten per cent. Frequently, difficulties in some one of the many operations in the plant prevent the produc- tion of any quality better than “glazing.” It will be understood, therefore, that the higher prices asked for “first” and “second” silvering qualities represent not so much the extra cost of production as the cost of selection after the glass is made. This cost includes the loss in value of the residual small glass of lower value, which is necessarily left after the areas of the higher grades are cut from the original large plates. It is not practical to set forth specifically the standards by which any of the grades are judged or selected. No two plates in any standard are absolutely identical in every respect and the se- lection is based upon the number, size, location, and importance of any or all its major defects. As the entire product is defective to some degree, the selection even of the higher grades consists in choosing thosé areas of glass which are clear of major defects and in which the minor defects are small and well scattered. No set rule can be made for this selection; it is entirely a question of judgment and of experience. For this reason it is impracticable to attempt to meet any arbitrary specifications of quality or grade demanded by a customer. He must, after inspection of standard grades, determine which will best suit his requirements, leaving to the factory the faithful maintenance of the standard. CONDITIONS THAT GOVERN Inasmuch as the entire product is, by its nature, defective, and as the better grades are [ 190 | THE PACKING OF PLATE GLASS merely the result of selection, it should be noted that the size of the required plate has a large bearing upon the standard. Defects which would cause a small plate of five square feet area to be graded as “glazing” quality would be permissible in a selected “silvering” quality plate of say twenty-five square feet area. In all plates of selected quality major defects are eliminated, but the larger plates will contain more numerous and more prominent defects than smaller plates of equal grade. The most common defects found in plate glass are “seed,” “boil,” and “bubbles”; “striae,” “ream,” or “string”; and fine scratches resulting from the grinding and polishing operations. “Seed,” “boil,” and “bubbles” are all alike in character but different in size. “Seed” are ex- tremely small air or gas vesicles, while “boil” are somewhat larger, being best illustrated by the general factory name “pin-head boil.” “Bub- bles” are air pockets still larger than “boil,” gen- erally running about three-sixteenths of an inch in diameter. “Bubbles” are generally the result of defective casting, but both “seed” and “boil” are produced in the furnace during the melting process. As indicated elsewhere, about thirty per cent of the batch is volatilized, and this volatilization continues as long as the batch is held under melting temperatures. During this period the whole body of glass contains innumerable gas bubbles, but the greater part of them, especially the larger ones, rise to the surface and escape. Some, however, are left in the glass. The very nature of the process, therefore, makes it im- possible to produce plate glass that does not contain some evidence of volatilization in the form of “seed” or “boil.” “Strie,” “ream,” or “string,” as variously known, generally may be found in some degree. This defect is the ‘result of incomplete fusion of the constituent parts of the batch. It is not noticeably objectionable except when heavy or coarse, and then only in the selected grades. A scratch on the surface is one of the most common defects found in plate glass. It may be caused by coarse grains of sand or emery becoming mixed with the finer grades, by small pieces of glass chipped from the edges during the grinding and polishing, or by a little careless- ness in handling. Long and deep scratches are eliminated even in glazing quality, but shorter and less conspicuous scratches are permissible defects. During the polishing process it is im- possible to avoid making what are known as “hair-line sleeks,” or very fine scratches which can be seen only under very favorable light conditions. These are superficial and are per- missible even in the higher grades. The basic idea in selecting any grade of glass is to eliminate those defects which would make it objectionable for the destined purpose. It should be remembered that glass differs from all other merchandise in the respect that we look through it and not at it. The eyes are invariably focused on the object beyond and do not detect even those defects that are conspicuous when the plate is examined critically. Thus, in a grade that is not to be silvered, noticeable defects are permissible when they do not offend or obstruct the vision through the glass to the object. Similarly even in the higher grades which are used for mirrors, defects that might readily be detected by critical examination would pass the inspection if they are not such as would be noticed when one looks at an object in the mirror. THE PACKING OF PLATE GLASS HEN the finished glass is shipped it must be packed with the utmost care in order to prevent breakage and other damage in transit. The Pittsburgh Plate Glass Company maintains a distinctive system of packing and an organiza- tion especially trained and competent from long experience. The guiding principle is that even though the Company is not responsible for care- lessness by transportation lines and others who handle the glass after it leaves its jurisdiction every effort shall be made in packing and ship- ment to provide safeguards that shall insure good delivery to the customer. First, a stout wooden box or case is provided. It is about seven inches larger in width and length than the width and length of the largest plate it is to contain, and of the necessary depth to hold about 600 square feet of glass. The case is laid flat and a thick bed of straw is first laid on the bottom. This in turn is covered with a sheet of heavy paper, on which is laid the first plate of glass. That is covered with a sheet of [ 191 | eg | 3 i aut aati i We | fy\) \ii\b 2 BM Nhe SS a be Atha, —— t ial jr a \ —— X ns | a ANU WET yi fISS \ ‘| ! 4 UG {\\ | [fi lr => e———a lp Warehouse System of t This presentation of the unequaled system for distribution and service shot thousands of dealers for use in hundreds of thousands of buildings. we iN | i me i He i : J = y ibe et ree Ill II Wl eb (ee ro | bes =) ‘\ we =| » 3 é - — r Plate Glass Company he extent of the organization required to supply this Company’s products to and addresses of the various Warehouses will be found on page 208. PITTSBURGH PLATE GLASS COMPANY clean paper, on which the next plate is placed. The packing is continued thus, a plate of glass and a sheet of paper alternating, until the case is full within about an inch and a half of the top. The pile of glass plates, being smaller than the case, leaves a clear space of about one and one- half inches between the edges and the case, ex- tending around all four sides and the full depth of the case. This space is stuffed with straw forced in to the utmost, forming a compact but resilient cushion all round the glass. A thick bed of straw is then laid over the entire surface of the glass; this is compressed tightly when the lid of the case is nailed into place, thus making a tightly compressed cushion of straw enclosing the glass on all sides. The case is then turned up on edge and loaded with other cases on the railroad car for transportation to destination. The glass rides on its edges; and as the many plates in a case are packed and held together like a solid block, they present remarkable strength to withstand the blows and shocks un- avoidably sustained during transit. The actual amount of breakage is extremely small as compared with the total amount shipped. According to records covering the shipment of 2300 carloads of plate glass, the claims filed for loss in transit amounted to less than $2,000, or an average of less than one dollar per carload. EXPORT SHIPMENT During and since the World War, owing to the cessation of plate glass manufacture in European countries, there has arisen a heavy demand for plate glass in this country for export to meet the world’s requirements. Before this, the exports of glass from America had been negligible, and generally limited to such neighboring countries as Canada and Mexico. But since 1915-16 large quantities have gone from America all over the world, and naturally, as to the largest manu- facturer, the bulk of this business has come to the Pittsburgh Plate Glass Company. Export shipments require extremely strong packing cases, specially constructed to withstand the frequent handling and the hazards of trans- portation by rail and by ocean steamship. To meet these requirements, the Company devised and built an ideal packing case for export ship- ments, of extremely strong construction, braced with steel plates on the corners and bolted to- gether with specially devised steel bolts, instead of nails. Many cases contain up to 1000 square feet of glass and weigh considerably over two tons each when packed. These have traveled to almost every civilized country on the globe, and their excellence has brought many letters of commendation. HANDLING PLATE GLASS The surface of polished plate glass can be damaged or scratched by careless or unintelli- gent handling. In this respect, it resembles the surface of a fine lens, and should be as carefully treated. The sheets of paper used by the manu- facturer in packing to protect the surfaces should be kept in place when the glass is unpacked and should not be removed until the glass is finally set in place or used. Plate glass never should be piled up on the flat surfaces, but should be piled on the edges with a sheet of paper between each two plates, as when received. No dust or grit should be allowed at any time to settle or accumulate upon piles of glass, as it will work down between the plates and damage the surfaces. When plates are removed from piles of glass, handle one at a time and, in doing so, lift the plate clear away from the other glass; never drag or slide a plate over the glass remaining in the pile. Glass should not be laid flat upon a table or box that is not covered with clean cloth or other clean, soft material. When cases of glass are received, it is best to unpack them as soon as possible, especially if the glass is to be stored for some time before being used. If it is necessary to store the glass, place it on edge in piles with paper between each two lights, and do not pile it in a damp place, or where the air is moist. If the glass has become wet in transit it should be thoroughly cleaned and dried. Put the piles upon pegs to provide for a free circulation of air on all sides. All this is necessary to prevent what is known as “stain,” which is one of the most troublesome and annoy- ing conditions to be found in handling glass. CARE OF PLATE GLASS The characteristic appearance of stain is either a faint whitish scum seen in patches on the sur- face or a slight dimming, which, when held in [ 194 ] PACKING AND HANDLING PLATE GLASS reflected light, produces iridescence. The most serious case of stain has the appearance of deep etching, similar to the effect that is produce when glass is splashed with etching-acid and al- lowed to dry. The surface of the glass is dam- aged by corrosion as steel is damaged by rust, and the extent of this corrosion produces all the varieties of stain, from something almost im- perceptible to a heavy scum. The liability of plate glass to stain depends on its composition, on the treatment it has received in storage and in transit, and on the climatic conditions to which it has been subjected. If the glass is subjected to a warm, humid, or putrid atmosphere in which ammonia is usually present, it is very liable to stain, and especially when two surfaces are left in contact. Polished glass cannot withstand the action of alkalies. The surface is attacked and although it is not immediately stained it later on stains very readily. On the other hand, it has been found that acid solutions have less corrosive action on glass than even water alone. HOW TO AVOID STAIN Plate glass is composed of a mixture of sodi- um and calcium silicates. The sodium silicate is the more soluble constituent. Water con- denses on the surface and immediately begins to dissolve minute quantities of sodium silicate. The calcium silicate is hydrolized and sets free hydrate of lime and hydrated silica. When these compounds dry out on the glass the surface becomes slightly dim. If the staining has not been allowed to go too far, it may be removed by the usual method of cleaning without seriously affecting the surface of the glass. If it has gone too far, the surface is destroyed, becoming covered with minute scales or crystals of silica which cannot be removed without repolishing. If moisture is left between two or more plates of glass or gets there by condensation, and does not dry out quickly, a concentrated solution of silicate of soda will finally be produced and then, if by chance the plates become dried out, they will be found cemented together. Glass made by the Pittsburgh Plate Glass Company is composed of the best possible pro- portions of soda, lime, and sand, with the special object in view of producing the most practical resistant plate glass, and one which, therefore, has the least tendency to stain. CUTTING PLATE GLASS Plate glass cannot be cut commercially by any machine operation. If only a small number of plates are required, they may possibly be cut by one man and be closely uniform in size, but where the number is large, they must necessarily be cut by many different cutters, and the personal element entering into the accuracy of the work will cause some variation in the sizes. For this reason, an allowance of at least one-sixteenth of an inch over and under the specified size is gen- erally required. Provision for this slight varia- tion in size can be made easily in designing the sash or frame in which the glass is to be used. THICKNESS OF PLATE GLASS Plate glass is manufactured in all thicknesses from 332 inch to 1% inch. The standard thick- nesses run from %2 inch to %6 inch. For glass above or below these limits an extra price is charged. Glass cannot be furnished to an exact thickness, and for thicknesses known as 46 and % inch, a tolerance of 2 inch over and under the specified thickness is required. For glass over %6 inch thick, an allowance of 146 inch over and under the specified thickness is required. This does not mean that all the plates will show the extremes in thickness. If glass is ordered ‘16 inch thick, the thinnest plates probably will be %2 inch thick, and the thickest plates %2 inch thick, but the general run of the glass will be close to the specified 344 inch thickness. If a large number of plates are required the usual allowance of 72 inch over and under thickness should be increased if prompt shipment is required, and a liberal inter- pretation of specifications must be given if such business is to be either profitable or desirable to any manufacturer. SIZES OF PLATE GLASS Plate glass can readily be made in extreme sizes up to 250 square feet, and in such measure- ments as 10 x 21 feet (120 x 252 inches), con- taining 210 square feet; or 12 x 20 feet (144 x 240 inches), containing 240 square feet; or 13 x 19 feet (156 x 228 inches), containing 247 square feet. Plates have been made containing as high as 300 square feet, but such extreme sizes are not to be recommended; they are difficult to make, [ 195 ] PITTSBURGH PLATE GLASS COMPANY VARIOUS EDGES AND BEVELS ILLUSTRATED Lo ee ee Bev. 14" Clean Cut Edge POG kee eee an Bev. 14" Flat Polished Edge pe eave en Coen eat Bev. 14" Chamfered Polished Edge eS ee ee en eae ee otic Metered Bde pe SO ea i baea anes ab ee oy er ar 2) cow suche Baas pce seve eae Oy eI gins otiched. dee Riegel aches a a ee geal Nahe “ates CEOS AS ee ware gers ei EES RSE OIE csien ) ld See, Mie pee tear ge Ce I [2 eens wai anes | arg Veer rary aan as os ee ee oe Cee gay Cee ieee oce ey ee ee re [ 196 ] BEVELING, EDGEWORK, AND HOLES expensive to handle, and undesirable as regards maintenance. They must be made to order and therefore cannot be replaced promptly if broken. Special flat-car shipment, special facilities for unloading and hauling, and unusual care in set- ting, all add to their cost. BEVELING, EDGEWORK, AND HOLES LATES with beveled edges are used for ornamental purposes, as in door lights, mirrors, and leaded glass, and for practical purposes, as, for instance, in the top of show cases where a thick plate fits into a shallow rab- bet. This work is done in a special department and requires experienced men trained in the various processes. In actual result, the bevel is a simple enough thing. But in practice it is one of the highly specialized operations of the glass manufactur- ing plant. It entails many manipulations of minute accuracy, for in this brilliant material the slightest irregularity of measurement would be glaringly evident to the human eye. A large section of glass must be ground away, and this means abrasive work on one of the hardest materials made; yet the finished bevel must pre- sent a smooth and highly burnished surface. THE BEVELING PROCESS For these reasons the work of beveling compels the passage of plate glass through five divisions of workmen: roughers, emeriers, smoothers, white-wheelers, and buffers or polishers. The roughing wheel is a cast-iron disk about twenty-eight inches in diameter, which revolves in a horizontal plane. Rough sand or carborun- dum is fed on to the revolving disk from a hopper suspended above the mill. The rougher places the edge of the glass upon the rapidly revolving wheel and the cutting and grinding of the bevel is done by the friction of the abrasive between the face of the glass and the wheel. The angle of the bevel is determined by the angle at which the rougher holds the plate of glass in relation to the plane of the disk. When the work of the roughing is completed, the bevel has an ex- tremely rough ground surface which must be smoothed and fined before it can be polished. The remaining four steps in the beveling process are all performed to give the final polish to the rough edge left by the first process. An operation similar to the roughing is per- formed on the emery mill, which is identical with the roughing mill except that emery is used as an abrasive instead of sand or coarse car- borundum. This process converts the rough sand-lashed surface that was left by the rough- ing process into a comparatively smooth surface. From the emery wheel the plate goes to the smoother, who uses a sandstone disk of fine tex- ture without any abrasive. This operation pro- duces an extremely fine surface ready for pol- ishing, but a surface that is white and obscure. The plate is next applied to a “white-wheel,” which is an upright wheel made of poplar, re- volving in a vertical plane, on which is fed powdered pumice and water. ‘This operation gives the bevel a semi-polished, semi-transparent surface, which is converted into the high gloss of the finished product by the final process on the buffing wheel. These four steps in refinishing the rough edge left by the roughing process give the finished bevel a surface not greatly different from the original surface of the polished plate. Pattern plates can be beveled as well as squares, although plates with sharp in-curves are difficult and are likely to break in the process. The width of bevel most commonly used for the larger door plates is 1% inch, for the larger size furniture plates 1% inch, and for the smaller size in furniture and door plates one inch. Show- case plates usually receive a half-inch bevel. Bevels wider than two inches are impracticable. The width of the bevel desired should always be specified when ordering. POLISHED EDGEWORK A large amount of glass is used today with polished edges for such purposes as show-case tops, plates to cover tops of furniture, and wind- shields, wing-guards, drop windows, and other adjustable glass plates used in automobiles. The edges of these plates are produced on the same machines as the beveled plate by exactly the same operations, the only difference being in the manner in which the glass plates are presented to the various machines. [ 197 | PITTSBURGH PLATE “Grinding On,” or “Roughing On” the Bevel The glass is held against a horizontal disk revolving in the trough and sand or carborundum is fed from the hopper. For the usual flat polished edge, the glass is held at right angles to the machine and the lower edge of the plate roughed, smoothed, and polished. To produce a round polished or penciled edge the plate is similarly held but, as the operation proceeds, the plate is also rocked from side to side, thus causing the roughing and subsequent operations to form a rounded instead of a flat edge. As may be noted in the drawing on page 196, sixteen different types of finished edges and bevels may be obtained from the Pittsburgh Plate Glass Company. Using the “Buffing Wheel” The bevel is now polished by means of the “buffing wheel.” Felt and rouge are the polishing agents. GLASS COMPANY Smoothing the Bevel From the grinder the glass goes to the smoother, who uses a 8 . § 8 . grindstone without any abrasive. In the use of plate glass with special bevels or edges it frequently is necessary to have holes drilled in the glass for the accommodation of special attachments. These holes may be drilled in reasonable number and size without much risk of breakage. Plates may be cut to simple patterns and the edges beveled or polished, or both. Should the required shape of plates involve in-curves or out-curves, the manufacturer should be con- sulted, for it is for him to determine whether or not the required plate can be produced without undue risk of breakage. Finishing the Edges of the Bevel Polished edges are produced in much the same manner as beveled edges. [ 198 ] BENT Y bent glass is meant glass curved in various degrees and at various angles to produce handsomely shaped all-glass ef- fects in places where otherwise there would have to be ordinary corners formed by joints, usually of opaque material. Inclosures for cashiers and bookkeepers and other glass office partitions gain immensely from such curved corners. The whole scheme of a room or a building is lifted to a degree of dis- tinction whenever bent glass is made a definite part of the plan throughout. Bent glass is essentially a structural glass, playing its important part in the composition of a building, interior and exterior. In addition, however, it lends itself to other forms of service, such as furniture, show cases, safety guards for machinery and electric installations, and other miscellaneous uses. Bent polished plate glass has brought a final and unique beauty to the automobile, by provid- ing the one means for making windows that will conform to the lines of the body and impart to the machine as a whole, distinction and graceful shapeliness. For the owner and passenger the bent plate glass window obviously adds to the pleasure of every journey—a pleasure intensified by the sat- isfaction of knowing that the exterior appearance of the motor car is equally admirable. Bent plate glass offers many opportunities to the designers of handsome railroad and street cars. Big and little problems of angles and corners frequently can be solved by introduc- ing this excellent structural material instead of attempting to build up with joints. Thus are obtained improved appearance and _ increased comfort for passengers along with marked econ- omy in construction. The ship-builder and small-boat designer will find the same practical reasons hold good in their field. The glass-cabin motor boat, for exam- ple, gains immeasurably both in style and in use- fulness from having bent glass corners forward and aft. On large vessels, as the naval architect knows, there are innumerable uses for bent plate glass where strength and clear vision are impor- tant considerations. GLASS HOW GLASS IS BENT Bent glass is produced by treating glass sheets that have been made and finished in the regular glass-making processes and involves heating the sheet or plate of manufactured glass till it softens sufliciently to bend into the desired shape. Every kind of sheet glass can be brought, to bent form; therefore the intending user must be careful to specify exactly what kind he wants. There is, for example, bent glass that is common window glass, and there is also a beautifully mas- sive, polished glass as brilliant as cut crystal, which is bent polished plate glass. Rough and ribbed glass, wire glass, opalite, vitrolite, and Carrara Glass are all bent as required. Plate glass is, of course, the best glass for bent glass purposes wherever transparency is re- quired, because a chief reason for the use of bent glass is desire for combined beauty and strength —distinctive properties of plate glass. It happens, too, that plate glass admits of being bent into regular curves and many irreg- ular ones without the slightest loss of its dis- tinctive qualities. The polished surface retains all its richness and elegance. The vision-property is not affected in the least, for the bending is done in such a manner that it produces no changes in the structure of the glass. Therefore its value for “seeing through” is as perfect after being bent as before. For the production of bent glass special ovens, also called kilns, are needed. The floors of the ovens are deep beds of pulverized clay and sand, and in these the workmen scoop out cavities of the exact form and depth required for any spe- cific shape that a sheet of glass is to take. After strips of iron are imbedded in the sides, the mould is ready. A plate of glass is laid flat over this excavated mould. Its sides are held by the iron strips, but the ends are unsupported. The oven doors are closed and the fire is started, the heat being ap- plied very carefully and increased very slowly for some hours, until the plate of glass becomes soft enough to be plastic, which is when it is a little above red heat. When it reaches the plastic stage, it bends slowly of its own weight, and naturally sinks into [ 199 | PITTSBURGH PLATE GLASS COMPANY the mould, thus assuming its curvature under the best possible conditions, without strains or stresses such as would arise if attempts were made to bend it forcibly. The heat is shut off as soon as the glass has assumed the shape of the mould. The kiln is kept closed, however, for another twenty-four hours in order to anneal the glass and permit it to cool back to normal temperature without stresses and strains. SIZES AND CURVES OF BENT PLATE GLASS—HOW TO ORDER fee Ford City plant of the Pittsburgh Plate Glass Company is equipped with bending kilns that can bend a plate to any size up to a maximum of about 144 x 100 inches. When ordering bent glass, the width (the measurement around the curve) should be speci- fied first, and then the height, or straight dimen- sion. All measurements of bends should be made over the convex surface of the glass. If glass is to be bent to a regular curve (an are of a circle), it is necessary only to specify first the width, then the height, and then the radius of the required arc. All measurements must, of course, be accurate. It is most desirable that a pattern or template of sweep be submitted in all cases, even when regular curves are ordered. In the case of ir- regular curves, such a pattern, drawing, or tem- plate is of the utmost importance. It should show always the convex side of the glass, with distinct marks to indicate where the edges of the glass will come on the drawing after bending. If a required bend is not a true rectangle, there must be information showing which is the con- vex or concave side of the glass in relation to the template or drawing furnished for the bend. If errors are to be avoided in orders for com- pound bends (plates bent in both dimensions), full-size forms or templates should be furnished, the templates being an exact duplicate of the convex side of the glass that is required. When beveled, chipped, or lettered plates, or Florentine, maze, and other pattern glass are to be bent, there must be plain information as to which side of the glass is to be concave or convex. For bent wire glass, the information must show in which direction the mesh is to run. For ribbed or prism glass bending, there must be instructions as to whether the ribs are to run horizontally or vertically. Plates requiring bends in both directions, or on both dimensions of the glass, generally ne- cessitate a specially made iron mould, because it is not practicable to excavate such a mould in the clay floor of the oven. These iron moulds must be of very heavy construction in order not to warp or change curvature under the great heat. This fact usually makes them expensive. It is not desirable to bend plate glass to a curve exceeding a half-circle, or to acute bends resembling right angles; for such extreme curves involve great risk of breakage and of injury to the polished surface. There is a limit to the heating of plate glass, because heating beyond the right point will cause fine particles of the softened glass to stick to the mould, thus destroying the finely polished sur- face. Some sharp curves and bends would re- quire such high temperatures that they could not be obtained without very materially roughening the plate glass surface—a damage technically called “burn.” Plates of irregular shapes, and especially those with cash-openings or speaking-holes cut, for bank fixtures, ticket offices, and similar places, cannot be bent without great risk of breakage. Orders for glass of such character are accepted only with the understanding that the customer assumes the cost of all plates that may be damaged in the bending process. In bending wire glass, experience has demon- strated that breakage is excessive in thicknesses over three-eighths of an inch. Users of glass in making their calculations must bear in mind that specifications for bent glass cannot be interpreted as critically as for metals. Curves of bends will be accurate for practical purposes; but they will not be micro- scopically accurate, because glass cannot be operated on after cutting or bending, to correct trifling discrepancies in curvature or dimension. Specify width (measurement around curve) first, and then the height. Preferably submit pattern or template of sweep in all cases. [ 200 | “” Sete ee) BENT PLATE GLASS EXPLANATION OF CURVES AND DIAGRAMS A—Curves are those which are bent to a given radius one way of the pane only, which applies to the whole length or width of the pane, and not to one part only, the depth of bend not to exceed one-eighth of the length of the bent side of pane. Example, length of the bent side of pane, 96 inches, depth of bend not above 12 inches. B—Curves are those which are bent more than one- eighth, but not to exceed the quarter of a circle, or about 1 in 5144. Example, pane 77 inches, bend 14 inches. C—For the same curve as B, but a part flat, the flat part not to exceed one-third. Example, pane 72 inches, bend 48 inches, flat 24 inches. D—For flat curves, with one part flat, the depth of the bent part not to exceed | in 12, and the flat part one-half. Example, pane 72 inches, bend 36 inches, depth 3 inches, flat 36 inches. E—For curves, the bent part not less than a 6-inch radius, and not to exceed the quarter of a circle, with flat part, the flat part to exceed one-third but not to exceed two-thirds. Example, pane 72 inches, bend 24 inches, flat 48 inches. F—Curves are those which are bent beyond the quarter of a circle, but not to exceed 1 in 4. Example, pane 84 inches, depth 21 inches. G—For OG curves, depth not to exceed 1 in 16. Example, pane 64 inches, depth 4 inches. H—For angular curves, viz.: Flat parts on each side, the centers not to exceed the quarter of a circle, the end flat parts one-fourth of the sides bent. Ex- ample, pane 80 inches, bend 60 inches, flat 10 inches, each side, or about 5 inches on one side and 15 inches on the other. J—For angle curves (radius not less than 6 inches) , the center not to exceed the quarter-circle, and the flat to exceed one-fourth, but not to exceed three-fourths. Example, pane 72 inches, bend 18 inches, flat 27 inches, each side, or about 14 inches on one side and 40 inches on the other. K—Curves are those which are bent beyond 1 in 4 but not to exceed the half-circle (diameter not less than 12 inches). Example, pane 75 inches, depth about 24 inches. L—Curves not to exceed the quarter of a circle at each side (depth of bend not less than 6 inches), the bent part not less than one-third, and the flat not more than two-thirds. Example, pane 72 inches, bend 12 inches, each side, center flat 48 inches. [ 201 | PITTSBURGH PLATE GLASS COMPANY Setting a Large Window Skillful window setters are employed by all the Warehouses of the Pittsburgh Plate Glass Company. In the picture, an unusu- ally large pane is being put in place. This is an operation requiring great care if financial loss is to be avoided, Although this glass has not yet been cleaned, its transparency is so nearly perfect that it is hard to detect the pane in the picture. THE GLAZING OF STORE FRONTS N SETTING plate glass in wood or iron frames in a store front the glass should be thoroughly bedded in putty. In copper con- struction there is no need for putty. As to the proper kind of setting blocks, opinions differ, as on many other points connected with glazing. We are left to choose between heavy pads of felt, lead or iron covered with leather, soft wooden blocks, and other such devices. What- ever blocks are used shou!d be placed about ten to twelve inches from each end of the plate. More than two blocks are not required, though proper care should be used to prevent the glass from coming in contact with metal. After the preliminary work has been attended to, the glass should be lowered into the rabbet with the aid of slings consisting of strong cotton webbing measuring about four inches wide and five feet long. The Pittsburgh Plate Glass Com- pany stocks this webbing and will furnish it at a nominal charge. The bottom of the glass should be placed on the setting blocks, keeping the top away from the frame. When once properly placed, allow the top to move slowly into position. In the event that- the glass binds on either side, this may be overcome by increasing the height of the setting block at that end of the glass. If it is a trifle high, the setting blocks can be taken out and made thinner. Again, if the glass is much too large, it may be necessary to cut it to the right dimension. When in position the slings should be re- moved, not by pulling sidewise, but by pulling them straight up parallel with the glass. Press the glass firmly against the frame and proceed to attach the mouldings. If the frame is of wood, care should be used [ 202 | THE GLAZING OF STORE FRONTS not to toenail the mouldings, because then too much pressure will be brought against the glass. These nails should be driven straight. If plates are taken from the box at the job, workmen should be careful to lift the glass high up over the edge of the box while removing it. Otherwise failure to clear the edge will be likely to break the glass. Glass required for different street addresses should be numbered and marked for the purpose of identification. Too much care cannot be used in setting cop- per corner and division bars. The glass must be cut to correct dimensions to extend into the rab- bet and the bar properly adjusted to insure uni- form tension the full length of the bar. Division bars should not be anchored until this work has been completed. When the work is properly completed, the gla- zier’s responsibility ceases, and if insurance is desired it should be placed at once. BREAKAGE RESULTING FROM POORLY CONSTRUCTED BUILDINGS REAKAGE sometimes is directly traceable to I beams of insufficient weight to carry the load and to want of proper foundations; especially when to these conditions there is added vibration due to heavy traffic. The sills under the plate glass sometimes are found to be made up of one piece of heavy lumber. This heavy block swells and warps when wet, forcing the front out of alignment. Heavy lumber of this kind has no place in a front, and if used should be kept protected from the elements. Cases have been known where ice has formed in and around these heavy blocks, breaking a number of the plates in a front. Breakage also may be due to the use of wide or heavy furring or rabbet strips. These strips should be narrow, not to exceed two or three inches; when too wide there is danger of swelling and forcing the glass. In the laying of the bulkhead floors, provision should be made for the swelling of the flooring when wet—in other words, space should be allowed to permit of normal swelling. This will prevent the sill being forced out of line. Breakage at times is caused by transom bars being too light. When bars are not strong, or properly reinforced so as to withstand wind pressure, breakage probably will result. If door posts are light, or if they do not extend to the ceiling, it is hard to install them in a manner that will not result in breakage. Heavy con- struction is required to prevent this. Particularly is this true if no door-check is used or when a door-check is out of order. STEEL SASH GLAZING ASH of this kind may be used for window, wire, rough, or ribbed glass. They are prac- tically never used for plate glass. In three particulars, glazing of steel sash as compared with the glazing of wood sash differs quite materially. First of all, steel sash are erected and anchored in place in the walls of the building before being glazed, whereas it is cus- tomary to lay wooden sash on horses for glazing. Secondly, it is necessary to use special putty for steel sash, because it is not possible for the metal to absorb the oil in linseed oil putty, which, of course, makes it impossible for the putty to harden. Thirdly, the glass is set from the inside of the sash instead of from the outside. Litharge putty, the kind used for this purpose, can be obtained either from the manufacturers of sash or from the firm supplying the glass. The putty should be sent to the job in steel, air-tight cans; if in wood barrels the putty has to be used as soon as it reaches the job, because the harden- ing of the putty begins with its exposure to the air, and in a short time it is impossible to work with it. It is quite essential, in order to have the putty adhere properly to steel sash, that the metal should be perfectly dry. It is not possible to glaze these sash in damp weather. A contrivance very much on the order of lad- der jacks is used by glaziers to support the planks from which they do their work. Standard sizes of glass used in steel sash are 14x 20s, 12x 18s, and 10x 16s. If there are ventilators in the sash it is necessary to trim the outside edges of the lights going into the [ 203 | PITTSBURGH PLATE GLASS COMPANY ventilators approximately one inch. Exact sizes should be secured and the glass cut to fit before starting. The first step in the setting of the glass is to place a small quantity of putty at the back and sides of the rabbet in order to provide a bed for the glass. The glass is pressed in place so that any excess putty may work out on the face of the steel sash. The spring clips which are furnished by the manufacturers are then inserted in the holes provided for them, after which the putty is run around the glass on a bevel covering the clips, making the appearance the same as in the ordinary type of wood-sash glazing. The function of the spring clip is to hold the glass in place while the putty is hardening. This should occur in a comparatively short time. When the putty is thoroughly dry it becomes so hard that it is necessary to use a chisel to remove it. This method of glazing is for the ordinary type of steel sash. If the Underwriters’ type of steel sash is used, it will be necessary, after the putty has been spread in the rabbet and the glass set in place, instead of using the spring clips, to attach angle- iron stops to the frames by means of bolts. These stops and bolts will be found attached to the frames and must be removed by the glazier before commencing to set the glass. After these stops are bolted on to the frames, it will be necessary to run as much of the putty as possible in between the glass and stops, to pre- vent contact of glass with metal. In the glazing of saw-tooth or monitor sash, the bed of putty should be much heavier than in the ordinary side-wall sash. After the glass has been pressed tightly in place, fill in the space between the edge of the glass and the metal with putty; then with the putty knife cut it off even with the face of the glass. This method of setting the glass in the monitor sash applies to most types, but some manufacturers require in addi- tion the face-puttying, which is done in the usual manner, but requires a very deep bevel. Be sure that the sash and the face-putty are not painted for two or three weeks after glazing. This is in order to secure thorough drying of the putty, because after paint is applied the putty does not dry well. After completing the glazing of sash in which ventilators occur, whether in side-wall sash or in monitors, be careful to have all ventilators fas- tened or wired securely to prevent the wind from blowing them open and breaking the glass. When glazing steel sash in winter months, it will be necessary to warm the putty in order to make it soft enough to handle. SETTING AUTO GLASS T IS important that every glass dealer should learn to do this work. If supplied with the right tools and materials, it is not so difficult as might seem. A carborundum stone, plate glass pliers, steel wheel cutters, rubber mallet, felt, insulating tape, and a Perfection glass-board complete the outfit. The glass should be cut to fit, the rounded corners nipped with the pliers, the rough edges smoothed with the carborundum stone, the tape and felt applied, and the glass placed in position. With the aid of the rubber mallet, it can be made to fit tightly without injury to glass. STOPPING A BREAK In cutting around breaks, examine the glass to ascertain how far the break extends. This is very hard to determine because the crack cannot always be seen for its full length. With a steel wheel cut a circle ten to twelve inches around this point and tap the plate in the usual way until the crack is plain and the glass is broken clear through. BOXING ee customary charge for boxing on orders amounting to less than a stipulated figure, and of a less number than three plates of what- ever value, at times has prompted purchasers to inquire if boxes might be returned for credit. These boxes are constructed for each individual order. If returned they must be knocked down and rebuilt to different dimensions. Any sav- ing that may be effected in the lumber recovered is largely offset by the freight, cartage, and addi- tional labor expense. To re-use these boxes, ac- cordingly, is not practicable. [ 204 ] THE SETTING OF PLATE GLASS SETTING GLASS ABOVE GRADE FLOORS se plate shown in the illustration is per- haps as large in footage, and also as regards both the width and the height, as any sheet of plate glass ever set above the grade floor. To install such a plate in the upper windows is not an easy task. In this instance it was decided to deliver the glass to the building in the box in which it was received. It was then hoisted to the opening by a beam rigged out from the seventh floor with a Triplex pulley attached. It was found necessary to remove the sill in order to allow the case to pass into the building. The height of the opening slightly exceeded the width, thus making it necessary to up-end the glass. This was done before it was removed from the box. Twenty expe- rienced workmen were required to do the work; and while the setting was a most unusual one, it was executed according to plan without any un- toward incident whatsoever. The custom is, however, to deliver large plates for setting above the grade floor in the same way that other glass is delivered to the job. Twenty- four-foot scaffolds are used for this purpose. Underneath the glass is brought a strong sling of webbing, with rings attached to each end, similar to and of about the same length as a saddle girth. Ropes are passed through the rings and the men above lift the glass on to the scaffolding and thence into the opening. [ 205 | PITTSBURGH PLATE GLASS WINDOW RACTICAL men in the business have debated at times as to whether window brackets of the kind illustrated above possess any real merit. Men of wide experience in handling glass, how- ever, seem to regard them with considerable favor. They maintain that if, and when, the brackets are properly installed and adjusted, they render material aid in supporting the glass against wind pressure. Merchants evidently think well of the innova- tion, for we are informed that the manufacturers receive orders from all parts of the country. Plate glass insurance companies, however, have not as yet given the device recognition. These brackets are made, in the solid part, from 716 x 1%-inch iron. The arm consists of COMPANY BRACES one-inch hollow tubing screwed into the bracket portion. In that portion of the arm projecting toward the glass, a shaft is attached, in the end of which is inserted a rubber wheel that rests against the surface of the glass. This bracket is adjusted with a set screw to bring against the glass the pressure required to absorb vibration. Another style of this window brace is one that is attached at the transom and does not extend to the ceiling. In all other respects it is the same. The brackets are made to order to fit indi- vidual windows. When ordering, furnish a sec- tional view of the window, together with the exact measurements of the glass and the woodwork, particularly the distance from the ceiling to the transom bar. Also specify the finish desired. RESILVERING MIRRORS a IS often taken for granted by the customer (and sometimes by the dealer, too) that in the process of resilvering a mirror a real effort is directed to making over the glass itself. This is incorrect. Even if it were considered practical: to polish out scratches and other defects com- monly found in old mirrors, such work would be most expensive. The cost of the labor alone amounts to appreciably more than the cost of brand-new glass; yet there are cases where such expectations have led to considerable disappoint- ment. It is important that the dealer should explain these matters clearly: that in the process of resilvering a mirror no effort at all is made to improve the quality of the glass itself, and that the old silver has to be removed, the glass carefully cleaned, and new silver applied. German imported mirrors, or thin '%-inch mirror plates, cannot be accepted for resilver- ing. They are too easily broken. The resilver- ing of mirrors always is done at customer’s risk. Bill of lading with proper instructions always should be forwarded, and mirrors should be re- moved from frames before shipping. [ 206 | MISCELLANEOUS INFORMATION MAXIMUM SIZES, THICKNESSES, AND APPROXIMATE PLAIN FIGURED GLASS NET AND GROSS WEIGHTS “WIRED GLASS Thick- Maxi- | Approximate gered Maxi- | Maxi- | Approximate vee STYLE a yum | Net Weight | Shippin STYLE imum | mum [Net Weight | Shipping Inches laches Sq. Ft. per Sq. Ft. Inches | Inches | °™ sb per Sq. Ft. GRGDHIMG soy ie eke tons lg 132 |2 lbs.|2% Ibs. || Polished Wired Glass.....| 4 | 48 | 130 |334 Ibs.|41% Ibs. Seale ct Rep aM ay ae 3% 132 |21% lbs.|314 Ibs. . Hf + | 48 | 130 |4 _ Ibs.|434 Ibs. SEE Sonica) hy fee rah oe le 132 |2 |lbs.|21% lbs. e - 5% 46 | 130 |8 Ibs.|81% Ibs. RECN eae entice eke 346 132 |21% lbs.|3% Ibs. || Maze % Yy| 48 | 130 |334 lbs.|4% lbs. NEGSS iter icine era eas lg 132 |2 |lbs.|/21% lbs. - . 3¢ | 48 | 130 |514 Ibs./6 Ibs. aa ph San Ra Na, See ahah 3% 132 |21% lbs.|314 Ibs. || Romanesque ‘“ ( 48 | 180 |334 Ibs.!41% Ibs. Sa(OMIDIIY eos ee Maken aie 3% 126 |134 lbs.}214 Ibs. || Syenite 5 / 48 | 130 |334 Ibs.|41% Ibs. 10: C77 SEN mee oP cane eT nea le 132 |2 lbs.}2% lbs. || Muranese ‘s 42 | 110 |334 Ibs.|41% Ibs. A SEs I i ale Gad Ae ener 346 132 |21% lbs.|3% Ibs. |} Cobweb f 48 | 180 {2 Ibs.}214 Ibs. Hols. s.. Vy 132 |2 Ibs.|21% lbs. 4 3 48 | 130 |2% Ibs.|314 Ibs. alee cana eit AOE NES a RNA 346 132 |21% lbs.|314 lbs. | is 48 | 130 |334 Ibs.|414 lbs. Mivshicgiisecuactow nee hares le 132 |2 Ibs.J2% lbs. |) “ 48 | 180 |514 Ibs.|6 Ibs. ps) alk gem ese Fe aie a ae ero Be 132 |21% lbs.|3%4 Ibs. || Holly t 48 | 130 |334 Ibs.|41% Ibs. Where meses eas ai as lg 110 |2 lbs.|2% Ibs. | Sg id 48 | 180 |514 Ibs.|6 Ibs. Ondayantes.2 sain: teresa le 110 |134 lbs.|214 Ibs. || Prism a 42 | 138 |5 Ibs.|6_ Ibs. Pere 45k Pian a sah co wiees ly 110 |2 Ibs.|21% Ibs. || Pentecor * 40 | 180 |4 Ibs.|5 Ibs. ag OR AS ee a 3% 110 |21% lbs.|314 Ibs. |} Pyramid “ 48 | 132 |334 Ibs.|41% Ibs. Romanesque... fo sias ses le 132 |2 lbs.]21% lbs. || Aqueduct Hs 48 | 132 |414 Ibs.|5 Ibs. lo Reg SCR ee Seo areata 3% 132 |21% lbs.|314 Ibs. || Rough . 48 | 130 |2 Ibs./21% lbs. Hammered Cathedral........ 349 90 |11% lbs.|2 Ibs. i a 48 | 130 |214 lbs.|314 Ibs. Douplestolleds fxs Ae 340 90 |1% lbs.|2 Ibs. : . 48 | 130 |334 Ibs.|41% Ibs. Opalescent ORS A ee tah 3% 90 |1% lbs.|2 Ibs. uy 3% 48 | 130 |54 lbs.|6 Ibs. ROP patted oer kee Feehan le 40 |114 Ibs.|2 Ibs. iy | 48 | 130 |714 Ibs.|8 Ibs. AO Wledhihesngi ts aici tiet asi ps le 90 |11% lbs.}2 _ Ibs. || Ribbed s 1% 48 | 130 |2 Ibs./21% lbs. Rippled (Thin)... 086 oo 349 90 |114 lbs.}134 Ibs. af ey 3% | 48 | 130 |214 lbs.|34 Ibs. Wolomialen er 6. kites knees 1 160 |2 lbs.]21% lbs. * 3 A 48 | 130 |334 Ibs.|414 Ibs. Sm NS eho A OES tangas os 3% 160 |2% lbs.|314 Ibs. || “ “ 36 | 48 | 130 |514 Ibs.|6 Ibs. VCR UMC So Pate buns tea taht A 132 |334 lbs.|41% lbs. ||“ " 14 | 48 | 130 |714 lbs.|8 Ibs. @armation? $3) 62.5. Vy 132 ]2 |bs.]2% Ibs, || Rough Wire Floor Glass... .. . 34 12 12 |8 —_Ibs.}934 Ibs. ROMMERROMT Ss cna ENS Y ucec cuss brat 3% 132 |2% lbs.|3%4 lbs. || Ribbed “ : 34 12 12 |/8 = Ibs.|934 Ibs. MADEN eR es eae Noe tee ly 126 {2 Ibs.}2% Ibs. || Ground “ ss 34 12 12 |8 —_Ibs.|934 Ibs. SP aed hak nid aah Mia t.cy event 3% 126 |21% lbs.|3\% Ibs. ||_ Cobweb saan we le 120 |2 _Ibs.}21% Ibs. | Poti es neta oe ees ne 3% 126 |214 lbs.|314 lbs. POLISHED FIGURED GLASS oh sh ge ae Sta a ee ee V4 120 |334 Ibs.|41% Ibs. OS Soka SOS Neate he Meee ent 3¢ 120 |5 I|bs.|6 Ibs. Anueductia ss homies. av coke 3% 19071334 bs.\4—-Ibse| Apex. 2.0.00. avatars about] 14 50 | 100 |4 Ibs.|434 Ibs nae a ae PGA Cae anes yy ISO: 4 oelbss bea lbsy ll ideal: o5 400 7 ae aie oxuoaaot A 54 | 180 |4 = Ibs.|434 Ibs. er Rd Sits opbanes <) Mint ey DR | 34 120524 tbs. 1624 ‘Ibs-||"Pyramid..2) oc ne eeveniee = YY 48 | 132 |4 Ibs.|434 Ibs. a ie z 7 “Imperial” Prism-Plate.about| 144 70 | 82 |334 Ibs.|41% lbs. = Style Ol. x; 2" yy 70 82 |334 lbs.|41% Ibs. PRISM GLASS Style 02..... yy 70 | 82 |334 Ibs.|41% Ibs. Style 03. ..... A 70 | 82 |334 Ibs.|414 Ibs. : Stvle 1g ivf 3 . ly : Prism (Sheet) Thin..........] 4 120 13% lbs.}414 Ibs. Sits 7 7 i - 34 Se rh al Boon set) ee ear we ae 138 4 ee 4% : Sein $e, i ean pike i ge ta mlazed Prism: Piles. tx... s.< sf 216 514 l|bs.|6!% Ibs. Prism “Wired Glass. s..:...-..- 3¢ 138 |5 Ibs./6 Ibs. | Madases. 0 onl eat cae 132 |214 Ibs. |3_ tbs. | POLISHED PLATE GLASS AND MIRRORS BUR derge ce ronista eta Oat Maree se Net 8 3% 132 13 Ibs./4 Ibs. f “Imperial” Prism-Plate Glass.} °s | 82 |414 Ibs.|514 Ibs. | STYLE Approximate Net Weight per Square Foot ROUGH, RIBBED OR CORRUGATED ROUT ee aisen cd. ope canoe ier ieee lg mete) wi'pubuelie) Shey si8 Jelena lim) oem sm ho | 3% ‘ } / | 4 Z erin: CRN aS hoe RUM MEWS nc oss oe tan | % “ 3% Se Or CE Roe ee | 736 “ PCR ERLE SL Vans ERT TE pier ciara | 7 “ 1&3 Pa at Ce aa Moats Te rere Be: ; -ee | 72 132 132 136 132 240 132 132 136 132 130 a lbs, 216 lbs. 334 lbs. 514 Ibs. 714 lbs. Q.* “lbs. 216 Ibs. 334 lbs. 514 lbs. 716 lbs. Ql 9 Ibs. 344 lbs. | 41% lbs. | 6. lbs: Sr psy 216 lbs. 314 lbs. 41% lbs. 6° dbs. 8 Ibs. Polished Plate Glass and Polished Plate Mirrors > OTN NGO NOTA et 0° SNP\S SOON COIR. CODD 06 Lib. ‘10:02: 2 \lbs. 7 oz. 3 lbs. 4 oz. 4 lbs. 2 oz. 4 lbs. 14 oz. 6 Ibs. 8 oz. 8 lbs. 2 oz. 9 Ibs. 12 oz. 11 lbs. 6 oz. 13 Ibs. 0 oz. 16 Ibs. 4 oz. 20 lbs. 0 oz. [ 207 ] PITTSBURGH PLATE GLASS COMPANY LOCATION AND ADDRESSES OF PITTSBURGH PLATE GLASS COMPANY’S WAREHOUSES AKRON, OHIO ALBANY, N. Y. . ATLANTA, GA. BALTIMORE, Mp. BIRMINGHAM, ALA. . Boston, Mass. . BROOKLYN, N. Y. . BuFFa.o, N. Y. Curcaco, ILL. CINCINNATI, OHIO . CLEVELAND, OHIO . CoLuMBus, OHIO Da.uas, TEXAS . DAVENPORT, Iowa . DENVER, COLO. . Des Moines, Iowa . Detroit, Micu. Fr. WortH, Texas Granp Rapips, Micu. Hicu Point, N. C. Houston, TEXAS INDIANAPOLIS, IND. . JACKSONVILLE, FLA. Kansas City, Mo. . Lone IsLanp City, N. Y. Mempuis, TENN. MILWAUKEE, WIs. . Newark, N. J. . New Haven, Conn. New Or eEans, La. OKLAHOMA City, OKLA. . OmaHa, NEBR. . PHILADELPHIA, Pa. PITTSBURGH, PA. RocuHeEstTEr, N. Y. . San ANTONIO, TEXAS . SAVANNAH, GA. . St. Louis, Mo. . ST. Paut, MINN. ToLepo, OHIO . WasuHincTon, D. C. MINNEAPOLIS, MINN. . Sk her ee 101 Lincoln Street . North Ferry Street, East of Broadway 96-60 West Alabama Street . 8-12 South Paca Street Second and 29th Streets . 99-103 Portland Street Third Avenue and Dean Street . 101-107 Seneca Street 431-451 St. Clair Street . Broadway, Court Street and Eggleston Avenue . 3849 Hamilton Avenue 33-135 East Spring Street . Pearl Street and Pacific Avenue 414-428 Scott Street Twenty-sixth and Blake Streets . 108 East Fourth Street Hamilton and Holden Avenues . 1105-1107 Calhoun Street 21-23 lonia Avenue, S. W. 431 Hamilton Avenue . Crawford and Commerce Streets 1915 Madison Avenue . 1530 Enterprise Street . Fifth and Wyandotte Streets 193-219 Hunters Point Avenue . 181-185 Madison Avenue . 486-496 Market Street 616-628 South Third Street Elizabeth Avenue and Peddie Street 184, Brewery Street . Girod and Commerce Streets . 116-118 East Grand Avenue . Fourteenth and Jones Streets . Arch and Eleventh Streets 632-642 Duquesne Way . . « .» 149-153 State Street 1420-1426 South Alamo Street 731-733 Wheaton Street . Tenth and Spruce Streets . 459-461 Jackson Street 2410-2416 Albion Street . Fourth and Channing Streets, N. E. THE MANUFACTURE OF PAINT R AMMEISSNER, SA Wil (( THE ORIGIN AND FIRST USE OF PAINT AINT was used first, in the palzeolithic age, for pictorial purposes. This was long before historic times—probably not less than fifty thousand years ago. The records on which modern historical theory is based were gathered in connection with discoveries made in France, Spain, and Italy. Other evidence of prehistoric paint-making has been found among ruins in Arizona and Mexico, but few deductions have been drawn from these specimens, as history has no rec- ord of the mysterious races who inhabited those regions. In 1879 a Spaniard living at Altamira was exploring a cave on his estate when his little daughter discovered under a low shelv- ing rock, not readily accessible to an adult, a series of drawings of prehistoric animals painted on the stone ceiling of the cave. Science connects these with the animals which roamed over Europe during the Stone Age, and it is probable that these drawings were made during that period. These pictures were painted in three col- ors: red, black, and yellow—pigments that must have been made from earths and char- coal. Inacertain stratum of earth, which has been identified as the surface soil during the Stone Age, there is a quantity of yellow and red ochre. The black pigment might have come from ashes or from a black earth. The prehistoric artist, by thus mixing ochre, red or yellow, with water, was able to make a practicable paint for his purpose. Other paintings similar in nature to those in Spain were discovered in 1881 in a cave at Pair-non-Pair, Gironde, France; also in the Cave of Gourdan, Haute-Garonne, France. All these caves were sealed, until their dis- covery during the Nineteenth Century, with layers of earth and gravel, which undoubt- edly is what has preserved the paintings until the present time. Those that have been ex- posed to the atmosphere show the destruc- tive effect of dampness on the coloring. Paintings representing prehistoric ani- mals and, in a few instances, pictures of prehistoric men, have been found at Oued Safsaf, in Algeria. Apparently these were done with a sort of red dye, probably ob- tained from the juice of a berry. In America also, drawings have been [1] PITTSBURGH PLATE GLASS COMPANY found, in rock shelters and in caves, which were made in practically the same manner as those in Spain and France, by mixing with water the yellow and red ochre obtained from the soil. It was even possible to obtain a green whenever “‘terre verte” (glauconite), a colored earth, was to be found. Worthy of note is the fact that the colored powders from which this primitive paint was made were kept in tubes, much as tubes are used for paints today. The palolithic tubes were made from horn or bone hollowed out. Paint is known to have been used by the Egyptians as early as 8000 B.c. Coming down to a much later age, we find that by 3500 B.C. painting had attained the dignity of an art, and numerous colors were in use. Most of these colors were easily manufac- tured from earthy materials found at that time in Egypt and the surrounding territory. Palettes of slate also were in use among the Egyptians, as well as “mullers’’ for smooth- ing down the paint after it had been applied. Paint-making in early Egypt made its first notable advance through an allied art, when it was found that potter’s clay changed color in the process of baking. Through this discovery, in addition to the reds and yellows made by mixing crude ochre with water, the Egyptian artists found themselves able to make green, blue, and black by grind- ing up pottery that had cracked in the fire, taking the glaze put on by heat, and mixing it with water to obtain new colors. Black was obtained in other ways: Lamp- black was just as common then as now, and the mixing of a little gum arabic with the water caused the particles of lampblack to re- main suspended in the liquid, thus forming a [ very good paint. The Egyptians found-also that it was possible to produce a black pow- der for coloring matter by charring and grind- White paint was made in much the same manner, using chalk instead of lampblack. One of the most interesting colors used in the ancient world was “‘azurite,” or ultra- marine blue. ing young vines and peach stones. This is a delicate and beau- tiful blue, as much prized today as it was in the earliest history of painting. It was made by breaking up lapis lazuli into small frag- ments, then separating the chips and grains of blue color that appear in the rock, grind- ing them to a powder, and sifting to obtain the pure coloring matter. This material, suspended in a medium consisting of water and gum arabic, or occasionally of water and the white of egg, rivaled in its delicacy of color. produced a blue paint un- Although ultramarine is manufactured today by chemi- cal processes, modern artists sometimes pre- fer the old-time color because of its superior quality. Painters of the Italian Renaissance made extensive use of “‘azurite,”’ and had it prepared in a very careful manner in their workshops. According to one of the early Italian artists, it was found wise to permit: only old women to work on the making of paint from lapis lazuli because of their great patience and care in handling the material. Another interesting color was murex, or the royal purple of Tyre. The color derived its name from that of the small fish from which it was obtained. In the waters of the Mediterranean off Pheenicia these tiny fishes abounded. Within the head of the fish was found a secretion that could be converted into this wonderful dye. ] THE ORIGIN AND FIRST USE OF PAINT At one time murex was largely manu- factured and used throughout the ancient world. Besides being a beautiful color, it had remarkable preservative properties. It was not purple as we understand that color today, but a rich, heavy crimson, that came to be used everywhere as the color of roy- alty. The “purple and fine linen” men- tioned in the Bible refers to murex, and indicates the value it had for the people of those days. The secret of making Tyrian purple died with the vanishing of the Phee- nician race. Before 1500 B.c. the art of painting had come to be fairly well developed in Crete. In the unearthed remains of the Palace of Cnossus, as well as in the Labyrinth built to house the Minotaur, are to be seen today examples of the art of painting as practiced by the Cretans. The colors they used were practically the same as those found in Egypt in that period, and most of them might well have been obtained from that country, since they made use of a color known as “blue frit,” manufactured only along the Nile, by erinding up pottery that had been fire-coated with a copper glaze. One pigment, however, a deep, perfect black, was the Cretans’ very own, and rendered their paintings distinc- tive; it seems to have been made from car- bon. This black can be seen in frequent and highly effective use on remnants of ancient Cretan pottery. Many years later it was imitated with much success in the wall fres- coes of Pompeii. The Cretan artists made their white from lime, probably obtained from marble. Marble was widely used in the architecture of ancient Crete and Greece. At the same time, 1500 B.c., painting had reached an advanced stage in Egypt. By that time the Egyptian artists had in- creased the number and variety of their col- ors almost to equal those of the present day. About that period, several colors were im- ported from India, of which madder was one and indigo another. From the madder root they were able to make the paint known to artists as madder lake, besides other “‘lakes”’ from other sources; in like manner various shades of red, violet, and brown also were derived from madder. Egypt not only made great strides in the discovery, manufacture, and use of colors, but about 1000 B.c. the Egyptians de- veloped another material which added im- measurably to the value and permanence of their art. This was varnish. The acacia tree grew in abundance in Egypt and from its sap, gum arabic was made. Trees grow- ing in the Libyan forests gave forth resin and this resin was used extensively in the manufacture of varnish. Beeswax also came to be used as a varnish, and, mixed with dyes, was used likewise in pictorial art. The paintings in Egyptian palaces and tombs, and on coffins and mummies, invari- ably were protected with varnish. This has preserved the paintings to this day, espe- cially in cases where sepulchres and galler- ies were choked with the sand of the Sahara so that the outer air could not come in con- tact with and affect the decorations. The strength and permanence of the Egyptian colors and varnishes have made it possible for us to know and study the civilization of the Nile; the history of Egypt is written in its art. much of what they knew of painting. With From Egypt the Romans learned ES] PITTSBURGH PLATE GLASS COMPANY few exceptions the Roman artists made use of the same colors, produced by the same Relics of classical Roman art were discovered when Pompeii was unearthed in the Eighteenth and Nineteenth Centuries. methods used by the Egyptians. Still later, the same methods and materials were employed by the early Italian artists. Before the Renaissance, however, the Italians developed new colors and abandoned some of the primitive Roman pigments, so that when the great artists of Italy appeared, they were able to use tempera and oils in much the same way these two media of art are used today. The paints were prepared with the greatest of care, and the varnishes and oils used in the mixing of colors received equal attention. Some of the materials that the Egyptians used, indeed, have not been su- perseded even in the modern composition of coloring material. Linseed oil was used then as itis today; a color similar to cochineal was obtained from a small tree insect; in fact, there are many points of identity in composi- tion between ancient paints and varnishes and like materials of the present day. Mi WW /// Yj Y }}}} [4] PROGRESS AND DEVELOPMENT IN THE AINT has been defined as: “Any liquid or semi-liquid substance applied to any metallic, wooden, or other surface to pro- tect it from corrosion or decay, or to give color : or gloss, or both these qualities, to it.” Speaking more explicitly, paint is a mixture of opaque or semi-opaque substances (pigments ) with liquids, which may be applied to surfaces by means of a brush, or a painting machine, or by dipping, and which has the property of form- ing an adherent coating thereon. In analyzing the development of paints from the earliest times, what strikes one most forcibly is the dominating position that certain materials have maintained up to the present time. Among these may be mentioned iron oxide, sienna, umber, ochre, white lead, and linseed oil. A superficial investigation might lead to the con- clusion that the art of paint-making has not kept pace with modern progress, but further study shows the fallacy of this conclusion. The nature of paint is such as to necessitate conservative development and the tendency at times has been toward ultra-conservatism. De- cisive results to be secured by using new mate- rials can be determined only after years of care- ful test and observation. So many extraneous influences affect a paint’s value in use that favor- able laboratory determinations are not conclu- sive criteria of merit. Consequently paint-users MANUFACTURE OF PAINT and paint-makers have been slow to discard materials the utility of which has been estab- lished. Notwithstanding these conditions, dis- tinct progress has been made in the paint indus- try and in painting methods, particularly since the beginning of the present century, and the prospects are that this development will proceed very rapidly. It is interesting to note that the essential opera- tions of early paint manufacture continue to this day. The ancient paint-maker ground his pig- ment between stones which he operated by hand; today the pigment is ground between stones, but they are power-driven. The ancient workman mixed his batch in a crude bowl with a wooden spatula; modern mixing is done in huge vats, in which the mixing paddles are operated by power. The ancient workman had only a few pigments, which he generally mixed with water; modern methods involve the use of a varied list of products, whose sources of supply are as wide- ly separated as Canada and the Argentine, India, China, Russia, and the United States. In the gathering of the raw materials used in the manu- facture of paint all races and nationalities are employed, and operations ranging from the sim- plest and most elementary to the most scientific and complex have their part in the process. A review of the development of paint should cover the entire range of products. Although [5] PITTSBURGH PLATE GLASS COMPANY te phe warm g) A Section of the Paint Laboratories The research and test work done in the experimental department of the Paint and Varnish Division of the Pittsburgh Plate Glass Company is the first and most important step in the process of manufacture. Here samples of raw material from all over the world are assembled for examination and analysis. Absolute certainty is the only accepted basis and this is insured by the one infallible, though painstaking and even tedious method — actual test. white is the main base for general exterior paints, colors play an important part. During the last twenty years the development in colors has been rapid and while many that have been staple articles for centuries are still used, remarkable progress has been made, particularly in the development of permanent reds. The years since 1914 mark an epoch in the development of the American paint industry. During that time this country has thrown off entirely its dependence on Europe for the raw materials necessary in the manufacture of arti- ficial colors, and now is able to produce every- thing necessary to the manufacture of paint from basic materials found or fabricated in the United States. At the same time there has been striking improvement in metallic pigments, such as oxide of iron. Today, for example, there is produced a pure yellow oxide with the color of ochre, but more highly concentrated. The white pigments used in paint manufacture may be divided into two classes—those which are highly opaque when mixed in oils and those which have but little hiding power. To the former class belong white lead, both basic car- bonate and sulphate, zinc oxide, leaded zinc, lithopone, and titanium white. In the other class would be included whiting, gypsum, barytes, silica, China clay, asbestine, and tale. White lead is the oldest white pigment known and is mentioned in literature as early as 430 B.C. Records seem to indicate that this mate- rial was made by a process not widely different from the present-day Old Dutch Process, the method now most widely used. The basic sul- phate of lead dates only from 1872. It is now generally accepted as equal to white lead for most purposes, and superior to it for painting steel structures. Blue lead, produced by a sim- ilar method, also has obtained recognition for the painting of structural iron and steel. There is but little difference in the physical properties of leads produced by the various methods. The outstanding virtue of lead as a [6 ] THE MANUFACTURE OF PAINT A Row of Dry-Color Tanks The raw materials from which colors are made are dissolved in these tubs. The solutions, when brought together in larger tubs, precipitate the insoluble colors. The liquid containing the by-products is siphoned off, the color is washed with water, and then it is transferred to the color presses shown in the picture below. Dry-Color Press Here the water is pressed from the solids and the material is moulded into cakes, which are dried and ground into powders commercially known as dry colors. [7] PITTSBURGH PLATE a a s = gs eG A errr r rey PRED WING L} Linseed Oil Plant at Red Wing, Minnesota aukee, Wisconsin PITTSBURGH PLATE GLASS COMPANY A Row of Mixers Here is illustrated the type of machine used in mixing the pigment with liquid to form a paste. This then is ground between two stones which reduce the pigment particles to extreme fineness. Various types of mills are used for this purpose. paint material is that, while it has a drying effect on oil, it produces a film which never becomes brittle, but instead chalks and checks, though it does not peel. Consequently it is of value for use in combination with zine oxide to offset the extreme hardness of that pigment. Although chalking is advantageous from a_ repainting standpoint, it causes tints made with white lead to appear faded soon after application and long before there is any great actual deterioration in the protective quality of the paint-film. Zine oxide has been made commercially for at least one hundred and twenty-five years. It is now generally used in prepared paints. Be- cause it produces a smooth, uniform texture, it is admirably fitted for use in enamels. Lithopone is a pigment which has made re- markable strides as a paint ingredient. The discovery is credited to Orr, an Englishman, in the year 1874: This pigment is whiter than lead, and in texture it is more like white lead than zinc oxide, the smoothness of which it lacks. Its color is unaffected by sulphur or hydrogen sulphide, owing to the fact that it is already a sulphide and sulphate combination. Lithopone is largely used for the manufacture of interior flat wall paints. It is now recognized as one of the major white pigments. Titanium white is the newest of the white pigments and bids fair to become an important member of the major or opaque-white group. The white pigments in the second class are generally described as inert. Inert pigments have no chemical action, and although white when dry, usually lose their opacity when mixed with oil, though retaining it when mixed with water in the form of cold-water paints. They are derived from many sources and produced by various methods. For example, barytes, or barite, is a mineral found in large quantities in Missouri, Tennessee, and North Carolina. Gyp- sum is a natural sulphate of lime. Whiting is produced by grinding English cliff stone. Silica occurs in the natural state as quartz crystals and has been found far superior to any other inert material for the protection of structural [ 10 ] THE MANUFACTURE OF PAINT A Battery of Double Grinding Mills When extreme fineness is essential, the pigment is ground in a double-grinding type of mill illustrated above. After passing through one set of grinding stones the pigment drops to another set, where it is ground again. iron. Other inert pigments used in the paint industry are the silicates, asbestine and talc. Before the grinding which fits them for use in paint-making, these bulky, stone-like materials are somewhat similar in appearance. Inert materials have a well-defined use in paint manufacture. It is only their abuse that is open to criticism. Indeed, many colors are so strong that to use them without inert pigments would be an extravagance. A proper propor- tion of inert pigment adds to the durability of painting materials for exterior use. Some of these inert pigments are extraordinarily resistant to atmospheric influences, far superior to lead and zinc in this respect, and are deficient only in hiding power. Therefore, when properly used, they offer a distinct protective value, and, having no chemical activity, reinforce the chemi- cally active, opaque pigments. In addition to the white pigments, the paint manufacturer has to deal with another group, usually included under the designation, colored pigments. These may be divided roughly into four classes: those containing lead, those con- taining iron, those containing carbon, and those containing organic colors. Among the pigments containing lead are chrome yellow, chrome orange, red lead, orange mineral, and chrome green. Pigments containing iron include ochres, umbers, siennas, Venetian reds, Indian red, crim- son oxide, and black oxide. Chinese blue, as it contains some iron, may be included in this class, although it is entirely different in nature from the foregoing pigments. Pigments contain- ing carbon include lampblack, charcoal black, bone black, and graphite. The organic colors, used either alone or in combination with mineral pigment, are of di- verse origin. Some, such as carmine, produced from the cochineal insect, are of animal deriva- tion, while others, like Dutch pink (which, oddly enough, is a yellow, produced from quercitron bark), are of vegetable origin. Still other or- ganic colors, usually grouped under the term “coal-tar products,” owe their elaboration to the processes of modern chemistry. In this [11] PITTSBURGH PLATE GLASS COMPANY A Special Roller Grinding Mill Here is shown the latest type of mill. In this mill the pigment is passed between heavy steel rollers.. This modern roller mill has several times the capacity of the older type of stone mill. The Stone-Dresser The stone-dresser plays an important part in paint-making. In the stone-type mill, much depends upon the way in which the cutting edges of the stones are shaped. Long experience makes the stone-dresser an adept and in recent years the automatic hammer has lightened his task considerably. latter class are included: alizarine, which, com- bined with iron oxide, produces the permanent Tuscan reds; eosine, used extensively in the past with orange mineral to make vermilion shades; and Para red, used alone or in conjunction with orange mineral. There are several miscellaneous pigments, namely: Prussian blue, Chinese blue, emerald green, genuine cobalt blue, zinc chromate, and chrome oxide. | Prussian and Chinese blue, although contain- ing iron as an important constituent, are gen- erally classed as cyanide compounds, and are the only miscellaneous pigments of those just mentioned which are used to any extent in the manufacture of paints. The development of oils has kept pace with the improvement in pigments. For many years practically the only oil used as a vehicle for paints was linseed oil, obtained by crushing the seed of flax. Flax was cultivated, until about 1850, chiefly for the fiber, the seed being a by- product. This condition has been completely re- versed and the seed now is by far the chief object [ 12] THE MANUFACTURE OF PAINT Special care is necessary in the m paint mill and are carefully watched over by in its cultivation. Flaxseed is grown principally in India, Russia, Argentine Republic, the United States, and Canada. The first new oil of any importance to be in- troduced was China wood oil and for some time its use was confined to the manufacture of var- nish. With the proper treatment it had the valuable property of adding hardness, tough- ness, and gloss to a finish. Its use made pos- sible the production of cheaper varnishes, comparing favorably in durability with those formerly made from the hard gums, which are gradually becoming scarce and consequently more expensive. In the course of time China wood oil was introduced into flat interior and to some extent flat exterior paints, with the result that these paints are more durable, brush more easily, and are more resistant to moisture. During recent years there have been developed a number of oriental oils, of which soya bean and Perilla oils have been used to a consider- able extent. Having valuable special proper- ties, both no doubt will continue to hold prom- inent place in the manufacture of paint products. A Battery of Enamel Mills anufacture of enamels. The mills in which enamels are made are of a smaller type than the regular expert supervisors who see that the proper degree of fineness in grinding is obtained. Enamel Clarifier All enamels are run through a separator operating on exactly the same principle as an ordinary cream separator. The rapid rotary motion forces the coarser particles toward the outside, so that the enamel remaining is impalpably fine. [ 13 | PITTSBURGH PLATE GLASS COMPANY * “ Stl bach A Ce RR ese Se Gravity Paint Fillers By filling from an overhead hopper, the force of gravity is utilized. In the lower picture is shown the use of the automatic cut-off and the method of filling by weight and measure. As a given quantity of paint flows through the filling spigot, a valve closes auto- matically, cutting off the flow. The can rests on a scale which has been set at the standard weight for the kind of paint and the size of container. It is interesting and indeed fascinating to watch as the can rapidly fills, and then, as the proper quantity is metered, to hear the click of the valve as the apparatus registers exact weight and measure. aE re The third important group of materials used ih} in the manufacture of paints and varnishes is l Vai, known as the volatile thinners. The principal ra natural product in this classification is turpen- a tine, obtained by the distillation of pine resin. Turpentine is the best known solvent for oils and gums. Its flash-point is 95 degrees Fahren- heit, which means that a flame passed over it at an ordinary temperature will not cause it to ig- nite. When spread out ina thin film it evaporates entirely, but when allowed to evaporate from a container, oxidation takes place and a residue remains. | Another source of thinner is petroleum. The petroleum derivative most used is commonly known as painters’ naphtha. Benzole and solvent naphtha are distillates from coal tar. Benzole is much more volatile than solvent naphtha. Many excellent turpentine substitutes are pro- duced by properly fractioning the different : petroleum products and incorporating other Filling by Weight and Measure materials. [ 14 ] i s i ee Be. THE MANUFACTURE OF PAINT Sample and Test Room The finished product is subjected to a final test in the sample room. A sample is tested for color, consistency, and covering capacity. For checking each step in this operation a standard sample is kept, and as the various batches come through the factory they are tested and results checked against the standard sample. Special samples also are worked out in this room. Many finishing materials now in daily use by leading manufacturers in all parts of the country were first worked out in this miniature paint factory. These products, on evaporation, leave nothing behind them in the film. They are added to paint for the purpose of making it spread farther and obtaining a film of the proper thinness. There- fore, the preference is for the one which is most economical and at the same time answers the purpose. Important improvements have been made in the manufacture of undercoaters and white enamels. In the former the use of lithopone has been an important factor. Through a ma- nipulation of the vehicle, it has been possible to make an undercoater which can be flowed on, just as enamels are, thus eliminating the brush marks common to the ordinary untreated oil film. This greatly improves the ground coat and makes possible a high-grade job with fewer coats of the higher-priced enamel. Until recent years the trade depended on enamels produced largely from damar varnish, made by dissolving damar gum in turpentine or some other volatile thinner. Enamels made Test Panels The roofs of our paint factories afford ideal facilities for the testing of paints and pigments under various conditions which are encountered in the application of paints. Numerous panels are continually on test and the results of the combination of various pigments and oils are carefully noted. [15 J PITTSBURGH PLATE GLASS COMPANY A Battery of Labeling Machines A very important operation is the labeling of cans. There are many different lines of paint—exterior and interior; for wood, iron, and concrete; gloss and flat; liquid, paste, and semi-paste; each line is made in many colors, each color is put up in various sizes, and each requires its separate label. The labels are affixed by automatic machines, as illustrated in these pictures, and a battery of these machines will label many thousands of cans daily. from damar, however, soon lose their elasticity and in course of time are sure to crack and check. These enamels possess only one valuable prop- erty, and that is their whiteness, which is main- tained in a satisfactory manner. Against this single advantage must be set off their lack of durability, dificulty in brushing, and a tendency to soften when repainted, causing checking of coats applied over them later. The development of oil-base enamels has overcome all these difficulties without the sacri- fice of any important advantages, and marks a notable forward step in the industry. Future progress doubtless will be along the line of improving the vehicle for exterior paints. The knowledge already gained about oils and how to treat them will be of great assistance in developing this class of paint materials. Past experimentation and exhaustive testing form a solid foundation on which to build for future , } progress, and it is entirely reasonable to predict eee §=§that the developments of the next decade will A Special Type of Machine Used in greatly surpass those of the past quarter of a Labeling Gallon Cans century, fruitful as that period has been. [ 16 ] THE MANUFACTURE OF VARNISH Se ee ad w” in rR 3 BN ba) = a0 “_ = rR 3 v Ye) S} ~ S) ~ DN THE MANUFACTURE OF VARNISH HE word Varnish is derived from the name of Berenice, Queen of Cyrene, beautiful wife of Ptolemy Euergetes, King of Egypt about 250 B.c. She is said to have sacrificed her wonderful hair in the temple of Venus in fulfilment of a vow for her husband’s safe return from a campaign in Asia. Her hair disappeared mysteriously from the altar, and was reported by the astronomer Conon to have appeared as a constellation in the Milky Way. Amber later was likened by the Greeks to Berenice’s hair and called by her name. Hence the late-Latin word vernix and its later Italian form vernice, from which our word Varnish is derived. Only a few decades ago varnish-making was a well-nigh occult art. The formulas and rule- of-thumb methods used by the various manu- facturers were guarded jealously. Then the chemist entered the field. Exhaustive study of the needs of the varnish consumer, analysis of the raw materials, and constant experimenting soon enabled him to make a variety of varnishes exactly suited for the purposes required. The materials used in the making of varnish are drawn from all sections of the globe. Of first importance are the resins, or fossil gums, which give to varnish its brilliance and lustre. These now have come to be classed under the general term copal, a designation originally applied only to resins from East Africa. Copals result from the exudation of the sap of pre- historic trees which became covered with soil and later fossilized. These gums have remained imbedded in the ground for many centuries and now are brought to the surface for use in the making of varnish. In the early days gum-digging was carried on in a very haphazard fashion and because of the crude methods used, not much more than the surface gum ever was recovered. The gum was located by prodding into the ground with long, sharp steel rods, and the deposits were then dug up, scraped, cleaned, and graded for the market. Today the industry is better organized and the ancient digger with his prodding stick has been replaced by an individual who compares favor- ably with the American miner. The industry in- cludes a well-ordered system for grading and marketing the gum, with extensive warehouses and brokerage connections in the chief markets of the world. Deposits of fossil gums are found in Zanzibar, Mozambique, Sierra Leone, Angola, New Zea- land, and the Pacific Indies. A vast supply comes from the Philippines, the Sunda Islands, and the Moluccas. Because this gum usually is put aboard ship at Manila it has come to be known as Manila gum. The resins from Java, Sumatra, and Borneo have been classified as damar gums by Euro- pean importers, and more recently many resins from India and the Malay Islands have been introduced under the name of damar. Another source of resin supply is in the dis- tillation of turpentine. The thick, viscous crude turpentine is put into huge stills and all the [19 | PITTSBURGH PLATE GLASS COMPANY Testing Raw Materials As in the making of paint so is it in the making of varnish: constant testing of raw materials to insure a proper standard of quality is carried on in two modernly volatile matter is driven off and condensed. That which remains in the still is run into barrels while in a molten state, and allowed to harden. This residue is the rosin of commerce. Gilsonite is used in the manufacture of black air-drying and baking japans, used extensively on ironwork. It is a derivative of a material found largely in Utah and closely allied in char- acteristics with asphaltum. These are not all the gums used by the var- nish-maker, but the foregoing notes will convey some idea of the variety of materials used in varnish-making and the wide sources of supply from which these materials are obtained. The oils used in the manufacture of varnish are similar to those used in the making of paint and have been described already in the sec- tion devoted to paint. The thinners used also have been covered in the same article. There remain for our consideration, then, only the driers, which are incorporated with the oils to hasten the drying of the varnish film. The terms “japan,” “japan drier,” and “drier” are used interchangeably and it is rather difficult to make equipped chemical laboratories. a hard and fast distinction, but in general, the term “japan” is applied to a quick-drying liquid used alone, or in connection with color, while the terms “japan drier” and “drier” are applied to liquids which are added in small quantities to hasten the drying of varnish, linseed oil, paints, and enamels. It is most interesting to make close comparison of ancient and modern methods in varnish-mak- ing. In a manuscript of the monk Theophilus, written in the Eleventh Century, we find this ac- count of the “Varnish Glutten” of his day: “Put Linseed Oil into a small new pot and add, very fine powdered, a Gum which is called Fornis, which has the appearance of the most lucid. Thus, but, when broken, it yields a brighter lustre. When you have placed over the fire, cook carefully, so that it may not boil up, until the third part is consumed, and guard against the flame, because it is very dangerous and is extinguished with difficulty if it is raised. Every painting, covered over with this Glutten, is made both beautiful and forever durable. “Place together four stones which may be able [ 20 ] THE MANUFACTURE OF VARNISH Melting Varnish Gums Formerly draft for the fires was obtained naturally, by means of tall brick chimneys. haust fans produce forced draft, and the air necessary to combustion is regulated to a nicety. The latest type of “stack room.” to sustain the fire without flying to pieces, and place a common pot above them and put into it the above-mentioned Fornis, which in Romaic is called Glassa, and upon the mouth of the pot place a smaller pot which has a small hole in the bottom, and lute a paste about it so that no vapor may come out between these pots. Then place fire carefully underneath until this Gum liquefy; you will also have a thin rod with a handle with which you will stir this Gum, and with which you can feel when it is quite liquid. “Have also a third pot nigh, placed upon the coals, in which is hot Linseed Oil, and when the Gum is quite liquid, so that the iron being ex- tracted, a kind of thread is drawn out with it, pour the hot Oil into it and stir it with the iron, and this cook together that they boil not violently, and at times draw out the iron and daub over a little piece of wood or stone, to try its substance. And take care this, that in weight there are two parts of Oil and the third part of Gum. And when you have carefully cooked it to your wish, removing it from the fire and uncovering it, allow it to cool.” Now ex- Now note how closely the present process fol- lows the method of olden days, though exact sci- ence now dictates the proportions of ingredients to be used and the kettles and fires are in size many times greater: The gums are selected according to formula and placed in large copper kettles, which are mounted on three- or four-wheel trucks. Over each kettle is fastened a cover, which is battened down fume-tight. This cover has three small openings, one in the center with a small stack, one on the side which fits the nozzle of a funnel used in adding the oils, and a third through which a stirring-rod can be operated. The kettle is now wheeled into position over a gas fire fed from four two-inch gas openings. Forced draft is secured by means of electrically- driven fans. When the cooking process is started, a forced draft draws off the fumes and conducts them through a system of chilled condensing coils, in which they are divested by condensation of all volatile oils and other substances of value before the refuse gases finally are discharged. [ 21 ] PITTSBURGH PLATE GLASS COMPANY lian sii i Sinan a Adding Thinners Thinners are added to the varnish while it is extremely hot and constant agitation or stirring is necessary throughout: the process. Running Varnish Through the Clarifier After the varnish is run through this machine, which in appearance and construction is much like a large cream separator, it is absolutely clean, without trace of sediment or impurity of any kind. [ 22 ] THE MANUFACTURE OF VARNISH Testing the Finished Product The varnish in its finished state is carefully tested against an established standard. The gum first softens to a sticky mass and liquefies as the heat becomes more intense. Froth, formed by the continuous evolution of vapors, is beaten down with a large metal stir- ring-rod. Finally the gum becomes quite fluid. The judgment of the varnish-maker, who ob- serves the drip from the stirring-rod, tells him when the solution is ready for the addition of the oil. The oil usually is pre-heated, so that when added it will not chill the gum sufficiently to cause it to become solid again, but instead the two liquids will go into smooth solution. An extensive variety of varnishes can be made by changing the operations, the gums, the oils, and the driers used, and also by varying ithe proportionate quantities of the ingredients. When the gums, oils, and metallic drying salts have been properly combined and thoroughly amalgamated, the temperature of the liquid is from 500 to 700 degrees Fahrenheit. The ket- tles are rolled into a cooling place and when the heat has been reduced to a point low enough to permit the addition of thinners without flashing, the kettles are run into a thinning room, where the thinners are added according to formula. The varnish must be agitated constantly while the thinners are being added. After this the varnish, while still very hot, is pumped into large cooling tanks where it is allowed to stand overnight. Next day, still hot, it is put through a machine which filters the varnish, removing every particle of undissolved eum, dirt, and foreign substance of whatsoever kind. A modern steam-driven turbine separator is used. This operates much like a centrifugal cream-separator, and makes the varnish perfectly clear and transparent. The varnish is then ready for the aging tanks, where it is properly settled and aged before it is drawn off into shipping containers. Proper aging is essential to final perfection in the high- est grades, especially the finishing varnishes. In the lower grades of varnish the aging process is not so necessary, but for a product of supreme excellence, upon which a reputation may be built, there are requisite certain smooth-flowing and free-working qualities which nothing but age can impart. [ 23 ] PITTSBURGH PLATE GLASS COMPANY Newark Varnish Plant Paint and Varnish Division, Pittsburgh Plate Glass Company. Milwaukee Varnish Plant Paint and Varnish Division, Pittsburgh Plate Glass Company. [ 24 ] THE USE OF COLOR FOR OUTSIDE WORK T THE selection of paints, thought should be given to the permanence of colors. All shades of Patton’s Sun-Proof Paints are as unchangeable as the several colors can be made, but certain hues can not be made permanent. They will either darken gradually under the rays of the sun or fade more or less quickly. The blues, pinks, and delicate tints intended solely for interior work and so marked on our color cards should never be used where they will be exposed to the sun. The greens of yellow- ish cast are more fugitive than the darker greens; the former will grow lighter while the latter will darken. The grays, browns, and yellows and the many beautiful shades and tints made from these colors are recommended where permanence of color is especially desirable. FOR INSIDE WORK The pleasantness of a room depends almost entirely on the way in which the walls are deco- rated. According to the best principles of inte- rior decoration, walls must not be considered as decorative objects in themselves; they are consid- ered as backgrounds for the furnishing of the interior, and are to be kept as soft in tone as possible because it is the inconspicuous, subdued walls that give rooms the appearance of greater spaciousness. It is this character of wall that provides the proper background for the furnish- ings, holding the entire architectural plan of the interior in a harmonious whole. Brilliancy in the interior color-scheme is by all means desir- able, but use it in the furnishings—not on the walls. When it comes to selecting colors for wall decoration there is wide opportunity for the expression of individual preference, but the colors selected should always be of a soft and mellow tone: light cream, ivory, and grays for south rooms, tans and greens for north rooms. The darker, more positive tones are best adapted for use in club rooms, theatres, restaurants, and public buildings, where high ceilings and large rooms make the use of these warmer colors per- missible and even desirable. FOR COMMERCIAL INTERIORS In the decoration of a commercial interior, the first consideration is light-reflecting value, and there is no paint which better serves this pur- pose than a pure white. By actual test it has been proved that a white paint reflects from 82 to 89 per cent of the light entering the interior. Some of the very light tints are almost as high in reflecting value: ivory surfaces reflect 73 to 78 per cent of the light, cream from 62 to 80 per cent, yellow from 61 to 75 per cent. These shades, therefore, may be used with safety. Dark shades of green, blue, and red are to be avoided because some of them reflect as little as 11 per cent of the light. For factories, white paints or the very light- est tints should be selected to obtain the greatest amount of light in the workroom. Surprising savings in factory lighting costs may be effected by choosing paint of the right color. COLOR REPRODUCTIONS The colors shown on our color cards and reproduced in the pages of this book match as nearly as possible the color of the paint when dry. Color chips, when kept from the light, change their color, the change being more marked in some colors than in others. When the color chips are exposed to light and applied paint is allowed io dry, the paint and sample chips will match. [ 25 ] PITTSBURGH PLATE GLASS COMPANY PATTON’S SUN-PROOF LIQUID PAINT For description, see page 28 JERSEY CREAM 330 LIGHT STONE : 331 MILWAUKEE BRICK 55 | PEARL GRAY 14X STRAW 173 FRENCH GRAY 302 NAPLES 175 SLATE 310 DEEP BUFF 308 NEUTRAL DRAB 304 INDIAN TAN J RUSSIAN GRAY 13X LEATHER 125 BROWN 306 AMBER BROWN 320 COPPER BROWN 340 ALSO OUTSIDE WHITE, BLACK, INSIDE FLAT, AND GLOSS WHITE [ 26 ] PROOF PRODUCTS PATTON’S SUN-PROOF LIQUID PAINT For description, see page 28 SILVER GRAY 332 SEA GREEN 334 LIGHT OLIVE 12X APPLE GREEN 148 NILE GREEN 149 WILLOW GREEN 336 COPPER VERDE 341 SASH GREEN 333 AZURE 178 PINK 177 LIGHT BUFF 322 RICH BUFF 314 LIGHT TERRA COTTA 63 BRICK RED 337 KENTUCKY BLIND GREEN 338 WAR TUSCAN W4x PITTSBURGH PLATE GLASS COMPANY PATTON’S SUN-PROOF LIQUID PAINT For color-chins, see pages ii ,..3 ¢s ns ene 26, 27 For examples of work, see pages.......... 99 to 103 For specifications for use, see Nos. 1, 2, 3, 18, 19, 20, 21, 24, 25, 38, 39, on pages 82, 84, 86 *““C’AVE the Surface and You Save All” has deep significance for the property owner. A surface which is not adequately protected by paint becomes the prey of the elements. The fierce summer suns split and warp the boards, moisture enters, rot begins, and thereafter decay is rapid. The life of a building is in- definite if it is properly protected with an armor of paint. Much depends on the choice of Paint. A few people may be able to judge the value of a paint by its composition, but to the average user the formula on the can means nothing. Paint should be bought on the basis of service. How many square feet will it cover? How many years will it last? The answers to these two questions will give one the facts necessary to choose paint intelligently. Low prices in paint should be avoided, for 28 note this: In a job of painting, 75 per cent of the cost goes into labor and 25 per cent into material. Therefore the paint which for the longest time defers the necessity of repaint- ing is by far the cheapest. Patton’s Sun-Proof Paint resists the action of the sun and atmosphere to an extent which will adequately protect a surface against the elements. It is made according to a formula which, long usage has proved, produces a tough, dur- able, wear-resisting paint-film spreading with uniform thickness over the surface to which it is applied. One gallon of Sun-Proof Paint, when used according to directions, will cover 350 square feet of an average surface on new work, two coats; or 250 square feet, three coats. Sizes—Barrels; five-gallon, gallon, half- gallon, quart, pint, and half-pint cans. ) | PROOF PRODUCTS PATTON’S PORCHITE For color chips, see page......--++++++¢ 30 For examples of work, see page.......-31 For specifications for use, see Nos. 4, 5; OW DUGE sea seiceaake = Ninssiei aie erg © 2.88 Te constant tread of many feet will soon wear away the hardest surfaces. On the porch floors of the home, on the stair-tread, and on the decks of boats, the truth of this statement soon becomes apparent. It is of par- ticular importance that these surfaces be pro- tected. An unpainted surface will quickly deteriorate under the best of conditions; but under abrasion it disintegrates with alarming rapidity. To give proper service under such severe conditions a Paint is required which will resist mechanical wear, as well as the action of sun, rain, sleet, and snow. An ordinary house paint is not properly compounded to meet these conditions. Patton’s Porchite is intended principally . for exterior use where these extreme condi- tions are encountered. It follows naturally that a paint which will give satisfaction under such conditions can be used satisfactorily for various other exterior purposes also. The covering capacity of Porchite depends on the condition of the surface to be painted, but as a basis for calculating the quantity re- quired it is safe to estimate approximately 300 to 330 square feet, two coats. Sizes—Barrels; five-gallon, gallon, half- gallon, and quart cans. [ ‘ PATTON’S FLORHIDE ENAMEL For. color chins,: 866 Page. «0. is cei. « «s 30 For specifications for use, see Nos. DGG BG; 8g ON) PAG CPea eho aes 84, 86 Tes are few things the housewife dreads more than the drudgery incident to the unpainted softwood floor. No other surface absorbs dirt so easily. The solution is the enameled floor, easily kept bright and sani- tary, lightening the household task, and add- ing greatly to the appearance of the home. The modern concrete or cement floor in com- mercial institutions has brought in another problem. A floor of this sort, because of hard usage, soon begins to “dust” and in time to powder or crumble away. Paint protection is an absolute necessity, for reasons of economy as well as of sanitation. Patton’s Florhide Enamel is made especially for the protection and beautifying of interior floors, whether cement, concrete, or wood. Florhide Enamel is highly recommended for use in office buildings, public and private schools, factories, automobile garages and show rooms, hospitals, department stores, and institutions of all kinds, private and public. Two coats of Floride Enamel produce a tough, elastic, impervious, high-gloss finish that resists wear and abrasion to the highest possible degree. It is an Enamel and dries quickly, hard enough to be walked on over- night, but at least twenty-four hours should be allowed before applying the finishing coat. Florhide Enamel covers approximately 250 to 300 square feet per gallon, two coats. Sizes—Barrels; five-gallon, gallon, half- gallon, quart, and pint cans. ] PITTSBURGH PLATE GLASS COMPANY PATTON’S PORCHITE FOR USE ON SURFACES SUBJECTED TO HARD WEAR For description, see DIXIE GRAY MALTESE BLUE DARK SLATE GRANITE GRAY OLD GOLD LEAF BROWN [ 30 ] PATTON’S FLORHIDE ENAMEL FOR USE ON INTERIOR WOOD AND CEMENT FLOORS page 29 LIGHT DRAB DIRT COLOR LEAD COLOR FAWN LIGHT YELLOW DARK YELLOW BROWN MAROON PROOF PRODUCTS a y * gt ; oe iJ z Patton’s Porchite protects surfaces subjected to the severe wear of scuffing feet and exposure to the elements. [ 31 ] PITTSBURGH PLATE GLASS COMPANY PATTON’S OIL COLORS For description, see page 34 CHROME YELLOW—LIGHT CHROME YELLOW—MEDIUM CHROME YELLOW—ORANGE FRENCH CROWN GOLDEN OCHRE Ee Aes 6S fo Seat Peeters iS ENGLISH VERMILION—LIGHT ENGLISH VERMILION—DEEP AMERICAN VERMILION SUN-PROOF VERMILION FRENCH WASHED OCHRE ORIENTAL PERMANENT RED—LIGHT RAW ITALIAN SIENNA ORIENTAL PERMANENT RED—MEDIUM BURNT ITALIAN SIENNA VENETIAN RED ENGLISH ROSE PINK TUSCAN RED PROOF PRODUCTS PATTON’S OIL COLORS For description, see page 34 TURKEY RED INDIAN RED ENGLISH ROSE LAKE ULTRAMARINE BLUE PRUSSIAN BLUE DROP BLACK RAW TURKEY UMBER BURNT TURKEY UMBER CHROME GREEN—LIGHT CHROME GREEN—MEDIUM CHROME GREEN—DARK VANDYKE BROWN COBALT BLUE SIGN WRITERS’ BLACK DARK OAK GRAINING COLOR PITTSBURGH PLATE GLASS COMPANY PATTON’S OIL COLORS For color chips, see pages 32, 33 peers Oil Colors are intended princi- pally for tinting and coloring. It is es- sential that such colors be uniform in purity, fineness, strength, and color. A low price per pound does not mean economy. The best colors are the cheapest because less material is required for tinting, and also because they are dependable in every respect. The pigments are divided into two prin- cipal classifications: natural—Umbers, Sien- nas, Vandyke Browns, Yellow Ochre, and natural oxides; and manufactured—Blacks, Blues, Greens, Vermilions, Chrome Yellows, and Tuscan, Venetian, and Indian Reds. The manufactured colors used in the making of Patton’s Oil Colors are made in our own Dry Color Plant. By carefully grading and selecting the most suitable colors, we insure uniformity in the finished product. Just enough Linseed Oil is used to produce a soft paste, which may be reduced with Oil, Leptyne or Turpentine, and Drier to the con- sistency of liquid paint and may also be used in the making of Stains. Sizes—Buckets containing between twenty- five and sixty pounds and_ pots containing from twenty-five to thirty pounds, depending on the weight of the different oil colors packed in this style of package; also twenty-five, twelve and a half, five, and one-pound cans. (The Blues also in one-half and one-quarter pound cans.) PATTON’S VELUMINA For color chips, see page.............. 35 For examples of work, see pages 104 to 120 For specifications for use, see Nos. 32, 33, 34, 35, on pages......... 85, 86 fies WALL is of supreme importance in interior decoration. It serves as the back- ground or “frame” for the furnishings, tying them together into one harmonious whole. All the difference between pleasant and un- pleasant rooms often depends merely upon the right or wrong wall treatment. A wall should be inconspicuous, soft, and mellow in appearance, and these requirements call for the use of a Flat Wall Paint. Patton’s Velumina is an Oil Flat Wall Paint, made especially for interior decorative pur- poses. The liquid in Velumina is treated in a manner to cause it to dry flat?with that velvet softness essential to artistic decoration. Velumina dries with a smooth, tough, elas- tic, “Pore-Proof” film, which will not readily collect dust or dirt. The dirt stays on the sur- face, where it is easily washed away, and the walls are thus kept clean and sanitary. It is almost impossible to figure accurately the covering capacity of Flat Wall Paints, be- cause the degree of absorption of different walls varies; but approximately, Velumina, when reduced according to directions, for new work covers from 450 to 800 square feet per gallon, first coat; without reduction for the finishing coat, Velumina covers about 400 to 500 square feet. Sizes—Barrels; five-gallon, gallon, half- gallon, and quart cans. (White only also in pint and half-pint cans.) PROOF PRODUCTS PATTON’S VELUMINA THE OIL FLAT WALL PAINT For description, see page 34 PEARL GRAY FRENCH GRAY IVORY LIGHT BUFF SILVER GREEN NILE GREEN * LIGHT CREAM RICH CREAM PALE BLUE PINK PALE RASPBERRY MEDIUM BUFF EVER-GREEN CIRCASSIAN BROWN OLIVE GREEN ALSO WHITE ee PITTSBURGH PLATE GLASS COMPANY ine as Paiton’s Industrial Building Paint will protect barns and fences. [ 36 ] PROOF PRODUCTS PATTON’S INDUSTRIAL BUILDING PAINT For color chips, see page..............38 For examples of work, see page 36 For specifications * for use, see Nos. 1, 2, 8, 18, 19, 20, 21, on pages... .82, GOOD Paint is a good investment any- where: in the home, on the farm or on commercial buildings. The banker more readily lends money on buildings which are kept well painted. It is his assurance that his security will remain con- stant and not shrink below the loan value. Patton’s Industrial Building Paint is made especially for painting barns, warehouses, grain elevators, and metal or wooden roofs; in fact, it is intended for use generally where a good serviceable paint, at moderate cost, is required. Industrial Building Paint is not hand-mixed, but is thoroughly ground by powerful paint mills, making it a smooth, durable Paint, with good covering capacity. Because a Paint of this description is gen- erally used on rough lumber and on surfaces that are very dry and weather-worn, it is diff- cult to estimate accurately the covering capac- ity. Under average conditions, Industrial Building Paint will cover approximately 200 to 250 square feet of surface, two coats. Sizes—Barrels; five- gallon, gallon, and quart cans. * Substitute Industrial Building Paint for Sun-Proof when necessary to use a lower-priced paint. [3 ‘ PATTON’S WAGON AND TRACTOR ENAMEL PAINT ce etele 6 © 8 680 S18, 6 For color chips, see page For examples of work, see page........ hb protection of farm implements is neg- lected to a degree that is shocking. Usu- ally they are left out in the open, and the attack of the elements is relentless and deteri- oration rapid. How often a dollar’s worth of paint would save the usefulness of a hundred- dollar implement! Patton’s Wagon and Tractor Enamel Paint is made like an automobile enamel and is intend- ed for interior and exterior work. It has an excellent gloss, and gives perfect satisfaction on wagons, sleighs, and farm implements and for general use on articles of utility in and about the farm home. Wagon and Tractor Enamel Paint is not, strictly speaking, a paint, because it is made with a good grade of Exterior Varnish, which brings it into the class of Enamels. The pig- ments are selected for fineness of particles and permanence of color. Wagon and Tractor Enamel Paint works easily, flows splendidly, and dries with a high-gloss finish which sheds moisture and prevents decay of wood and corrosion of metal parts. Sizes—Gallon, quart, pint, and half-pint cans. PITTSBURGH PLATE GLASS COMPANY PATTON’S INDUSTRIAL PATTON’S WAGON AND BUILDING PAINT TRACTOR ENAMEL PAINT For description, see page 37 RED YELLOW WHITE VERMILION RED GRAY YELLOW GREEN BROWN WAGON RED ALSO BLACK [ 38 ] PROOF PRODUCTS PATTON’S TOR-ON SHINGLE STAIN For description, see page 40 IVY GREEN 342 ROOF GREEN 353 INDIAN RED 343 WALNUT 363 MOSS GREEN 354 SLATE 366 Tor-on Shingle Stain will make this type of building last many years longer by warding off sun and rain, thus preventing warping and splitting of the shingles. [ 39 ] PITTSBURGH PLATE GLASS COMPANY PATTON’S TOR-ON SHINGLE STAIN For color chips, see page .............39 For examples of work, see pages 99, 101, 102, 103 For specifications for use, see Nos. 6, 7, ONNDAY Cs: wii ste hn ne asia ela Siete 8 Bo 83 O WONDER roofs decay! They are sub- jected to the direct rays of the sun, the rain beats down upon them, and nothing shields them from frost and snow. Roofs, beyond all else, need a protective coating. The protecting and preserving qualities of Tor-on Ready-Mixed Shingle Stain result from its penetration into the wood. The pigments are high-grade colors ground in oil, and while they are as permanent as it is possible to make them, it should be remembered that the roof has 100 per cent exposure to the weather. As only a small quantity of color is used, the Stain cannot be expected absolutely to hold its color. This is especially true of the Greens. For best results, shingles should be dipped before being laid, and followed with a brush coat when the roof is completed. Dipping—Two and one-half gallons of Tor-on Shingle Stain will dip 1,000 shingles two-thirds of their length. Dipping and brushing—Three gallons of Tor-on Shingle Stain will dip 1,000 shingles two-thirds of their length, and brush one coat. Brushing—One gallon of Tor-on Shingle Stain brushed on will cover from 60 to 70 square feet of surface, two coats. Sizes—Barrels; five-gallon and gallon cans. Note: Tor-on Shingle Oil also is furnished in metal drums, wooden barrels, and five-gal- lon cans to customers desiring to mix their own Stain. PATTON’S AUTO GLOSS FINISH For color chips, see page.............4. 42 For examples of work, see page........ 41 N EVERY home there can be used to advan- tage a high-grade Enamel Paint for renew- ing and keeping new the surface of many articles. By neglect they will soon become unsightly, making replacement necessary. At the first sign of wear on an automobile a protective coat of Varnish should be ap- plied. Rust spots should be coated with the corresponding color at once. Porch furniture may be kept store-new; kitchen furniture, neat and sanitary; the store front, bright and at- tractive. Patton’s Auto Gloss is a high-grade, du- rable Color Varnish, suitable for exterior and interior work, especially adapted for auto- mobiles, carriages, wagons, farm implements, porch, lawn and kitchen furniture, pumps, baby carriages, metal articles of all sorts, toys, store fronts, and the like. Auto Gloss is easily applied, and has good working and flowing qualities; it dries in about eighteen hours with a perfect smooth finish and a high lustre. The consistency of Auto Gloss is correct for all general purposes and its uniformity can be depended on always. . In the application of an enamel like Auto Gloss it is important that a good soft-haired brush be used. . (See Brush Section of this volume, pages 125 to 152.) Sizes—Gallon, quart, pint, half-pint, and quarter-pint cans. [ 40 ] PROOF PRODUCTS Patton’s Auto Gloss is a general-utility enamel for use on all articles where a high- gloss color enamel surface is desirable. [ 41 ] PITTSBURGH PLATE GLASS COMPANY PATTON’S AUTO GLOSS FINISH For description, see page 40 CHASSIS YELLOW NAVY GRAY WHITE ENAMEL IVORY CHASSIS RED NAVAJO RED MAROON LAWN GREEN VICTORIA GREEN BREWSTER GREEN CANYON BLUE AUTO BLUE BLACK BROWN ALSO CLEAR PROOF PRODUCTS PATTON’S CEMENTHIDE FOR ALL CEMENT PURPOSES For description, see page 44 LIGHT CEMENT FRENCH GRAY BUFF RED STONE WHITE LIMESTONE Patton’s Cementhide will add greatly to the attractiveness of cement or stucco dwellings. [ 43 PITTSBURGH PLATE GLASS COMPANY PATTON’S CEMENTHIDE Hor colorithiips, seevpages ote aad hace Boke eo 43 For examples of work, see pages.............. 43, 100 For specifications for use, see Nos. 14, 15, on page. . .83 HE large increase in cement and concrete construction has made necessary a special paint for such structures. The dull gray cement or stucco surface soon becomes unsightly and a material which will decorate such a surface successfully is much in demand. Patton’s Cementhide is a flat-drying Liquid Paint for painting cement, concrete, stucco, brick, stone, or plaster, both interior and ex- terior. It has the properties of a Filler and Waterproofing agent, and produces pleasing decorative results. Cementhide is as easily applied as an ordinary paint and because of its permanency is much more economical for factory interiors, labora- tories, engine rooms, basements, or garages than the so-called cold-water paints, calcimines, or whitewash. Cementhide dries hard and does not soften under water like ordinary paint. It is also affected to a much less degree by steam and alkaline vapors. Cementhide Priming Liquid is a Sealer and a Primer, which must always be used with Cementhide in accordance with directions, and under certain conditions should be used with Sun-Proof Paint and Flor- hide Enamel. (See Specifications Nos. 16-19, 38, 39, on pages 84, 86.) Owing to the great difference in the character of surfaces on which Cementhide is applied, it is difficult to give definite figures on covering capacity. Over a rough, absorbent surface, a spread of from 150 to 200 square feet, two coats, may be expected, and up to 300 square feet on a smooth, hard surface. Sizes—Barrels; five-gallon, gallon, and quart cans. [ 44 | PROOF PRODUCTS PATTON’S IRONHIDE PROTECTIVE PAINT FOR STEEL For description, see page 46 BROWN INHIBITIVE RED PITTSBURGH PLATE GLASS COMPANY PATTON’S IRONHIDE Povcolor on ipse see: page... ces alec see Sitieee wes be 45 For example of work, see page. ...........+/ 45,121 For specifications for use, see Nos. 8, 9, 10, 11, 12, LSBU AUC tat hs ee ce tactar etna re Ie eihuc ee Bods GA 83 § tee preservation of metal surfaces is an economic necessity. No ordinary paint will perform this service satisfactorily. Patton’s Ironhide is a liquid paint, ready for use, for the painting and preserva- tion of iron‘and steel work, inside and outside, suitable for such use as on structural steel bridges, gas holders, smokestacks, railway cranes, oil tanks, iron or steel wire or light poles, coal loaders, steel cars, tank cars, air drafts, metal silos, fire hydrants, cranes, and ventilating fans. Patton’s Ironhide works easily, and while it dries in eighteen hours it is always advisable to allow at least three days between coats. It is of heavy painting consistency and requires a fair amount of brushing. Ironhide is extremely elastic and tough, and produces a film very impervious to gases and moisture. Three-coat work will give service from five to eight years, depending upon the climate of the locality where the painting is to be done, the care taken in preparing the surface for receiving paint, and the method of application. Inhibitive Red will cover 600 square feet per gallon, one coat; Fin- ishing Black, 600 to 800 square feet per gallon, one coat; Brown, 600 square feet per gallon, one coat; and Green, 600 to 800 square feet per gallon, one coat. Sizes—Barrels; five-gallon and gallon cans. [ 46 | PROOF PRODUCTS PLASCO READY-MIXED PAINT For color chips, se€ Pages ....+++++000 48, 49 For specifications* for use, see Nos. 1, 2, 8, 18, 19, 20, 21, 24, 25, 38, 39, OM PAGES ... ee eeeeeccvvececers 82, 84, 86 | Sedersrrae Ready-Mixed Paint is intended for either exterior or interior work. It is made to meet the demand for a paint that can be sold at a price lower than must be asked for the highest quality, and is as good a paint as can be made for the price. It works easily, covers well, has good body, dries with a good oil gloss, and will give exceptional service for the money invested. When used according to directions, one gallon will cover between 250 and 300 square feet per gallon, two coats. Sizes—Barrels; five-gallon, gallon, quart, and half-pint cans. *Substitute Plasco Ready-Mixed Paint for Sun-Proof when necessary to use a lower-priced paint, [47 ] PITTSBURGH PLATE GLASS COMPANY PLASCO READY-MIXED PAINT For description, see page 47 LIGHT CREAM PL1 GRAY STONE PL9 CREAM PL 2 LIGHT STONE PL 10 STRAW PL3 LIGHT GRAY PL 11 MANILA PL4 MEDIUM GRAY PL 12 eae oo Wes iin may ea ae se 77 eet po BUFF PL5 LEAD COLOR PL 13 LEATHER BROWN PL7 TERRA COTTA PL 15 RICH BROWN PL 8 BRICK RED PL 16 ALSO OUTSIDE WHITE, INSIDE FLAT WHITE, AND BLACK [ 48 ] | PROOF PRODUCTS PLASCO READY-MIXED PAINT For description, see page 47 + NILE GREEN PL 17 LEMON PL 21 LIGHT BLUE PL 18 BLIND GREEN DEEP BLUE PL 19 VERMILION WILLOW GREEN PL 20 BRONZE GREEN ALSO OUTSIDE WHITE, INSIDE FLAT WHITE, AND BLACK PL 22 PL 23 PL 24 Paint will protect investments in homes and furnishings. [ 49 ] PITTSBURGH PLATE GLASS COMPANY PITCAIRN WATERSPAR TRANSPARENT For example of work, see page 51 § Cle lans made according to a special formula, possessing char- acteristics distinct and individual. This Varnish will never turn white in water, whether hot or cold, fresh or salt. Waterspar Transpar- ent possesses sufficient elasticity to withstand severe weather exposure. It is a Long Oil Varnish, which dries dust-free in two hours and hardens ready for use in from eighteen to twenty-four hours. The toughness and elasticity of Waterspar Transparent make it a desirable Varnish to use for exterior purposes—for window casings, doors, boats, and canoes. The fast- and hard-drying qualities make it an excellent Varnish to use on inside fmishing, furniture, and floors. On account of its toughness, Waterspar Transparent will successfully withstand washing and scrubbing, whether hot or cold water is used. It has brilliant lustre, good body, and, possessing hard-drying qualities, may be rubbed with pumice stone and water to a dull finish without coming back to the gloss. Because of its toughness and hardness and because it will never turn white in water, Waterspar Transparent is not affected by household accidents, such as the spilling of toilet preparations, hot food, hot or cold water, rain or snow coming in from an open door or window, leaking radiators, escaping steam, or sweating walls. Sizes—Gallon, half-gallon, quart, pint, and half-pint cans. [ 50 | PROOF PRODUCTS Pitcairn Waterspar Transparent is a Varnish for universal use, and is indispensable for the protection of surjaces subjected to moisture. [ 51 | PITTSBURGH PLATE GLASS COMPANY PITCAIRN WATERSPAR COLORED VARNISH AND ENAMEL For color chips, see page..............54 For examples of work, see page........ 53 cic Waterspar line consists of a transparent waterproof Varnish for — use on surfaces where the finish is dull and needs brightening, an Undercoater and Colored Varnish when complete renewal is necessary, and White and Colored Enamels for use when a solid color is desired. This Varnish is made so as to enable anyone to secure good results by the exercise of ordinary care and judgment. It is unexcelled in free, easy, smooth-working qualities, and flows out perfectly, leaving a bril- liant and lasting finish. Pitcairn Waterspar Colored Varnish and Enamel may be used in numerous places in and about the home. Be- cause of its great elasticity and toughness it is especially adapted to the finishing and refinishing of floors, fine furniture, and interiors. Floors may be finished one day and used the next. A Waterspar finish is water- proof, and because of its great smoothness is easily kept clean. Wiping with an ordinary damp cloth is all that is necessary. Surfaces finished with Waterspar Colored Varnish may be rubbed to a dull finish or polished. Old surfaces can be renewed without removing the old finish. The use of this Varnish brings out the life and beauty of the wood. It covers mars and scratches and keeps furniture, floors, and woodwork from appearing old or worn. Surfaces that are badly stained, dark, and unsightly, may be grained to imitate popular and expensive woods after receiving a coat of Waterspar Ground Color. Using Every- body’s Graining Set (page 175, Sundries Section) in connection with Waterspar, the staining, graining, and varnishing are all done in a single, simplified operation. Sizes—Gallon, half-gallon, quart, pint, half-pint, and quarter-pint cans, [ 52 J PROOF PRODUCTS x CRED WA RN SOLE“ proor MAHOG Pitcairn Waterspar Colored Varnish and Enamel will renew and beautijy anything in and about the home. [ 53 | PITTSBURGH PLATE GLASS COMPANY PITCAIRN WATERSPAR COLORED VARNISH AND. ENAMEL FOR NEW OR OLD WORK For description, see page 52 LIGHT OAK DARK OAK EXTRA DARK OAK OR WALNUT _CHERRY MAHOGANY DARK MAHOGANY VERNAL GREEN GROUND COAT IVORY ENAMEL PEARL GRAY ENAMEL FLAT WHITE WHITE ENAMEL PALE BLUE ENAMEL FERN GREEN ENAMEL RICH CHERRY ENAMEL ALSO ALUMINUM, GOLD, DULL BLACK ENAMEL, AND GLOSS BLACK ENAMEL [ 54 ] PROOF PRODUCTS PITCAIRN WOOD STAIN For description, see page 56 GREENISH WEATHERED STAIN NO. 4 PINE EARLY ENGLISH STAIN NO. 12 PINE GOLDEN OAK STAIN NO. 6 PINE CIRCASSIAN WALNUT STAIN NO. 13 BIRCH FLEMISH STAIN NO. 1 OAK DARK MAHOGANY STAIN NO. 10 PINE Coste a Bs a WEATHERED STAIN NO. 2 OAK FUMED OAK STAIN NO. 11 OAK GREENISH WEATHERED STAIN NO. 4 OAK EARLY ENGLISH STAIN NO. 12 OAK GOLDEN OAK STAIN NO. 6 OAK CIRCASSIAN WALNUT STAIN NO. 13 GUM SILVER GRAY ACID STAIN OAK DARK MAHOGANY STAIN NO. 10 GUM FUMED OAK STAIN NO. 11 PINE EXTRA DARK MAHOGANY STAIN NO. 15 4, [ 56] PITTSBURGH PLATE GLASS COMPANY PITCAIRN WOOD STAIN Ror eolor chaps, 806 Page sc. < ...aa. bse hare ooh 55 For examples of work, see pages......... 104 to 120 For specifications for use, see Nos. 50 to 79, ONS PAGER’. eis cia cies elena eee ee 88 to 94 ee cost of the Stain used on the average building is exceedingly small when com- pared with the cost of labor of application, together with the cost of the Finishing Var- nish and its application, yet the Stain has a most important bearing upon the finished job. It is the Stain that brings out the high lights and beauty of the wood and in view of the fact that one gallon of Pitcairn Wood Stain covers on the average from 800 to 1,000 square feet of surface, it is apparent that a difference of 50 cents a gallon in Stain will not amount to much on the average job. It is, therefore, not the bulk cost or cost per gallon that should be the deciding factor, but the results obtained and extent of surface cov- ered. Pitcairn Wood Stains may cost more than others, but they are worth more. There are many advantages to the painter in using Pitcairn Stains, which have extraordi- nary penetrating qualities, go into the wood to color it, and do not produce a surface fin- ish only, as do the pigment stains. A pigment stain is, in reality, a thin paint, which ob- scures and clouds the grain of the wood. Pitcairn Stains do not raise the grain of wood or affect thin veneers. This is proof that they do not contain alcohol, water, acid, or alkali, as it is characteristic of such stains to raise the grain of wood and the moisture in water stains frequently blisters thin veneers. Pitcairn Wood Stains may be reduced with turpentine or benzine the same as any product with an oil base. These Stains set slowly, which permits them to be used on large sur- faces, greatly reducing the danger of laps or cloudiness over soft spots in the wood. Spirit stains, which usually have shellac as a binder, set very rapidly, and are difficult to handle on account of the tendency to lap and show clouded effects on soft spots. The painter using Pitcairn Wood Stains has a still further advantage in that he may use them for tinting his Filler, with which they mix perfectly; in fact, Pitcairn Stains may even be mixed in Varnish for producing lake or glaze effects. Pitcairn Stains are neutral, and have no detrimental effect on the wood to which they are applied, or on the finishing coats that may be laid over them. The colors may be intermixed, thus producing a great va- riety of colors, tints, and shades. Sizes—Gallon, half-gallon, quart, pint, and half-pint cans. [ 56 | PROOF PRODUCTS ROOF” is the general trade name applied to Paints, Varnishes, Enamels, and other allied products of the Pittsburgh Plate Glass Company. This trade name is a distine- tion of quality, and applies generally to these products, in addition to the official trade-marks of the individual lines. Glass, Paints, Enamels, and Varnishes are indispensable alike to cottage, factory, and skyscraper; they protect and beautify our possessions. These and innumerable other products—insecticides, disinfectants, and chemicals— comprising the entire line of Proof Products, are available always in dependable supply everywhere, at the command of architects, dealers, contractors, painters, building owners, food growers, and manufacturers. From raw material to finished product, the manufacture and distribution of Proof Prod- ucts are under one ownership, one organization, operating through specialized manufactur- ing divisions, effecting incalculable economies — both in manufacture and distribution — assuring dependability of supply and consistent maintenance of Highest Quality Standards. PITTSBURGH PLATE GLASS COMPANY GLASS MANUFACTURERS PAINT PAINT AND VARNISH FACTORIES: MILWAUKEE, WIS.; NEWARK, N. J.; PORTLAND, ORE. — ot “I — eames Lehr A Kata Teo es Rete \ os Tita lentonting ares or \hattcell er, & \enae k tile i = ‘ecnmal esti at rake ENN ANCA ett WAM HL oui is ES a A AWN! WE 1 wot] pea f if “4 | | AA Weert, EONS RC ad eae | L— : | | ve SAC Yas . zante Conk wal Wed is weit abe CG Sak. 1 \ Se ‘a —— = eel A Well-Displayed Stock of Paints > PAINT PROPOSITION FOR DEALERS HE demand for Paints is universal. Paints, Varnishes, Enamels, Stains, Brushes, and other items included under the general term Paints are bought and used by, or for, every individual. Paint is used at some time during each year in every home, factory, office, hospital, school, warehouse, and store. Paint is needed to complete the work of the artisans in nearly all other crafts. It protects the surfaces of automobiles, tractors, farm implements, and wagons. It is ever-present on the highways and byways, decorating and preserving houses, barns, bridges, and fences, and in our streets it pro- tects and makes more sightly the poles that carry the electric wires. At one time the Paint business was thought of by many as active only during the Spring and Fall. There is no reason why this should be the case. The interior painting surface of the average residence, apartment, or business build- ing is about four times greater than the exterior painting surface. This interior finishing, as well as much outside painting, proceeds throughout the year, and specialties are constantly sold in small cans, over the counter, for refinishing auto- mobiles, furniture, floors, porches, refrigerators, screens, and other articles and fixtures. There is no sure road to success in merchan- dising; results depend in large measure on the merchant himself. However, there is a well- defined and wonderful aid to any merchandising plan—the force of advertising. Our publicity plans are based on recognized principles and have proved successful again and again. Our method of advertising is a happy com- bination of a broad policy of general publicity, to give the goods national prestige, and a local- ized plan that focuses our national advertising, as a veritable spotlight, upon the store of the individual merchant. Our national advertising is backed up by dealers’ aids which enable each and every mer- chant to localize his efforts and secure for his establishment the reputation of being known as the Store for Paint. These helps enable our dealers to plan effective campaigns for securing the business of their localities. — It will be noticed that all the Patton Proof Products Labels bear one design, “The Sunface with its Rays.” This is a wonderful merchan- dising aid. It means the identification of the trade-mark in the mind of the buying public. In the matter of store display also this uni- versal label is an important factor. A display of Proof Products stands out and attracts the eye, leaving a pleasant impression of uniformity, neatness, and stability. Any one brand of our Paints successfully used by a consumer becomes at once a testimonial and indorsement of every one of our brands— and only by establishing a steady repeat busi- ness for the entire line of Paints can a dealer secure the utmost profit from that department. The exclusive sale for Proof Products gives the agent not only protection on the business that is developed, but the benefits of our prestige and reputation acquired through having conducted a successful business for more than sixty years. [ 59 J PITTSBURGH PLATE GLASS COMPANY One of the most important advantages our or- ganization offers the dealer-customer is Service. Our distributing facilities save the dealer both money and annoyance. He can get his goods in the shortest possible time, and quickly replenish temporary shortages of any color or material. He secures low freight rates with minimum dan- ger of damage to the shipment in transit. Freight-and cartage paid on minimum ship- ments mean a sacrifice of profit. On the other hand, the purchase of more material than is really needed, while possibly reducing the freight, will almost certainly result in an over- stock. Only by carrying a full line, and pur- chasing all goods required from one convenient source, can the dealer secure these profit-making advantages. On page 58 we show a photograph of a well- displayed stock of Paints. Correspondence is invited from responsible dealers in all localities. We have a proposition of interest and profit to offer. PROOF PRODUCTS PATTON’S ALBA-LUX (WHITE LIGHT) (Gloss, Flat, and Egg-Shell Gloss) Patton’s Alba-Lux (Gloss) is an Oil Paint for in- terior use; dries with a tough, elastic, enamel-like finish; will remain white; is easily kept clean; will withstand repeated washing; will not crack or flake off; is not affected by vibration, as of machinery. Alba-Lux can be used for interior work on wood, metal, plaster, or cement, either when new or if previ- ously painted. A list of possible consumers for Alba- Lux would be too large to enumerate, but it will be found without an equal for use in: Textile mills, factories, packing houses, breweries, creameries, laundries, ice cream plants, markets, office buildings, department stores, elevator shafts, power plants, hospitals, and, in fact, any interior where a durable white, light-reflecting paint is desired. Alba-Lux (Flat) is also an Oil Paint similar in every respect to the Gloss, except that it dries to a flat finish. The liquids in Alba-Lux are specially treated Oils and are absolutely free from resin or resinous mate- rials. The gloss in Alba-Lux is obtained without the use of varnish. Alba-Lux works easily, flows freely, and dries with an elastic, tough, enamel finish. Under normal condi- tions the drying time is from twenty-four to thirty-six hours. It is always best, however, to allow as much time as is practicable to insure thorough drying. Alba-Lux, as it comes in the package, is of the right consistency for proper working and covering. Patton’s Alba-Lux is very opaque and has wonder- ful hiding qualities. When applied according to directions on a suitable surface, Alba-Lux will cover approximately as follows: Flat on new work, first coat, 300 to 500 square feet. Flat on old work, first coat, 450 to 640 square feet. Flat on new or old work, second coat, 400 to 600 square feet or one coat refinish. Gloss on new work, first coat, 300 to 500 square feet. Gloss on old work, first coat, 600 to 800 square feet. Gloss on new or old work, second coat, 600 to 800 square feet or one coat refinish. Alba-Lux (White Light) is used almost exclusively for its light-reflecting properties, consequently there is little demand for colors. If desired, however, both Gloss and Flat can be tinted with Oil Colors. The demand for a paint like Alba-Lux is in the natural order of progress and is due to the mod- ern desire for better light and better sanitation, both of which mean greater efficiency and therefore better profits in any large institution. Alba-Lux saves electric light. It brings daylight inside. Well-lighted factories reduce the risk of acci- dent to workmen and damage to machinery and mer- chandise. Surfaces painted with Alba-Lux wil! not readily collect dirt or dust, can be washed repeatedly, and, consequently, kept bright, clean, and sanitary. The use of Alba-Lux makes repainting less frequent. Sizes—Barrels; five-gallon and gallon cans. PATTON’S ALBA-LUX, EGG-SHELL GLOSS Especially adapted for surfaces where neither the high gloss nor the dull flat effect is desired. Dries to a true Ege-Shell Gloss finish. Sizes—Barrels; five-gallon and gallon cans. PATTON’S SUN-PROOF WHITE (Paste) Patton’s Sun-Proof White is tri-pigment paint made in heavy paste form, and when reduced with Linseed Oil, Leptyne or Turpentine, and Drier makes a per- fect liquid paint that is more durable and at the same time less expensive than paint made from White Lead only; can be tinted with Oil Colors to desired shade. Strictly pure Linseed Oil is the only liquid used in the manufacture of Sun-Proof White. The following figures represent the covering capacity of Sun-Proof White after being reduced according to directions for new or old work: First, or priming coat, new work, 350 to 400 square feet, one coat. Second coat, new work, 600 to 700 square feet, one coat. Third coat, new work, 600 to 700 square feet, one coat. [ 60 | PROOF PRODUCTS First coat, old work, 500 to 600 square feet, one coat. Second coat, old work, 600 to 700 square feet, one coat. Sizes—Hundred, fifty, twenty-five, and twelve and a half pound kegs. PATTON’S SNOLITE Patton’s Snolite is a Semi-paste Paint, but so heavy that it requires thinning and manipulation by the Master Painter. Snolite is distinctly different from any product heretofore offered, possessing the follow- ing exceptional points: When thinned for painting, Snolite has fully one- half greater opacity than paints now considered standard. Is furnished in semi-paste consistency that permits of reduction at minimum expense, while at the same time meeting all conditions of surface and drying. Can be used for tinting with any color and can be mixed with any other white pigment. Produces a Paint which is incomparably superior for spray painting because it can be applied thin, covers perfectly, and is non-poisonous. Dries to a smooth, high-gloss surface of superior whiteness which eventually chalks moderately, leaving an excellent surface for repainting. After chalking for a considerable time, Snolite will continue still to obscure the surface as well as stand- ard paints newly applied. On chalking, tints become lighter, as do those made from White Lead, but on tests made over a wide range of territory and on a large amount of surface it has always been observed that a remarkable uniformi- ty of color is maintained without predominance of blotched and variegated colors so often in evidence on a chalking surface. Can be used in industrial sections around gas works or oil fields without discoloration from hydrogen sul- phide fumes. Produces a Paint which, when finally thinned for use, is highly economical when surface covered and opacity of film are considered, resulting therefore in a very considerable saving in cost and superior results. Durability: The large percentage of Linseed Oil combined with chemically inactive pigments produces a theoretically perfect Paint. Not satisfied with theory, we tested out Snolite in various parts of the country for a period of years prior to placing it on the market during the Spring of 1921. The perfect paint-film retained by Snolite after exposure for four and five years under varying climatic conditions has abun- dantly supported our laboratory experiments. In placing Snolite before the Master Painter, it has been considered that best results will be obtained by leaving the manipulation in general to him as required by diversified surfaces and conditions which he will encounter. Certain basic directions, however, must be followed if satisfactory results are to be obtained: The pigments in Snolite are all chemically inactive and without drying action on oil. In consequence, Snolite must be handled differently from paint con- taining a high percentage of White Lead, which acts as a natural drier and also tends somewhat to flatten the surface after drying. Do not fail to observe the following instructions: Under the same conditions—always use more Drier with Snolite than with White Lead. Always use Snolite thinner than White Lead. This is most important. Under sub-normal drying conditions increase Drier and replace part of oil in Undercoater with Leptyne or Turpentine to improve drying and reduce gloss. Under sub-normal drying conditions, not only in- crease Drier, but use up to one-eighth gallon Leptyne or Turpentine per gallon of finishing coat. Slow drying in humid weather leads to many paint failures, where fault is generally unjustly laid to mate- rials. Avoid painting under such conditions if pos- sible and assume no responsibility for results. Paint caught in frost while drying is practically certain to result in failure, regardless of what is used. After frosts begin, painting is undertaken at great risk. Do not paint when temperature is below fifty degrees. Such woods as cypress and cedar, containing, as they do, substances which very seriously retard drying, require special treatment for priming coat. Sizes—Five-gallon steel containers and Painters’ Pots containing 289.75 cubic inches. PATTON’S TITANIC LIQUID WHITE Patton’s Titanic White is a Paint in liquid form which embodies the unusual properties elsewhere ob- tainable only in the semi-paste form of Snolite. It has the same extraordinary covering capacity, producing a paint-film good for long service and one which leaves the surface in excellent condition for repainting. Sizes—Barrels; five-gallon, gallon, and quart cans. PATTON’S SILK-WHITE VELUMINA Different from the regular White Velumina in tex- ture and in finish produced. Silk-White Velumina is ground to extreme fineness and dries with a slight sheen. Especially suitable for use as an undercoat in preparing surfaces for Enamel. It may be used with equal facility on plaster walls and wood trim. Sizes—Barrels; _five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. PATTON’S GREENONA Greenona is a trade name for a Green in Oil in paste form, made in five shades. Adding eight gal- lons of Linseed Oil to 100 pounds of Greenona will yield about thirteen gallons of paint ready for use. The covering capacity depends largely on the condi- tion of the surface and thoroughness in brushing. Greenona, when properly reduced and applied, should cover approximately 325 to 400 square feet to the gallon, two coats. Many Master Painters carry in stock some colors of this description because they keep well, and by adding oil and color the painter can make just enough paint of the desired shade to take care of his requirements. [ 61 ] Greenona is used extensively for house painting, trimming, store fronts, iron fences, and metal or wood telephone or telegraph poles. Sizes—Sixty-pound buckets; thirty- pound pots; twenty-five, and twelve and a half pound cans. PATTON’S FRENCH WASHED YELLOW OCHRE IN OIL PATTON’S FRENCH CROWN GOLDEN OCHRE IN OIL Made from Imported French Ochre; ground in strictly pure Linseed Oil to the consistency of a heavy paste. Used for tinting, with white or colored paints. To reduce to brushing consistency, add six gallons of Linseed Oil and one-half gallon of Compo Drier io 100 pounds of Ochre. This will yield twelve and a quarter gallons of paint. Sizes—lifty-pound buckets; twenty-five, twelve and a half, five, and one-pound cans. PATTON’S VENETIAN RED IN OIL Venetian Red is ground in pure Linseed Oil to the consistency of a heavy paste. In the process of grind- ing, all the particles are thoroughly broken up and saturated with Linseed Oil. By adding Linseed Oil, Leptyne or Turpentine, and Drier, a very durable and high-grade paint is made. This paint is very practical for painting barns, ware- houses, and roofs, and for general exterior work. To make a paint of good brushing consistency, add six gallons of Linseed Oil and one-half gallon of Compo Drier to 100 pounds of Patton’s Venetian Red in Oil. This will yield about twelve gallons of paint. Sizes—Fifty-five-pound buckets; twenty-five, twelve and a half, five, and one-pound cans. PATTON’S SEVENTEENTH CENTURY WAX A prepared Wax of natural color for polishing floors, standing woodwork, linoleum, furniture, auto- mobiles, and the like. Ready for use without the ad- dition of any other materials; spreads easily, and dries sufficiently hard in one-half hour for second appli- cation or for polishing. One pound is ordinarily enough for about 300 to 350 square feet of surface, one application. Sizes—live, two, and one-pound cans. PATTON’S ORIENTAL VARNISH STAIN A perfect combination of Stain and Varnish. Each Stain is ready for use as it comes from the can, and stains and varnishes ‘in one application. Anything made of wood and any kind of wood can be given a handsome finish of the desired color at a trifling cost. This Stain is adapted for use on household furni- ture, floors, and interior woodwork, where one coat must complete the staining and varnishing process. Dries hard overnight. We have with this line of Stain a Ground Color which we recommend for use as a first coater where Oriental Varnish Stain is used over old work. Oriental Varnish Stain is made in these colors: PITTSBURGH PLATE GLASS COMPANY Cherry, Light Oak, Antique Oak, Mahogany, Wal- nut, Rosewood, Ebony, Moss Green, Ground Color. Sizes—Gallon, quart, pint, and half-pint cans. PATTON’S GRAINING COLOR A Paste Paint, made in Light Oak and Dark Oak, to be thinned with Leptyne or Turpentine, applied over suitable ground coats, and worked, before it is dry, with graining combs and pads. When dry, Var- nish is applied. The liquid used is pure Boiled Lin- seed Oil; the pigments, Umbers and Siennas reduced to shade with white pigments—semi-transparent in oil, and, therefore, well suited for use in graining colors. Solid, opaque colors would produce glaring contrasts, resulting in poor imitations of natural grain. Patton’s Graining Colors work easily and dry in about eighteen hours. If quicker drying is required or desired, a small amount of Compo Drier may be used in conjunction with the Leptyne or Turpentine for reducing. Sizes—Five-pound and one-pound cans. PATTON’S PASTE WOOD FILLER Patton’s Paste Wood Filler is made in heavy paste form, in Natural, Dark Oak, Mahogany, Golden Oak, light, and Golden Oak, medium. When reduced and applied to open-grained woods like oak, ash, chestnut, mahogany, and walnut, the Filler enters the pores of the wood, filling them completely, making it possible to get a smooth, even finish with subsequent coats of Varnish or Wax. When reduced with Benzine, about one pound of Filler to one-half pint of Benzine, Patton’s Paste Filler works and spreads easily and sets in about twenty minutes, ready for rubbing off. In about fifteen hours the Filler is dry enough for waxing and varnishing. One pound thinned according to directions, should fill about 150 square feet of surface. Sizes—Fifty-pound kegs; twenty-five, twelve and a half, five, and one-pound cans. PITTSBURGH OIL COLORS Especially prepared, finely ground colors in oil, for the Master Painters’ and Decorators’ trade. Lamp Black American Vermilion Drop Black French Ochre Chrome Yellow Rose Pink (Light, Medium, Dark) Vandyke Brown Indian Red Light Oak Graining Tuscan Red Dark Oak Graining Prussian Blue Rose Lake Raw Umber Venetian Red Burnt Umber Chrome Green Raw Sienna (Light, Medium, Dark) Burnt Sienna Sizes—Buckets containing from twenty-five to sixty pounds; and pots, from twenty-five to thirty pounds, depending on the weight of the different colors; also twenty-five, twelve and a half, five, and one-pound cans. (Prussian Blue also in one-half and one-quarter pound cans.) [ 62 ] PROOF PRODUCTS PATTON’S LIQUID WOOD FILLER Patton’s Liquid Wood Filler is a preparation used for sealing and surfacing close-grained woods such as hemlock, pine, redwood, sycamore, cherry, gum- wood, cypress, maple, and poplar. It is an excellent first-coater or surfacer on all close-grained woods. Its chief function is to hold up and prevent absorption of the finishing coats of Var- nish. Drying with a semi-flat finish, it requires but little sanding, making a firm, hard foundation for the succeeding coats of Varnish. This filler may be used to advantage as a sizing or coating on walls before they are frescoed, as it pre- vents absorption and thereby gives an improved ap- pearance to the finished work. A liquid wood filler never should be used on open-grained woods. Sizes—Five-gallon, gallon, and quart cans. RED SEAL LIQUID WOOD FILLER A moderate-priced Wood Filler to be used for seal- ing and surfacing close-grained woods. Can also be used as a wall size. Sizes—Five-gallon, gallon, and quart cans. PATTON’S IRON AND STEEL FILLER Patton’s Iron Filler has been perfected for use directly on iron surfaces that are porous and uneven so as to give them a smooth surface for finishing coats. To give an engine or machine a fine finish it is necessary that a surfacer be used which will in every way strengthen and improve the appearance of the finishing coats. Patton’s Iron Filler is a surfacer of this type. It is made of finely ground hard pigment and a special iron filler Japan. Patton’s Iron Fillers are furnished in a paste form which is easily applied and can be brought to a proper sanding surface in the minimum of time without roll- ing up under knife, leather, or cardboard. Where small imperfections are to be filled, the Iron Filler should be reduced with Naphtha to brushing consistency. For airgun application a reduction of three parts of Filler to one of Benzine yields correct consistency. Sizes—Barrels; fifty-pound kegs; twenty-five, and twelve and a half pound cans. PATTON’S FRENCH GREEN SEAL ZINC COMPOUND IN OIL Patton’s French Green Seal Zinc is a French Process Zinc Oxide and Barytes ground in bleached Linseed Oil. It is used by the Master Painter for various purposes, the results to be obtained determining the method of mixing. It is used in connection with White Lead by painters wanting a combination paint; for enamel undercoater by mixing with turpentine; for making mixed paints for interior use by mixing with Linseed Oil, Leptyne or Turpentine, and Japan. Sizes—Twenty-five, and twelve and a half pound cans. PATTON’S FRENCH RED SEAL ZINC COMPOUND IN OIL This is a product at a moderate price, very similar to Green Seal Zine in Oil. Sizes—Twenty-five, twelve and a half, five, and one- pound cans. PATTON’S FRENCH ZINC IN DAMAR French Zinc in Damar is an imported, high-grade Zinc Oxide, ground in Damar Varnish. When mixed with Damar Varnish it produces a high-gloss White Enamel for interior use only. The usual proportions for making Enamel are about seven pounds of Zinc in Damar to five-eighths gallon of Damar Varnish. Can also be tinted if desired. before adding the Varnish. Sizes—T wenty-five, twelve and a half, five, and one- pound cans. It is best to tint Zinc PATTON’S GRAPHITE (Paste) Patton’s Graphite is ground in pure boiled Linseed Oil to heavy paste form; is to be reduced to brushing consistency with Linseed Oil, Leptyne or Turpentine, and Drier; and is used for the same purpose as Patton’s Liquid Graphite. Furnished in natural color only. Natural Graphite, the pigment used, is recognized and accepted for its protecting and preserving quali- ties on metal surfaces. When reduced to proper brushing consistency Pat- ton’s Graphite will cover from 300 to 350 square feet of surface, two coats, on new work; for old surfaces in bad condition three coats are recommended. Sizes—Barrels; 250 and 100-pound kegs; five, and twelve and a half pound cans. twenty- RED SEAL GRAPHITE (Paste) This is a moderate-priced paste Graphite, to be thinned with Linseed Oil, Leptyne or Turpentine, and Drier. Sizes—Barrels; 250 and 100-pound kegs; twenty- five, and twelve and a half pound cans. PATTON’S LIQUID GRAPHITE A high-grade Graphite Paint in liquid form for painting and preserving iron and steel. Particularly suitable for structural steel, metal roofs, bridges, smokestacks, and boilers. The liquid is Linseed Oil and a little Drier. The pigment is a natural Graphite, a pigment recog- nized for its protecting and preserving properties on metal. Where colors are furnished it is necessary to reduce the percentage of Graphite to the extent of the amount of coloring pigment used to obtain the desired shade. Graphite Paint brushes easily, dries in eighteen to twenty-four hours, has good, heavy body, and is non- fading. [ 63 ] PITTSBURGH PLATE GLASS COMPANY When applied according to directions, one gallon will cover perfectly from 375 to 450 square feet of surface, two coats. On new, unpainted surfaces three coats are recom- mended. Sizes—Barrels; five-gallon and gallon cans. RED SEAL LIQUID GRAPHITE (Formerly Keystone) Red Seal Liquid Graphite is a Graphite Paint in liquid form for painting and preserving iron and steel. It is sold at a moderate price and is intended for use where the question of low cost must be con- sidered. Sizes—Barrels; 100 and 200-pound kegs; twelve and one-half pound cans. TUSCAR BARN PAINT For rough work only. Will give satisfactory serv- ice on fences, sheds, etc. Made in Red only. Sizes—Barrels; five-gallon and one-gallon cans. PATTON’S BLACKBOARD SLATING A liquid preparation to produce a smooth surface on wood, plaster, or composition board. Surfaces finished with Patton’s Blackboard Slating can be written on with chalk or crayon, and will not rub glossy by constant use of eraser. A paint for this purpose must be thin, to produce a surface that will not crack or chip off. Blackboard Slating will dry in about one hour after being applied. Sizes—One-gallon, quart, pint, and half-pint cans. PATTON’S CRACK PACK Crack Pack is a non-shrinking, non-absorbent com- position for filling cracks and crevices in floors and imperfections in wood. Crack Pack is about the consistency of putty and works about the same. Under ordinary conditions it will dry in from twenty-four to forty-eight hours; where cracks are very large and deep, more time may be required. Sizes—Five-pound and one-pound cans. PATTON’S SHUFLI SCREEN PAINT Shufli Screen Paint is a quick-drying, high-gloss, durable Varnish Paint for painting the mesh or frames of screen doors and window screens. Shufli is made in two colors, Black and Green. The liquids are made from quick-drying, durable, Exterior Varnishes. For making the Green we use chemically pure Chrome Green, and for the Black, pure Carbon Black. Shufli Screen Paint brushes easily and will dry sufhciently hard overnight to permit use of screens the following day. Shufli Screen Paint is purposely made thin to avoid clogging the screen-wire mesh and to facilitate drying. In most cases one coat of Shufli Screen Paint will suffice. When framework is new or in very bad condi- tion two coats may be necessary. Ordinarily one pint of Screen Paint will be suff- cient to paint the mesh of one dozen average-size window screens or about eight doors. Sizes—One-gallon, quart, pint, and half-pint cans. PATTON’S STOVEPIPE ENAMEL Patton’s Stovepipe Enamel is a quick-drying, high- gloss, durable, and heat-resisting jet black Varnish Paint for refinishing stovepipes, hot-air furnaces, coal scuttles, or other metal surfaces. Can also be used for exterior work where a gloss black finish is desired. It is not intended for use on superheated surfaces. No paint will wear satisfactorily on metal surfaces that become red hot or come in direct contact with flames. Stovepipe Enamel is medium-heavy in consistency and has good covering qualities, one coat usually being enough. If an extra finish is desired, two coats should be applied. Stovepipes should be carefully cleaned inside and out and painted before being stored. Sizes—Pint, half-pint, and quarter-pint cans. PATTON’S SUN-BRIGHT METAL POLISH Patton’s Sun-Bright Metal Polish is a liquid prep- aration for cleaning and polishing brass, nickel, and copper. It is quick-acting and effective, and produces a high lustre that does not tarnish. Sun-Bright Metal Polish will not scratch. Safe to use, as it is non-inflammable. The pigments do not settle hard in the package and every drop of Sun-Bright Metal Polish can be used effectively. Sizes—Gallon, quart, pint, and half-pint cans. PATTON’S SUN-BRIGHT FURNITURE POLISH Patton’s Sun-Bright Furniture Polish is a liquid preparation for cleaning and polishing all varnished interior surfaces. It contains no acid or other injurious ingredients. Cleans and polishes easily with little labor. Polished surface will not develop a bloom. Sun-Bright Furniture Polish should be well shaken before using, applied with a rag, rubbed dry, and polished with a soft cloth. Sizes—Gallon, ten-ounce, and six-ounce cans. PATTON’S DISTEMPER COLORS Patton’s Distemper Colors are for use in fresco work and cold-water painting. They are made from pure high-grade Lampblack, Drop Black, Vandyke Brown, imported Italian Siennas, and imported Tur- key Umbers, ground extremely fine in water. The advantage of using pure colors is in their strength and covering quality and their full body when dry—a faded-out appearance does not result, as would be obtained were reduced colors used. [ 64 ] PROOF PRODUCTS PITCAIRN AGED SPAR VARNISH O EXPENSE has been spared in building the strongest possible organization in our manufac- turing department. The best talent obtainable has been secured. Our two factories are equipped with modern chemical apparatus, laboratories, and every conven- ience for the scientific manufacture of Varnishes of the highest quality. We know, by actual proof, the true worth of each individual product and its relative value compared to highest market standards, which justifies the claims we make for quality. Pitcairn Aged Spar Line of Varnishes represents the Pitcairn Idea of the best Varnishes that can be made for architectural wood-finishing, as well as the most satisfactory moderate-priced Varnishes. The great popularity Pitcairn Aged Spar Varnishes are enjoying at this time among the more exacting wood-finishers throughout the country is due princi- pally to the universal satisfaction they are giving. Any unprejudiced judge of good materials who has used these Varnishes will acknowledee their excellence. The raw materials—eums, oils, and thinners—are cooked and made into the finished Varnishes by expert workmen, under supervision of our chemical staff. Our trade-mark and label and the sealed package are the purchaser’s guarantee that the quality will be found as represented. They are his protection and insurance of most satisfactory results. IMPORTANT The varying conditions and temperatures under which Varnish is applied forbids the naming of a defi- nite drying-time. Therefore, the drying-time named herein is approximate. Care should be taken to have one coat dry before another is applied. A Varnish never should be rubbed until after it has thoroughly hardened. Varnish works best in a temperature of from seventy- five to eighty degrees Fahrenheit. In cold weather, when it is not possible to warm the room in which varnishing is being done, it may be necessary to add a little Turpentine to the Varnish. Be careful not to add too much. Use Leptyne or Turpentine for cleaning brushes. Do not pour Varnish back into the can. Keep can well corked. Never apply Varnish to a waxed surface without previously removing the wax. Varnish will not dry and harden properly with- out good light and perfect ventilation. Keep Paints and Varnishes away from fire. [ 65 | PITTSBURGH PLATE GLASS COMPANY ARCHITECTURAL VARNISHES PITCAIRN MAST SPAR A Marine and Exterior Varnish for Use Where Extreme Durability is Demanded Best Exterior Varnish. Where great durability is required, it proves its superiority under the most trying conditions. It is not affected by salt or fresh water and has great elasticity and wearing qualities. Will not scratch or mar white. Dries dust-free in ten to twelve hours and hard in forty-eight hours. May be used over natural woods, painted or grained surfaces. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN DECK SPAR A popular, reliable and satisfactory Varnish for boat decks, outside doors, and similar exposed sur- faces. A good finishing Varnish for natural wood, painted or grained surfaces that are exposed to the weather. Elastic and hard-drying. Sets dust-free in eight to ten hours and hardens in three to four days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN FINISHING SPAR The best Varnish made for all fine interior archi- tectural finishing. Has exceptionally free, easy- working qualities, great body brilliancy and per- manence, sets dust-free in eight to ten hours, and hardens in two days; may be rubbed in three days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN FLOOR SPAR A most popular, satisfactory and best-selling Floor Varnish. Works perfectly under the brush; has great elas- ticity and brilliancy; will not mar white. lent Varnish for general interior finishing. One or two coats of Floor Spar over linoleum will bring out the colors and greatly increase its life. Sets dust-free in eight hours and hardens in twenty- four hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. An excel- PITCAIRN FLAT VARNISH For Artistic Interior Work Very transparent—brings out the color of the wood and produces a richer and softer effect than Gloss Finish. Smooth and free from gritty particles. Dries with an even, flat finish that has the ap pear- ance of being rubbed. Has the body and durability of Gloss Varnish—protects perfectly the surface to which it is applied and may be used on either new or old work. One coat is sufficient to produce a dull, rubbed effect on old work or over an undercoat of Gloss Varnish for new work. Where an oil-rubbed effect is desired, add one- quarter gallon of Pitcairn Finishing Spar to each gal- lon of Pitcairn Flat Finish. Two coats applied to a new wood over Filler will produce a silky, soft mission effect. Works nicely under the brush, flows out well—dries dust-free in two hours and hard in twenty-four hours; may be coated with a Gloss Varnish, or as many coats may be applied as are necessary. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. CABINET RUBBING AND POLISHING SPAR Best Varnish for interior and architectural finish- ing. Has exceptionally free, easy-working qualities, body brilliancy, and permanence. Sets dust-free in eight to ten hours and hardens in two days; may be rubbed in three days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN MASTER PAINTERS’ SPAR For General Interior Work A brilliant, satisfactory, free and easy-working Var- nish, intended for all general interior finishing. Dries dust-free in about eight hours, hardens in about thirty-six hours. Rubs nicely to a full finish. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN PAINTERS’ COACH A reliable and satisfactory medium-priced Varnish. For high-gloss interior work. Dries dust-free in about seven hours and hardens in three days. Has good body and works nicely. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN CHURCH PEW AND SEAT FINISH An exceedingly hard-drying Varnish, which will never soften or become tacky under the heat of the body. Very tough—dries dust-free in six hours and hard in twenty-four. For use on church and school seats, chairs, desks, table tops, and the like. Dries with brilliant closs, rubs well, and takes a fine polish. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN COMPO DRIER A safe, reliable and economical Japan Drier—sold only in sealed cans. To make paint dry and work properly and still retain its durability a good Japan Drier must be used; to have paint always uniform a Drier of uni- form strength must be used. Sizes—Five-gallon, gallon, half-eallon, quart, and pint cans. [ 66 ] PROOF PRODUCTS PITCAIRN PURE BATAVIA DAMAR In this finish the best grade of Batavia Gum is used. The Varnish is of extremely pale color and espe- cially adapted for use in making White Enamels or for finishing white or very light surfaces. It has good body, works nicely, and dries perfectly. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN TO-YO-LAC This Varnish is especially prepared for finishing cabinet work, furniture, chairs, tables, desks, and seats, whether in polished, dull rubbed, or gloss finish. Equaliy satisfactory for manufacturer or repairman, being in fact one of the few really safe varnishes for repairmen’s use. To-Yo-Lac works very smoothly and freely, flows well, and has excellent wearing quality. A coat may be applied every day; last coat may be rubbed after thirty-six to forty-eight hours. Sets to the touch and dries dust-free in two hours. Furniture finished with To-Yo-Lac may be safely rubbed and shipped in hot- test weather without danger of printing. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. BRONZING LIQUIDS See page 176, in the Sundries Section. BULK VARNISHES See Manhattan Varnishes, page 73. PITCAIRN PUBLIC BUILDING VARNISHES Made according to government specifications. These Varnishes are composed only of selecte d Fossil Gums, pure refined Vegetable Oils, pure Spirits of Turpentine, and pure Driers. They are free from other products of any character what- soever. Great care is exercised in their making and aging. No. 1080-—-PITCAIRN INTERIOR PUBLIC BUILDING VARNISH This Varnish has a brilliant lustre, good body and color, and excellent working, drying, and hardening qualities. Sets dust-free in four hours and may be recoated in twenty-four hours. It hardens sufficiently to take a dull rub on the third day and may be polished on the fourth day. An exceptionally satisfactory all-around finishing Varnish. For use on cabinet work, etc., interior fin- ish, seats or pews, table tops, fixtures, floors. Sizes—Barrels; five-gallon and gallon cans. No. 1081—PITCAIRN EXTERIOR. PUBLIC BUILDING VARNISH This Varnish has excellent body and color, free working and flowing qualities. It dries with a bril- liant lustre that will withstand severe exposure, wear and tear. Does not scratch or mar white and is not affected by fresh or salt water. Sets dust-free in six hours and hardens in two to three days. Used wherever great durability is required, such as outside doors and windows, Water Craft and Marine Finishing, whether over natural wood, painted, or erained surfaces. Sizes—Barrels; five-gallon and gallon cans. No. 1391—PITCAIRN PUBLIC BUILDING OIL DRIER This Drier is composed of pure Lead and Manga- nese, pure Turpentine, pure Fossil Gums, and refined Vegetable Oils. It is free from all other products of any character, whatsoever. Strong, safe, and reliable. It is a good mixer with all pigments, and may be added to all paints or oils for the purpose of hasten- ing their drying. Five per cent of Pitcairn Public Building Oil Drier (No. 1391) added to raw Linseed Oil will cause it to dry to the touch in seven hours. Note; An original analysis of any or all of the above, over the signature of our chemist, will be furnished upon request. Sizes—Barrels; five-gallon and gallon cans. [ 67 ] PITTSBURGH PLATE GLASS COMPANY EMPIRE VARNISHES Carefully made from selected raw materials. Empire Varnishes may be used for the various purposes for which they are intended with a feeling of entire security that the work will be satis- factory. WHITE ENAMEL A popular-priced White Enamel, adapted for use on all interior decorative work, giving a brilliant, durable finish. Produces a hard, non-absorbent, pure white surface that will retain its color and brilliance. Works well and flows out, leaving a smooth, white finish, free from brush marks or laps. Has good covering quali- ties. May be used on any surface—wood, metal, brick, or plaster, and for old or new work after the surface has been prepared with flat undercoats. Dries dust-free in twelve hours and hardens in twenty-four hours. A bluish hue, an ivory cast, or delicate tints may be produced by the addition of a small amount of Ultramarine Blue, Chrome Yellow Medium ground in oil, or other pure tinting colors. Sizes—Five-gallon, gallon, half-gallon, quart, pint, . and half-pint cans. INTERIOR FINISH A durable Varnish for general work on interior surfaces in either public or private buildings. Very pale in color, elastic, free-working, dries with a bril- liant lustre, and may be rubbed to a dull finish or polished if desired. Sets dust-free in about ten hours and hardens in three to four days. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. FLOOR FINISH A durable finish for hardwood floors, linoleum, table tops, and similar uses. Dries hard overnight, conditions being favorable. It is elastic, light in color, and will not scratch or mar white. Because of its toughness, Empire Floor Finish makes an excellent Varnish for general interior work. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. FLAT FINISH One coat is sufficient to produce a dull, rubbed effect on old work, or over an undercoat of Gloss Varnish on new work. One coat applied to new wood over Filler or Stain will produce a beautiful, silky, soft mission effect. Flat Finish is transparent, brings out the color of the wood, and produces a richer and softer effect than Gloss Varnish. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. Empire Varnishes are easy-working, brilliant, and durable. OLD FASHIONED No. 1 COACH A High Gloss Varnish for interior woodwork and for painted surfaces. Very satisfactory for all ordi- nary purposes. Has good body, works freely, and will dry hard in thirty-six hours. Recommended to those wanting a good article at a popular price. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. FURNITURE VARNISH This Varnish is intended for household purposes and repair work where a quick-drying Gloss Finish is required. Has light color, good body, and sets hard in twenty-four hours. We recommend it to those want- ing a bright finish at a reasonable price. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. ASPHALTUM Our aim in the manufacture of this Black has been to produce an article which will dry with a high, glossy-black finish, and one that will be satisfactory as a one-coat Black Finish. Suitable for use on all kinds of metal surfaces, such as wire screens. stove- pipes, iron fences, hot and cold water pipes, agricul- tural implements, and castings of all kinds. It will prevent rust and deterioration and prolong the life of metals to which it is applied. By reason of its com- position, this Black may be relied on to withstand a high degree of heat. May be reduced with Turpentine or Naphtha. Sets dust-free in two hours and hardens in twelve hours. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. LIQUID WOOD FILLER A good grade of Liquid Wood Filler for general work, Extra light in color and may be used on light woods without darkening them. Contains a trans- parent mineral pigment intended to be used as a First-coater or Surfacer on close-grained woods. Seals the surface, making a non-porous foundation for Var- nish coats. May be reduced with either Leptyne, Turpentine, or Benzine. Dries hard over night. Sand- papers nicely. Can safely be coated over the next day without danger of checking or shrinking. One coat of Empire Liquid Wood Filler and one coat of Varnish will produce a finish which will be found satisfactory for all cheap work. Sizes—Five-gallon, gallon, half-gallon, quart, pint, and half-pint cans. [ 68 | PROOF PRODUCTS PITCAIRN AUTOMOBILE VARNISHES These Varnishes are so made as to withstand, for the longest time possible, the exposure, hard knocks, and wear and tear to which automobiles are subjected. In bringing them to their present state of perfection, special attention has been given to the requirements of the modern finisher of fine automobiles. Time is an important factor in modern automobile finishing. Pitcairn Aged Automobile and Carriage Varnishes permit of the finest work being turned out in a minimum of time. They are not sensitive to atmospheric changes while in the process of drying. Their use insures the maximum of durability to be obtained in automobile finishing. The body Varnishes are made of the finest materials obtainable, have exceptionally free- flowing qualities, are pale in color, dry free from dust quickly, and yet set slowly enough to enable the finisher to make a perfect job on the largest surfaces. The gear Varnishes are especially prepared to withstand the frequent washing and constant exposure, grease, dust, and dirt, to which automobile gear and chassis are subjected. They are full-bodied, pale in color, free-working, and will withstand severest usage. When used on exposed surfaces they are especially adapted to the requirements of Railway Car Finishing. They will with- stand the severe wear and tear encountered in Railway and Car Service. PITCAIRN EXTRA PALE AUTO WEARING BODY For Use over Lightest Colors on Finest Work This Varnish is intended to be used on the finest body-finishing, where extreme paleness of color, bril- liancy, and great durability are required. Flows out perfectly, sets slowly, permitting best results on larg- est surfaces. Dries dust-free in eight hours and hard- ens in three to four days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN FINEST AUTO WEARING BODY Best Auto Finishing Varnish This Varnish is intended for use on the finest Motor Car Finishing. Pale, durable, free-working, safe Var- nish. Dries free from dust in eight hours, yet sets slowly, thus allowing ample time to make a perfect job on the largest surface. Hardens in three to four days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN AUTO HARD-DRYING BODY For Finishing Coats Especially intended for durable, hurried work, where a heavy-bodied, free-working, good-drying Var- nish is required. Is brilliant, safe, and durable. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN ONE-COAT AUTO A One-Coat Finishing Varnish for Hurried Work Heavy-bodied; dries sufficiently hard to handle in twenty-four hours. Possesses good gloss, works freely, and is very durable. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN PALE AUTO CHASSIS OR ELASTIC GEAR For Use over Lightest Colors on Finest Work Intended for use on chassis and underparts, where extreme paleness of color, brilliancy, and durability are required. Very free-working, dries dust-free in six hours, and hardens in two days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN HEAVY GEAR A Heavy Varnish for Work on Chassis and Wheels For use in finishing wheels and underparts of auto- mobiles and carriages, where a heavy Varnish is re- quired. Has free-working qualities; brilliant and dur- able. Dries dust-free in six hours and hardens in two days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN HARD-DRYING GEAR For Finishing Coats A full-bodied, brilliant, quick-drying Gear Varnish. Dries dust-free in six hours and hardens in twenty- four to thirty-six hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN PALE AUTO RUBBING BODY A Four-Day Rubbing Varnish For undercoats on finest work over lightest colors. Especially desirable for use under our Extra Pale Auto Wearing Body Varnish. Possesses good level- ing qualities and dries to rub in four days. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. [ 69 | PITTSBURGH PLATE GLASS COMPANY PITCAIRN QUICK-RUBBING A Two-Day Rubbing Varnish Always safe and reliable. May be rubbed close without sweating in forty-eight hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN DOUBLE-QUICK RUBBING Can be rubbed in Quick-drying, free-working. twenty-four to thirty-six hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN EXTRA BLACK BODY-RUBBING For Undercoats on Automobile and Carriage Bodies Produces a deep, black finish. When used over flat black, produces a hard, tough surface. Can be mossed in twenty-four to thirty-six hours and ready for re-coating with clear rubbing. Sizes—Five-gallon, gallon, half-gallon, quart. and pint cans. PITCAIRN BLACK BODY-RUBBING For undercoats on carriage bodies, producing a deep finish when used over flat black color. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN WAGON COACH For Finishing Auto Trucks and Wagons Where great durability and free-working qualities are required. Dries dust-free in six hours and hard- ens in twenty-four hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN JAPAN GOLD SIZE Also Used as a Binder for Drying and Hardening Colors—May be Mixed with Varnish Pale Japan for leaf sizing. A good, safe Drier for Color, Rough Stuff, and hard putty. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans, PITCAIRN PALE COACH JAPAN Very strong, light in color, quick drying. principally for binding Colors. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. Used PITCAIRN ROUGH STUFF Always Reliable and Satisfactory A perfect filler for automobile, carriage, and coach finishing. Produces a smooth, solid, non-porous sur- face on which to build the final finish. Cuts down, without clogging the pumice stone. Sizes—Five-gallon, gallon, quart, and pint cans. PITCAIRN AIR DRYING BODY AND FENDER ENAMEL An especially high-grade, free-flowing, solid-cov- ering Jet Black Finishing Enamel, suited for brush work on auto bodies, fenders, hoods, gears, and all metal parts. Works like Finishing Varnish and dries with a full, brilliant lustre. Sets dust-free in six hours, and hardens in thirty-six hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN BLACK ELASTIC BAKING FINISHING ENAMEL A high-grade, Jet Black Enamel. May be applied by either brushing or dipping. Produces an extremely tough, elastic, and enduring finish on automobile fenders, hoods, and metal parts. Bake it in 280 degrees of heat for three hours. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN BLACK UNDERFRAME ENAMEL Covers Solid Black in One Coat Not so heavy-bodied or free-flowing as Pitcairn Body and Fender Enamel. Use on smaller surfaces and running parts. A general-purpose, tough, jet black, brilliant Finishing Enamel. Dries overnight and hardens in twenty-four hours. Withstands a high degree of heat on radiators. May be baked lightly up to 175 degrees and is then ready for use after two hours. In addition to using for running parts on autos, also use on inside of wagon or truck boxes, battery boxes, iron fences, school seats. or stoves. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. TRANSPARENT SEALER Made from Pitcairn Waterspar Varnish Dries dust-free in two hours and hardens over- night. Never lets go. Insures an elastic foundation for other finishing materials. Is waterproof and a superior Rust Preventive. We recommend that Waterspar be reduced one- third with Turpentine and used on new work as a Transparent Sealer, Rust Preventive, and Priming Coat on all metal bodies and other metal surfaces that are to be painted or finished. Also for use as a Primer on wooden wheels. When used as a sealer it must not be sanded. After allowing twenty-four hours for drying, continue with succeeding coats. PIGMENT PRIMER To be Made in the Shop A Pigment Primer can be made by mixing two or three pounds of Pitcairn Rough Stuff, or two or three pounds of Iron Oxide (Red) ground in oil, to the gal- lon of Waterspar. This Pigment Primer should be used over Transparent Sealer. Use as a sealer and surfacer (after sanding) on old work that is badly cracked, checked, and more or less porous and ab- sorbent. For this work a small amount of color to match the body coat should be added. Apply one [ 70 ] PROOF PRODUCTS thin coat, allowing twenty-four hours for drying. Then proceed with the color coats. Use Transparent Sealer, made from Waterspar, over Rough Stuff after it has been rubbed or blocked. This stops suction and makes an excellent undercoater for succeeding color coats. This transparent sealer made from Waterspar is an excellent crank-case sealer and a_ preservative coating for underframes and all kinds of metal auto parts while in stock, before being assembled into cars. PITCAIRN MOHAIR TOP DRESSING For Waterproofing and Preserving Old and Worn Auto Tops This is an Oil-base Dressing and while drying a lit- tle more slowly than Spirit Dressings the results are much superior. This material preserves and renews old tops and can be used with perfect safety, as there is nothing in it to injure the fabric. It is easily applied and dries ready for use the next day. When used on pantasote auto tops, it dries out with a semi-gloss oil finish. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN CARRIAGE TOP DRESSING For carriage tops and aprons. Dries hard in forty- eight hours, yet remains elastic. This material con- tains more pigment than the Mohair Top Dressing and dries out with a brilliant jet gloss. Sizes—Five-gallon, gallon, half-gallon, quart, and pint cans. PITCAIRN JAPAN COLORS Pitcairn Japan Colors are of the highest standard of quality. The clear, brilliant tones obtained are due to the purity of the raw materials used in their manufacture. These materials, with a few minor exceptions, are manufactured within our organization. Absolute constancy of shade and strength is assured by rigid laboratory tests. Japan Colors have to be ground according to a special method. We do this work under expert supervision. Pitcairn Japan Colors will meet the most exacting demands of the critical finisher. For clearness and brilliancy of shade, richness and depth of tone, they have no equal. Sizes—Five-pound and one-pound cans. LIST OF COLORS BLACKS Ivory Drop Black Ivory E-Ivory Drop Black Sulphur Superfine Ivory Drop Black Lamp Black GRAYS French Gray Orange Auto Body Gray, Light Golden Gdwe Auto Body Gray, Medium Old Gold Auto Body Gray, Dark London Smoke IVORY AND YELLOWS C. P. Chrome Yellow, Light C. P. Permanent Yellow C. P. Chrome Yellow, Medium C. P. Chrome Yellow, Orange C. P. Chrome Yellow, Deep BROWNS Auto Body Red, Light Auto Body Red, Dark Coach Painters’ Red Special Carmine No. 40 Carmine Tuscan Red Maroon Light Red Groundwork Dark Red Groundwork GREENS Lemon Green Bright Olive Bronze Green WHITES Golden Brown Silver White yihesig aaa Soe Car Color ihaee nite Raw Sienna ay Godan Burnt Sienna Milori or C. P. Chrome Green, BLUES Raw Umber Light Azure Blue ee ee Milori or C. P. Chrome Green, Electric Blue nee scapes Medium Perfect Blue REDS Milori or C. P. Chrome Green, Ultramarine Blue English Rose Lake Dark Venetian Red Vermilion Gear Red, Light Gear Red, Dark Prussian Blue Royal Blue Auto Body Blue Blue Groundwork Coach Painters’ Green Light Quaker Green Light Brewster Green Dark Brewster Green [71] PITTSBURGH PLATE GLASS COMPANY PITCAIRN COLORED RUBBING VARNISHES In the manufacture of Colored Rubbing Varnishes, only pure Colors and best Auto Rubbing and Mixing Varnishes are used. This insures clean, clear, and brilliant tints under the Finishing Varnish. The stock shades of Colored Rubbing Varnishes are: Extra Black, Black, Gray, Blue, Yellow, Green, and Red. Sizes—Gallon, half-gallon, and quart cans. The automobile painter may make his own color varnishes, mixing his actual requirements from day to day. This will insure fresh stock always. By use of Pitcairn Japan Colors and Quick Rubbing Varnish complete satisfaction becomes a certainty. TO MAKE COLORED RUBBING VARNISHES Mix the following quantity of the various colors with Pitcairn Rubbing Varnishes in quantities de- pending upon the desired density of color. Blacks—Mix one and one-half pounds of color to the gallon of Varnish. Grays—Mix three to four pounds of color to the gallon of Varnish. Blues—Mix two to three pounds of color to the gallon of Varnish. Yellows—Mix four pounds of color to the gallon of Varnish. Browns—Mix three pounds of color to the gallon of Varnish. PITCAIRN SYSTEM FOR BODY FINISHING FOUR-DAY SYSTEM (FOR QUICK COMMERCIAL WORK) SIX-DAY SYSTEM EIGHT-DAY SYSTEM First Day One coat Pitcairn Elastic Pigment Primer Seconp Day Two coats Pitcairn Sand- ing Surfacer Sand out. One coat Tuirp Day Rubbing Varnish Rub lightly. One coat | Pitcairn Finest | Auto Wearing Body Varnish FourtH Day. | One coat Pitcairn Elastic Sanding Surfacer. Brush | | first coat; knife second coat Sand out. Japan Color thinned with Japan Color thinned with Turpentine. One coat Color Turpentine. One coat Color One coat Pitcairn Quick One coat Pitcairn Elastic Pigment Primer Pigment Primer Two coats Pitcairn Two coats Pitcairn Rough Stuff. Knife second coat Two coats Pitcairn Rough Stuff One coat Rubbing Varnish Rub out. One coat _Japan Color thinned with Turpentine. One coat Color Rubbing Varnish Rubbing Varnish FirtH Day SixtH Day Auto Wearing Body Varnish | ; Dry Dry | One coat Pitcairn Extra Pale Rubbing Varnish Rub out. One coat Pitcairn Finest SEVENTH Day Dry EicHtH Day | Rub out. One coat Pitcairn Finest Auto Wearing Body TOTAL: | Six Coats SEVEN CoATs Nine Coats If metal shows signs of rust, sandpaper and wash with naphtha and apply one coat of Pitcairn Transparent Sealer under the Pitcairn Elastic Pigment Primer. This seals in the rust and makes an elastic and adhesive coat which will insure against peeling from oxidized spots. [ 72 ] PROOF PRODUCTS PITCAIRN SPIRIT LACQUER Pitcairn Spirit Lacquer is a Spirit Varnish intended to do the work of Shellac for first coating, sealing, and priming purposes. It is made of carefully selected Fossil Gum and high-proof Alcohol. Pitcairn Spirit Lacquer can be used for brush, spray, or dip work with satisfaction. It dries and works similar to Shel- lac and insures an important saving in the cost of the finished job, as compared with Shellac Varnish. Pitcairn Spirit Lacquer works freely and easily un- der the brush, making it suitable for use on large surfaces. It does not raise the grain and leaves a transparent film slightly heavier than Shellac. Spirit Lacquer sands readily and with little labor. It dries to handle in thirty minutes and is ready to varnish over or to sand in two hours. Spirit Lacquer can be used as a sealer for bleeding Stains as well as under Varnish. It mixes readily with Shellac. Sizes—Barrels; five-gallon, gallon, and quart cans. PITCAIRN LEPTYNE For Thinning and Reducing All Kinds of Paints Leptyne has a flash-point equal to that of Turpen- tine; therefore is equally safe to use. The minimum flash-point is guaranteed to be ninety-five degrees Fah- renheit, closed test. The evaporation is one hundred per cent. This takes place slowly, permitting the painter to secure the maxi- mum spreading and flowing qualities, obtaining greater penetration, and thus assuring the two greatest essen- tials—life and economy. The supply of Turpentine is gradually diminishing while the demand for paint thinners increases. Lep- tyne has been on the market for more than ten years, during which time the demand has increased steadily. It has the indorsement of, and is used regularly in many of the best shops and by large manufacturers who test all new materials most thoroughly before adopting them. Because, for all paint purposes, Leptyne is fully equal to Turpentine (for some work it is superior), paint-users will find it well worth while to give it a regular place in their paint shops. Sizes—Steel barrels and five-gallon cans. PITCAIRN PAINT AND VARNISH REMOVER A double-quick, double-power Remover for remov- ing Paint, Enamel, Varnish, Shellac, Wax, and Gums. A great work-saver and time-saver. Pitcairn Remover will penetrate and soften several coats of old Paint, Varnish, Shellac, Wax, or Gums, so that they may easily be removed from the surface with scrapers or with a benzine cloth and with no necessity for hurry- ing. The Pitcairn Remover keeps the material soft until the user is ready to take it off, and when cleaned the surface will be ready for refinishing. Nore: Pitcairn Remover contains no strong acids and therefore will not injure the hands. Sizes—Gallon, half-gallon, quart, pint, and half-pint cans. MANHATTAN VARNISHES This is an inexpensive line of Varnish intended for the cheaper grades of work and is sold principally in bulk. Packed in barrels and in five-gallon and one- eallon cans. LIST OF MANHATTAN BULK VARNISHES Oxford Light Hard Oil Finish, Light Oil Finish, House Painters’ Japan, B Japan Drier, Extra Gloss Oil, No. 1 Furniture Varnish, Pure Egyptian Asphaltum, Egyptian (B) Asphaltum, Ceiling or Sizing Varnish, Arabian Iron Enamel. L7a] PITTSBURGH PLATE GLASS COMPANY PITCAIRN BANZAI ENAMEL For All White Work For specifications for use, see Nos. 84 to 87, on page........95 For examples of results, see pages 98, 99, 103, 104, 105, 106, 107, 108, 109, 112, 115, 116, 117, 118 HIS is the finest quality White Enamel. Its remark- able elasticity and durability make it suitable for all kinds of work, inside and out, in all climates. A distinctive characteristic of Banzai is its wonder- fully free, easy-working, and easy-flowing quality. It levels out perfectly, leaving no laps or brush marks, resulting in a finish that is as smooth, brilliant, and immaculately white as fine china.’ The superior cover- ing properties of Banzai Enamel insure a_ perfect finish with fewer coats. Banzai Enamel is the most economical of all white interior decorative materials, because of its long life. It will retain its toughness and elasticity for many years. Even though the fin- ish- become soiled the film will still remain and an- other coat may be applied without removing the old coatings. Because of the smoothness and hardness of the Banzai Enamel film, it does not absorb dirt and grease. Woodwork is therefore very easily cleaned. The great spreading capacity of Banzai Enamel in- sures an economical square-yard cost. Banzai Enamel is made in High-Gloss and Egg-Shell finish. For preparing the surface, use Banzai Double-Cover Undercoater over Tector Primer. Banzai Enamel may be tinted by using Patton’s Pure Oil Colors. Banzai Double-Cover Undercoater is made espe- cially for use with Banzai Enamel. It will insure a most satisfactory and lasting job of Enamel finishing. Sizes—Gallon, half-gallon, quart, pint, and half- pint cans. [ 74 ] PROOF PRODUCTS PITCAIRN TECTOR The Great Undercoater—A Tough and Durable Primer, Filler, and Surfacer ee is a filler and first-coater, neutral in color, for general priming purposes. The pigments are transparent and ground to minute fineness. Tector is made in heavy liquid form and must always be reduced with Leptyne, Turpentine, or Benzine. It dries with a permanent elasticity, producing a coating as tough as whalebone. Tector can be successfully used for the priming coat on wood, galvanized iron, cement, metal, brick, plaster, burlap, or canvas; under paint, varnish, enamel, and wax; on both exterior and interior work. There is no substitute for Tector, and no other primer or first-coater will produce similar results. Tector is a distinct and radical departure from the commonly-known liquid fillers or undercoat materials. The idea that anything is good enough for a priming coat is decidedly wrong; it is of the greatest impor- tance that the proper material be used for the purpose. To prevent collapse, the foundation of any build- ing must be carefully and scientifically planned and constructed. A building will not stand after the foun- dation gives way; so it is with Varnish, Enamel, or Paint. No finishing material can be more durable or permanent than the priming coat. The use of ordinary Liquid Fillers, Shellacs, and similar under- coaters definitely limits, because of their brittleness, the durability of the finishing material applied over them. Liquid Filler is composed of inert pigments and a resinous binder. It does not penetrate, but dries quickly on the surface. It is extremely brittle, conse- quently its use limits the permanence of the finished job. Shellac has its value in some classes of work, but also is brittle, impervious, and resinous. Shellac should not be used under finishing material that must withstand wear and weather or is subjected to abra- sion. Use Tector—it will add to the durability of the finish. Because of its great toughness it will prevent cracking, checking, or peeling. Tector is an excellent material to use in connection with first-coat work or the priming coat on houses from the standpoint of both economy and durability. We recommend for this work that it be mixed with the paint twenty-five to thirty-three and a third per cent. It is used in this manner by many exacting Master Painters. Tector penetrates and fills the wood, producing a firm and lasting foundation for Paint or Varnish coats. Tector is unexcelled as a cypress sealer, whether used clear, under paint or varnish, or in com- bination with the first coat of paint. Because of its toughness and elasticity, Tector makes an ideal coat to apply over so-called “chronic peel- ers.” Brittle paint surfaces, that have a tendency to peel no matter what is applied over them, frequently have been put in shape through the use of Tector and no further trouble has been experienced. Because of its elasticity and toughness, Tector is an ideal material to apply to canvas surfaces which are later to be painted, as, for example, boat decks. It effectively stops all suction, is waterproof, and keeps the surface elastic and pliable. Since the priming coat is the weakest link, why not build for permanence by starting with the right foundation? It is wrong to apply a_ high-grade Enamel or Finishing Varnish over cheap, brittle, life- less undercoaters. The use of Tector insures the right foundation. Sizes—Barrels; five-gallon, gallon, half-gallon, quart, and pint cans. [75°] i sf P29N Ployasnioy huang 10} YSIUL] Y bY gamma a (a tee THE PITCAIRN PROPOSITION FOR DEALERS HE merchandising plan for the Pitcairn Products begins its effective work as soon as the Varnishes are in the dealer’s stock. All the resources of our great organization— scientific research, modern methods in manu- facture, thorough testing, as well as our selling and advertising activities—are marshaled and directed to keep Pitcairn Products moving from the dealer’s shelves to satisfied users. Pitcairn Products are manufactured in three splendid, modernly equipped plants, one located at Newark, New Jersey, one at Milwaukee, Wis- consin, and the other at Portland, Oregon. The dealer who sells Pitcairn Aged Varnishes is, in reality, the representative of a highly- skilled, well-trained organization of specialists. The requirements for quality in all raw mate- rials are most exacting and resolutely enforced, each of the manufacturing processes is care- fully watched and guarded, and the finished product is subjected to rigid tests. Thus are Pitcairn Aged Varnishes produced. With every element of uncertainty eliminated, the dealer recommends Pitcairn Aged Varnishes to his cus- tomers with the well-grounded assurance that the Varnishes are of the very highest character, and with the certainty of absolute uniformity and dependability. Small but well-assorted stocks—more sales and greater profits through frequent turnover— are characteristic of the Pitcairn Dealers. Sup- plies are quickly obtained from the nearest of our many distributing Warehouses. These dis- tributing Warehouses are located in principal jobbing centers throughout the country, and ex- tend to the dealer’s own locality all advantages of factory stock and service. The Pitcairn Dealer’s investment is reduced, the long, expen- sive delays incident to shipments made from ereat distances are eliminated, and freight costs are minimized. Representatives of our Sales Department are always on the alert to be of service to Pitcairn Dealers. They effectively co-operate with our dealers in applying our merchandising plans for increasing dealers’ sales. By means of the contact thus maintained, our manufacturing and distributing proceed in accordance with the re- quirements of the trade. Absolute control of production, including the supply of many of the raw materials, through the operation of our own factories, and of mar- keting through the Company’s distributing Ware- houses, assures the dealer of constant and per- manent supply. Pitcairn Aged Varnishes have been kept con- stantly before the favorable notice of the buy- ing public by consistent and effective advertis- ing. Our advertising is designed to facilitate the sale of Pitcairn Aged Varnishes through dealers, who are equipped with numerous at- tractive store-display features, color cards, price lists, booklets, descriptive literature, and other Dealers’ Helps. Pitcairn Dealers are supported also by a great National Advertising Campaign which is making household words of the names of the principal Pitcairn Products. This campaign includes advertising in maga- zines of national circulation, and reaches mil- lions of readers. It has created and is maintain- ing in every locality a consumer demand to be supplied by Pitcairn Dealers. Ready accept- ance by the consumer of the nationally adver- tised Pitcairn Aged Varnishes contributes sub- stantially to the increased sales and greater profits of the Pitcairn Dealer. The Pitcairn Aged Varnish Line is compact and complete. It includes no duplicates or un- necessary items. It supplies all requirements of the trade for Architectural Varnishes, Driers and Japans, Enamels, Colored Varnishes, Wood Stains, Auto Varnishes, Japan Colors, and such specialties as Bronzing Liquids, Sizing Liquids, Mixed Bronzes, Spirit Lacquer, and Leptyne. Each line and item is representative of Pitcairn Quality and especially prepared to produce the particular kind of finish or effect for which it is designed. PITTSBURGH PLATE GLASS COMPANY RESS ten men in uniform and march them down the street and you will have everybody asking questions—because ten men dressed alike are conspicuous. They have the mass formation that catches the eye and commands attention. You get the same result from a stock of Proof Paint Products. Every can wears a similar uniform. The same general design gives every product a family resemblance. Of course, each product has an individuality Sng Pan) of its own, but, in general design, every label TTLON?S « resembles the label on every other Proof Paint Product. Universal Labels make a dealer’s paint stock look distinctive, attractive, unusual. DIXIE GRAY _| They give the entire line the appearance of ee Sia being systematically selected and actually Gas SBURCH plate CDS complete in all details. PSS eu itthutaidceiegatnenmnansnsial ATEEOiNES aT) < $ | ‘ . BeCURGH PLATE,GUAS tea PROOF PRODUCTS HUS the confidence of customers is won. By this means they are impressed with the fact that the Proof Paint Products dealer is handling paints as one of the main items of his stock. One has only to glance at the labels reproduced on this page to picture to himself the mass-formation effectiveness, the individuality, and the distinctiveness they impart to a paint stock. Remember this—that every time a dealer sells one Proof Paint Product he familiar- izes the customer with the general package design of every other product. Thus he teaches his customers that, represented in the Proof Products line, there is a paint for every purpose. Universal Labels, like the men in uniform, command attention and win prestige for the dealer as conducting ‘‘The Store for Paint.” G FINISHING BLACK PITTSBURGH PLATE GLASS COMPANY QUANTITIES IN WHICH PAINTS AND VARNISHES ARE ORIGINALLY PACKED PAINTS Each size packed in a separate case LIQUID PAINTS 6 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. 48 sixteenth- gallon cans. 100 thirty-second-gallon cans. PASTE PAINTS 100 one-pound cans. 20 five-pound cans. 8 twelve and one-half pound cans. 4 twenty-five pound cans. PATTON’S OIL COLORS Besides the regular Paste Paint packing, the following oii colors are packed in cases of 5 five-pound, or 25 one-pound cans each (and colors starred also in cases of 50 half-pound or 50 quarter-pound cans each): Prussian Blue*, Ultramarine Blue*, Cobalt Blue*, English Rose Lake, English Rose Pink, American Ver- milion, Tuscan Red, Turkey Red, Oriental Permanent Red (light and medium), Sun-Proof Vermilion. All shades of Bulletin Colors. PITTSBURGH OIL COLORS Besides the regular Paste Paint packing, the following colors are packed in cases of 5 five-pound, or 25 one-pound cans each (and Prussian Blue* also in cases of 50 half-pound or 50 quarter-pound cans each): Prussian Blue*, English Rose Lake, English Rose Pink, American Vermilion, Tuscan Red, Turkey Red. PASTE FILLER Besides the regular Paste Paint packing, the following are packed 5 five-pound and 25 one-pound cans to the case: Golden Oak (light and medium), Mahogany. DISTEMPER COLORS 50 one-pound jars per case. CRACK PACK 48 one-pound cans. 12 five-pound cans. 17th CENTURY FLOOR WAX 60 one-pound cans. pound cans. 12 five- 30 two-pound cans. SUN-BRIGHT FURNITURE POLISH 6-ounce bottles—2 cartons, 12 bottles each, per case. 10-ounce bottles—2 cartons, 12 bottles each, per case. VARNISHES Each size packed in a separate case PITCAIRN AGED SPAR LINE 1 five-gallon can per half-case. 12 one-gallon cans. 12 half-gallon cans. 24 quarter-gallon cans. 48 eighth-gallon cans. PITCAIRN PAINT AND VARNISH REMOVER AND EMPIRE LINE 1 five-gallon can per half-case. 12 one-gallon cans. 12 half-gallon cans. 24 quarter-gallon cans. 48 eighth-gallon cans. 48 sixteenth-gallon cans. PITCAIRN WOOD STAIN 6 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. 48 sixteenth- gallon cans. PITCAIRN AGED AUTO AND CARRIAGE VARNISH 1 five-gallon can per half-case. 12 half-gallon cans. eighth-gallon cans. 6 one-gallon cans. 24 quarter-gallon cans. 48 TECTOR 12 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. PITCAIRN WATERSPAR COLORED VARNISH AND ENAMEL 6 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. 48 sixteenth- gallon cans. 100 thirty-second-gallon cans. No. 1 and No. 2 Gold and Aluminum, 144 to a case. 12 cartons, 12 cans each per case. No. 3 and No. 4 Gold and Aluminum, 48 to a case. Waterspar Grainers, 6 dozen to a case. “Transparent Waterspar packed same as Spar Line. BANZAI ENAMEL 12 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. 48 sixteenth-gallon cans. BANZAI DOUBLE-COVER UNDERCOATER 6 one-gallon cans. 12 half-gallon cans. 24 quarter- gallon cans. 48 eighth-gallon cans. 48 sixteenth- gallon cans. [ 80 ] SPECIFICATIONS FOR USE OF PROOF PRODUCTS Prepared for the Use of Architects and Decorators for the use of Proor Propucts. These specifications are as complete as it is possible to make them and here will be found exact information on how to use any Paint or Varnish product described in the preceding pages of this book. Specifications shown cover the use of Paints and Varnishes for new and old work on surfaces of all kinds, exterior and interior; on woods of all kinds; tin, steel, iron, and galvanized iron; stucco, plaster, cement, brick, and wallboard. Lr THE following pages will be found complete and detailed specifications HOW TO USE THESE SPECIFICATIONS These specifications can be used word for word, making this section of this book a valuable aid to the Specification Department. A reference to the Index will disclose the Specification number referring to the particular kind of finish desired, as, for example: “Oak wood, Mis- sion effect, four-coat work (41), 86.” The number in parenthesis in the Index is the Specification number; the second number is the page. A refer- ence to Specification No. 41, on page 86, will give complete information as to how to obtain the Mission effect on Oak, and all that will be necessary is to have the stenographer copy Specification No. 41. The Paint and Varnish Division of the Pittsburgh Plate Glass Company is prepared to furnish panels showing results obtained by following the various specifications given, and will gladly send them to any architect on request, either direct or through a Pittsburgh Plate Glass Company salesman. Our Paint and Varnish Advisory Board, if called into consultation, will be very glad to assist any architect in the solving of any peculiar and unusual problems that may arise. The Paint and Varnish Division of the Pittsburgh Plate Glass Company is most desirous to co-operate with all architects and decorators, to insure quality work through the use of its products. Close attention to the detailed specifications will insure the best possible results from the use of Proof Paint and Varnish Products. [ 81 ] PITTSBURGH PLATE GLASS COMPANY SPECIFICATIONS Specification No. 1—General: (a) Unless otherwise specified, the contractor or painter shall furnish all materials, provide labor, transportation, scaffolding, and all other essential equipment, and shall assume all liability of every character whatsoever in connection with the work. (6) Care shall be taken that surface to be fin- ished is thoroughly dry before applying any coating whatever. (c) No ochre shall be used for priming. (d) All finger marks, dirt, grease, or other objec- tionable matter shall be carefully removed by the painter before commencing to fill, varnish, or paint. (e) The work shall be carried on continuously except for delays due to unfavorable weather and the time allowed for proper drying between coats. (f) In painting new work all knots and sappy places shall be coated with shellac before priming, care being taken to cover completely without spread- ing over more of the surrounding surface than is necessary. (g) In painting new work, all cracks and nail holes shall be filled with putty after the priming coat. (h) On a varnish job, putty shall match the wood after the coat of filler is applied. (¢) On plaster work, all cracks which can be filled with putty shall be filled with soft putty made of equal parts plaster of Paris and flour before ap- plying priming coat. A putty which will give excellent results can be made from Patton’s Velu- mina stiffened with whiting. Edges of cracks shall be sealed with a good varnish to prevent absorption of oil by plaster. When too large for puttying, they shall be carefully plastered. No painting shall be done until plaster is thoroughly dry. (j) No painting or varnishing of outside work will be allowed in wet or freezing weather, nor of inside work except where the building can be prop- erly heated to at least 65 degrees Fahrenheit. _ (k) On old paint the surface shall be first brushed with a wire brush and where it is scaling badly shall be scraped or burned off. (1) All paint is to be well brushed out, and all paint, enamel, varnish, stain, and filler to be applied in a workmanlike manner, and as furnished by the manufacturer, without any thinning or addition whatever, except as noted on direction label. Care shall be taken to keep paint properly stirred. (m) All materials shall be brought on the job in manufacturer’s original package. Paints and enamel shall be thoroughly stirred before, and kept at a uniform consistency during application. PAINTING EXTERIOR WOODWORK Specification No. 2: (a) All exterior woodwork (except as otherwise specified) shall be painted with three coats of [ 82 ] Patton’s Sun-Proof Paint, color selected by the archi- tect, as follows: (6) Priming coat shall be Patton’s Sun-Proof Paint, same color as final coat, reduced with three pints of pure raw linseed oil and one pint turpentine to each gallon of paint. On cypress, cedar, and redwood use priming mixture of one gallon Patton’s Porchite, one quart Pitcairn Tector, and one pint turpentine. (c) Second coat shall be Patton’s Sun-Proof Paint, same color as final coat, reduced with one pint Leptyne or turpentine to each gallon of paint. (d) Third coat shall be Patton’s Sun-Proof Paint of the color selected by the architect, and used as furnished by the manufacturer without any thinning or addition whatever. REPAINTING Specification No. 3: (a) On old paint the surface shall be first brushed with a wire brush and where it is scaling badly shall be scraped or burned off. (6) All exterior woodwork shall receive two coats of Patton’s Sun-Proof Paint as follows: (c) First coat shall be Patton’s Sun-Proof Paint of the color selected, reduced with one quart of pure raw linseed oil and one pint of Leptyne or tur- pentine to each gallon. (d) Second coat shall be Patton’s Sun-Proof Paint as it comes in the can. PAINTING PORCH FLOORS AND DECKS Specification No. 4: (a) All porch floors shall be painted with three coats of Patton’s Porchite, the color to be selected by the architect, as follows: (b) Priming coat shall be Patton’s Porchite, same color as final coat, reduced with three pints of pure raw linseed oil, one pint turpentine, and one pint of Compo Drier to each gallon of paint. On cy- press, yellow pine, and fir use priming mixture of one gallon Patton’s Porchite, one quart Pitcairn Tector, and one pint turpentine. (c) Second coat shall be Patton’s Porchite of the same color as final coat, reduced with one pint of Leptyne or turpentine to each gallon of paint. (d) Third coat shall be Patton’s Porchite of the same color selected by the architect, and used as furnished by the manufacturer. REPAINTING Specification No. 5: (a) See Specification No. 1 (k). (6) All porch floors shall be painted with two coats of Patton’s Porchite, as follows: (c) First coat shall be Patton’s Porchite of the color selected, reduced with one quart of raw linseed oil, one pint of Leptyne or turpentine, and one pint of Compo Drier to each gallon. PROOF PRODUCTS SPECIFICATIONS (d) Second coat shall be Patton’s Porchite as it comes in the can. PAINTING ROOFS SHINGLE ROOFS Specification No. 6: (a) All shingles shall be dipped full length in Patton’s Tor-on Shingle Stain of the color selected by the architect, before being laid. (b) After laying, follow with a brush or spray coat of Patton’s Tor-on Shingle Stain. The addi- tion of one quart of boiled linseed oil to,each gallon of Stain is recommended. REPAINTING Specification No. 7: (a) Apply two brush or spray coats of Patton's Tor-on Shingle Stain of color selected by the archi- tect. The addition of one quart of boiled linseed oil to each gallon of Stain is recommended. TIN ROOFS, LEADERS, GUTTERS Specification No. 8: (a) Wash with benzine to remove dirt and grease, then finish according to the following: (b) First coat shall be Pitcairn Tector reduced. with one quart of Leptyne or turpentine per gallon. (c) Second coat shall be Patton’s Inhibitive Red Ironhide as it comes in the can. At least forty-eight hours must be allowed for drying. (d) Third coat shall be Patton’s Ironhide Finish- ing Green or Brown applied as it comes in the can. REPAINTING Specification No. 9: (a) All rust and loose paint must be removed by wire-brushing or scraping. All bare spots are to be touched up with Patton’s Inhibitive Red Ironhide, and after three days the entire surface coated with Patton’s Finishing Green or Brown Ironhide. Norte: If a red color is desired, apply two coats of Patton’s Red Ironhide. PAINTING IRON AND STEEL Specification No. 10: (a) The surface to be painted must be free from oil, grease, scale, and rust. Rust and scale must be removed by wire-brushing, scraping, or sandblast; grease, by use of gasoline or benzine. (b) All paint must be well brushed and nothing larger than a three-inch oval brush used in applying. (c) No paint is to be applied at a temperature below 50.degrees Fahrenheit, in damp or rainy weather, or to a damp or wet surface. (d) The first coat shall be Patton’s Inhibitive Red Ironhide as it comes in the container. Allow at least three days for drying. (e) The second coat shall be Patton’s Brown Ironhide or a mixture of equal parts of Inhibitive Red and Finishing Black Ironhide. (f) The third coat shall be Patton’s Finishing Black or Green Ironhide as it comes in container. [ 83 ] REPAINTING Specification Nan lf: (a) All rust and loose paint must be removed by wire-brushing or scraping, then finished as fol- lows: (b) First coat shall be Patton’s Inhibitive Red Ironhide as it comes in the can. At least forty- eight hours must be allowed for proper drying. (c) Second coat shall be Patton’s Finishing Black Ironhide as it comes in the can. GALVANIZED IRON Specification No. 12: (a) Wash all new galvanized iron, interior and exterior, and metal ceilings, with a solution of five ounces of blue vitriol in one gallon of water. If it has been allowed to weather, washing will be unnecessary. (b) Apply one coat of a mixture of four parts of Tector and one part of Leptyne, turpentine, or ben- zine. Allow eighteen hours for drying. (c) Second coat shall be Patton’s Inhibitive Red Ironhide as it comes in the can. REPAINTING Specification No. 13: (Same as Specification No. 11.) PAINTING STUCCO, BRICK, CEMENT, AND CONCRETE EXTERIOR OR INTERIOR FLAT FINISH Specification No. 14: (a) Surface to be painted must be clean and dry. All dirt and loose particles must be removed with a wire brush or stiff broom. (b) First coat shall be Cementhide Priming Liquid as it comes in the can. When a dark surface is to be repainted, add one-quarter gallon of Cementhide of desired shade to each gallon of Cementhide Priming Liquid. (c) Second coat shall be a mixture in the pro- portion of one gallon of Cementhide to one quart of Cementhide Priming Liquid. (d) Third coat shall be Cementhide as it comes in the can. If too heavy for easy brushing, reduce with Leptyne or turpentine not to exceed cne pint to each gallon of paint. (e) Allow forty-eight hours’ drying between coats. REPAINTING . Specification No. 15: (a) Surface to be painted must be clean and dry. All dirt and loose particles must be removed with a wire brush or stiff broom. (b) First coat shall be a mixture in the propor- tion of one gallon of Cementhide to one-half gal- lon of Cementhide Priming Liquid. (c) Second coat shall be Cementhide as it comes in the can. If too heavy for easy brushing, reduce with Leptyne or turpentine, not to exceed one pint to each gallon of paint. (d) Allow forty-eight hours’ drying between coats. PITTSBURGH PLATE GLASS COMPANY INTERIOR BRICK AND CEMENT FLOORS—GLOSS FINISH Specification No. 16: (a) First coat shall be one of Cementhide Prim- ing Liquid as it comes in the can. (b) Second and third coats shall be Patton’s Florhide Enamel as it comes in the can. If too heavy for easy brushing, reduce with Leptyne or turpentine not to exceed one pint to each gallon of Florhide Enamel. REPAINTING Specification No. 17: (a) First coat shall be Patton’s Florhide Enamel. If too heavy for easy brushing, reduce with Leptyne or turpentine not to exceed one pint to each gallon. (b) Second coat shall be Patton’s Florhide Enamel as it comes in the can. EXTERIOR STUCCO, BRICK, CEMENT, AND CONCRETE WALLS—GLOSS FINISH Specification No. 18: (a) First coat shall be Patton’s Cementhide Priming Liquid as it comes in the can. (6) Second coat shall be Patton’s Sun-Proof Paint reduced with a quart of Cementhide Priming Liquid to each gallon. (c) Third coat shall be Patton’s Sun-Proof Paint as it comes in the can. REPAINTING Specification No. 19: (a) First coat shall be a mixture of equal parts of Cementhide Priming Liquid and Patton’s Sun- Proof Liquid Paint. (6) Second coat shall be Patton’s Sun-Proof Paint as it comes in the can. EXTERIOR BRICK WALLS Alternate for Specification No. 18 Specification No. 20: (a) All exterior brick walls shall be painted with three coats of Patton’s Sun-Proof Paint, color selected by the architect, as follows: (b) Priming coat shall be Patton’s Sun-Proof Paint, same color as final coat, reduced with three pints of pure raw linseed oil and one pint of Lep- tyne or turpentine to each gallon of paint. (c) Second coat shall be Patton’s Sun-Proof Paint, same color as final coat, reduced with one quart of linseed oil and one pint of Leptyne or turpentine to each gallon of paint. (d) Third coat shall be Patton’s Sun-Proof Paint as it comes in the can. REPAINTING Alternate for Specification No. 19 Specification No. 21: (a) The first coat shall be Patton’s Sun-Proof Paint reduced with one quart of raw linseed oil and one pint of Leptyne or turpentine to a gallon. (b) Second coat shall be Patton’s Sun-Proof Paint as it comes in the can. [ 84 ] EXTERIOR WOOD FINISHES OAK AND ASH WOODS Specification No. 22: VARNISH FINISH—FIVE-COAT WORK (a) All Oak and Ash Woods (locations desig- nated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, tur- pentine, or benzine, brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (6) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match finish. (c) The surface shall then receive a coat of Pit- cairn Tector reduced gallon for gallon with Lep- tyne or turpentine. After twenty-four hours, sand carefully. (d) Apply three coats of Pitcairn Aged Mast Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (e) To obtain a high-polished finish—rub the last coat of Varnish with pumice stone and water, then bring to a high polish with rotten stone and water or crude oil, and wipe off absolutely clean. BIRCH, PINE, CYPRESS, AND FIR WOODS Specification No, 23: VARNISH FINISH—FOUR-COAT WORK (a) All Birch, Pine, Cypress, and Fir Woods (locations designated) shall receive a coat of Pit- cairn Tector reduced according to directions on the can with Leptyne, turpentine, or benzine. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match the finish. (6) Apply three coats of Pitcairn Aged Mast Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. PAINTING INTERIOR WOODWORK GLOSS FINISH Specification No, 24: (a) All interior woodwork shall be painted with three coats of Patton’s Sun-Proof Paint, as follows: (6) The first coat shall be Patton’s Sun-Proof Paint reduced with three pints of raw linseed oil and one pint of Leptyne or turpentine to each gallon. (c) The second coat shall be Patton’s Sun-Proof Paint reduced with one pint of Leptyne or turpentine to each gallon. (d) The third coat shall be Patton’s Sun-Proof Paint as it comes in the can. REPAINTING Specification No. 25: (a) First coat shall be Patton’s Sun-Proof Paint reduced with one quart of linseed oil and one pint of Leptyne or turpentine to each gallon of paint. PROOF PRODUCTS SPECIFICATIONS (b) Second coat shall be Patton’s Sun-Proof Paint as it comes in the can. FLAT FINISH Specification No. 26: (a) All interior woodwork shall be painted with three coats of Patton’s Velumina, color to be selected by the architect, as follows: (b) The first coat shall be Patton’s Velumina, same color as final coat, reduced with one quart of raw linseed oil to each gallon of paint. (c) Second and third coats shall be Patton’s Velumina as it comes in the can. REPAINTING Specification No. 27: (a) First coat shall be Patton’s Velumina reduced with one quart of raw linseed oil to each gallon. (b) Second coat shall be Patton’s Velumina as it comes in the can. Note: In many cases one coat of Patton’s Velumina applied as specified in Specification No. 27 (a) will prove sufficient. WHITE ENAMEL FINISH (See special Enamel specifications, page 95.) COMMERCIAL, OR MILL WHITE INTERIOR FLAT FINISH OLD OR NEW WORK—WOOD, PLASTER, BRICK, OR CEMENT Specification No. 28: (a) The first coat shall be Patton’s Flat Alba-Lux reduced with a quart of boiled linseed oil to each gallon. Twenty-four hours are to be allowed for drying. (b) The second coat shall be Patton’s Flat Alba- Lux as it comes in the package. REPAINTING WHITE SURFACE Specification No. 29: (a) One coat of Patton’s Flat Alba-Lux as it comes in the can. Note: If surface is in poor condition, use Speci- fication No. 28 (a) and (6). GLOSS FINISH Specification No. 30: (a) The first coat shall be Patton’s Flat Alba- Lux reduced with one quart of boiled linseed oil; forty-eight hours to be allowed for drying. (b) The second coat shall be Patton’s Alba-Lux Gloss as it comes in the can. REPAINTING WHITE SURFACE Specification No. 31: (a) One coat of Patton’s Alba-Lux Gloss as it comes in the package. Nore: If surface is in poor condition use Speci- fication No. 30 (a) and (b). WALLS—NEW OR OLD WORK PLASTER—FLAT EFFECT Specification No. 32: (a) Preparation of surface: Wash or scrape off all calcimine, loose paint, dirt, grease, etc. Smooth or glossy paint shall be roughened with steel wool or sandpaper. Fill cracks with a stiff paste made from plaster of Paris and flour and allow at least twenty-four hours for drying. Edges of cracks shall be sealed with a good varnish. (b) The first coat shall consist of Patton’s Velumina reduced with one-quarter gallon of pure boiled linseed oil except for new and exceedingly porous walls, in which case more satisfactory re- sults will be obtained by using a mixture of one gal- lon of Patton’s Velumina, one quart of boiled lin- seed oil, and one quart Pitcairn Tector. Mix only as used, as mixture may thicken on prolonged stand- ing. It is absolutely necessary that boiled oil be used with Tector as above directed to insure results. Do not use any Leptyne, turpentine, or benzine in first coat under any circumstances, unless to thin mixture of boiled oil and Tector slightly. Allow at least twenty-four hours for drying, more time being required in cold or damp weather. 29 (c) Suction or so-called “hot-spots,” which may show up through first coat, shall, when dry, be touched up with first-coat mixture, allowing at least twenty-four hours for drying. Otherwise, these suc- tion spots may appear through the following coat. (d) To insure perfect results, never apply the finishing coat until first coat presents a uniform surface. Extremely bad walls may require an ad- ditional application of the first-coat mixture to ac- complish this, or, if preferred, a thin coat of glue size may be applied over the first coat. The use of glue is something that should be attempted only by one thoroughly experienced, as, if too heavy, it is likely to cause peeling later. In general, it is well to avoid the use of glue size wherever pos- sible. Never apply glue or varnish size direct to plaster as it will prevent proper penetration of the paint. (e) The finishing coat shall be Patton’s Velu- mina as it comes in the can. Do not use any of the material left over from the first coat in the finishing coat as it will impair the perfect flatness of Velu- mina. Velumina is made heavy in body, but brushes easily and should be flowed on with a wide wall brush. If too heavy, add Leptyne or turpen- tine, not to exceed one-eighth gallon to each gallon of Velumina. Never add thinners, however, until a brushing test shows it is necessary; then add very sparingly. After the finishing coat has set for about thirty minutes, it may be stippled if such finish is desired. Note: Velumina should be flowed on like a high- grade enamel and not brushed out like a paint. WALLBOARD—FLAT EFFECT Specification No. 33: See Specification No. 32. (Same as for Plaster Walls.) METAL CEILINGS—FLAT EFFECT Specification No. 34: (a) The first coat shall consist of a mixture of four parts of Tector and one part of Leptyne, tur- pentine, or benzine. Allow eighteen hours for dry- ing. (b) The second coat shall be Patton’s Velumina reduced with one quart of boiled linseed oil to each gallon used. (c) The third coat shall be Patton’s Velumina as it comes in the can. REPAINTING Specification No. 35: (a) The first coat shall be Patton’s Velumina reduced with a quart of boiled linseed oil to each gallon used. (b) The second coat shall be Patton’s Velumina as it comes in the can. PAINTING INTERIOR WOOD FLOORS Specification No. 36: (a) Floor shall be painted with three coats of Patton’s Florhide Enamel, color to be selected by the architect, as follows: (6b) First coat shall be Patton’s Florhide Enamel reduced with one quart of Leptyne or turpentine to each gallon of paint. (c) Second and third coats shall be Patton’s Florhide Enamel used as it comes in the can; twenty-four hours’ drying time must be allowed be- tween coats. REPAINTING Specification No. 37: (a) First coat shall be Patton’s Florhide Enamel reduced with one quart of Leptyne or turpentine to each gallon of paint. (b) Second coat shall be Patton’s Florhide Enamel as it comes in the can. PAINTING INTERIOR BRICKWORK, PLASTER GLOSS FINISH Specification No. 38: (a) The first coat shall be Patton’s Sun-Proof Paint reduced with one quart of Cementhide Priming Liquid to each gallon of paint. (b) The second coat shall be Patton’s Sun-Proof Paint as it comes in the can. REPAINTING Specification No. 39: (a) The first coat shall be Patton’s Sun-Proof Paint reduced with a quart of Cementhide Priming Liquid to each gallon of paint. (b) The second coat shall be Patton’s Sun-Proof Paint as it comes in the can. PITTSBURGH PLATE GLASS COMPANY NATURAL WOOD FINISHES OAK AND ASH Specification No. 40: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak or Ash Wood (locations designated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (Ex- cess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (6) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the wood, (c) The surface then shall receive a coat of Pitcairn Tector, reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sandpaper carefully. Then apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between varnish coats with No. 0 paper. (d) For an extra-fine job, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (e) For dull finish—rub the last coat with fine pumice stone and rubbing oil. (f) For a dull finish without the expense of rub- bing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. Specification No. 41: MISSION EFFECT—FOUR-COAT WORK STANDING TRIM (a) All Oak or Ash Wood (locations designated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (Ex- cess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the wood, (c) The surface shall then receive a coat of Pitcairn Tector, reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sandpaper carefully. Apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger- hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours be- tween coats for drying. Specification No. 42: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Oak or Ash Wood (locations designated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (Ex- [ 86 ] PROOF PRODUCTS SPECIFICATIONS cess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match wood. (c) Apply a coat of Pitcairn Tector reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sandpaper care- fully and apply Patton’s Seventeenth Century Wax, and polish by hand-rubbing. (d) For an extra-fine job, after allowing a few hours’ drying, apply second coat of Wax and again polish. BIRCH AND MAPLE Specification No. 43: VARNISH FINISH—THREE-COAT WORK STANDING TRIM (a) All Birch or Maple Wood (locations desig- nated) shall receive a coat of Pitcairn Tector re- duced with Leptyne or turpentine, gallon for gal- lort. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match the wood. (b) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours’ drying between coats. Sand lightly between coats. (c) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (d) If dull rubbed finish is desired, rub the last Varnish coat. (e) If a dull finish is desired without the ex- pense of rubbing, substitute Pitcairn Aged Flat Fin- ish for the last Varnish coat. Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. Specification No, 44: MISSION EFFECT—THREE-COAT WORK STANDING TRIM (a) All Birch or Maple Wood (locations desig- nated) shall receive a coat of Pitcairn Tector re- duced with Leptyne or turpentine, gallon for gal- lon. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match the wood. (b) Apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. (c) Allow at least twenty-four hours between coats for drying. Specification No. 45: WAX FINISH—TWO-COAT WORK STANDING TRIM (a) All Birch or Maple Wood (locations desig- nated) shall receive a coat of Pitcairn Tector re- duced with Leptyne or turpentine, gallon for gal- lon. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match wood. (b) Let stand for eight hours; apply Patton’s Seventeenth Century Wax; polish by hand-rubbing. [ 87 ] (c) If an extra-fine job is desired, allow a few hours for first coat to dry; apply a second coat of Wax, and again polish. GUM, PINE, FIR, AND REDWOOD Specification No. 46: VARNISH FINISH—THREE-COAT WORK STANDING TRIM (a) All Gumwood, Pine, Fir, or Redwood (lo- cations designated) shall receive a coat of Pitcairn Tector reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match the wood. (b) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours’ drying between coats. Sand lightly between coats. (c) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (d) If a dull finish is desired without the ex- pense of rubbing, substitute Pitcairn Aged Flat Fin- ish for the last Varnish coat. Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. Specification No. 47: MISSION EFFECT—THREE-COAT WORK STANDING TRIM (a) All Gumwood, Pine, Fir, or Redwood (loca- tions designated) shall receive a coat of Pitcairn Tector reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sand- paper carefully. Fill all nail holes with putty tinted to match the wood. (b) Apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. (c) Allow at least twenty-four hours between coats for drying. Specification No. 48: WAX FINISH—TWO-COAT WORK STANDING TRIM (a) All Gumwood, Pine, Fir, or Redwood (loca- tions designated) shall receive a coat of Pitcairn Tector reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sand- paper carefully. Fill all nail holes with putty tinted to match the wood. (b) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (c) If an extra-fine job is desired, allow a few hours for first coat to dry; apply a second coat of Wax, and again polish. GENUINE MAHOGANY Specification No. 49: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Mahogany Wood (locations designated) shall receive a coat of Mahogany Paste Wood Filler, PITTSBURGH PLATE GLASS COMPANY properly reduced with Leptyne, turpentine, or ben- zine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) The surface shall then receive a coat of Pitcairn Tector reduced with Leptyne or turpentine, one-half gallon to the gallon. After twenty-four hours, sand carefully. (d) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. (e) Sand lightly between coats with No. 0 paper. (f) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (g) For dull finish, rub the last coat with fine pumice stone and rubbing oil. (h) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. STAINED WOOD FINISHES Note: Soft, porous woods absorb stain more readily than hard, close-grained pieces. Painters will use care and judgment to get uniform effects. When necessary reduce stain with Leptyne, turpentine, or naphtha. OAK WOOD—FLEMISH OR WEATHERED FINISH Specification No. 50: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 1 Flemish Stain, or Pitcairn No. 2 Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. -(b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. (d) Apply only enough Lacquer or shellac to seal the Stain. Avoid a heavy coating. Specification No. 51: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 1 Flemish Stain, or Pitcairn No. 2 Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (6) After twelve hours, a thin coat of Pitcairn [ 88 ] Spirit Lacquer or pure gum shellac shall be applied. Tint the Lacquer or shellac with a little dry lamp- black, being careful to avoid a streaky finish. (c) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. OAK WOOD—FLEMISH OR WEATHERED FINISH WHITE SILHOUETTE EFFECT Specification No. 52: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 1 Flemish Stain, or Pitcairn No. 2 Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. ° (6) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is followed by a coat of White Zinc Filler properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (d) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. All nail holes to be filled with putty tinted to match the finish. (e) Apply one coat of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Specification No. 53: WAX FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 1 Flemish Stain, or Pitcairn No. 2 Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (6) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. Tint the Lacquer or shellac with a little dry lamp- black, being careful to avoid a streaky finish. (c) Apply one coat of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. (d) Apply only enough Lacquer or shellac to seal the Stain. Avoid a heavy coating. (e) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (f) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. PROOF PRODUCTS SPECIFICATIONS (h) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. ALL SOFT WOODS—WEATHERED OAK EFFECT Specification No. 54: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Soft Wood (locations designated) shall receive a coat of Pitcairn No. 2 Weathered Stain, the excess being removed with a cloth after sufh- cient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours be- tween coats for drying. Sand lightly between Var- nish coats with No. 0 paper. (d) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (e) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (f) Ifa dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with a_badger- hair or black fitch flowing brush. (h) Apply only enough Spirit Varnish to seal the Stain. Avoid a heavy coating. OAK AND ASH WOODS GREENISH WEATHERED OAK EFFECT Specification No. 55: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Oak or Ash Wood (locations designated ) shall receive a coat of Pitcairn No. 4 Greenish Weathered Stain, the excess being removed with a cloth after lapse of sufficient time for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is followed by a coat of Patton’s Natural Paste Wood Filler, tinted with Stain to match the finish, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (d) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (e) Apply one coat of Pitcairn Green Glaze and then one coat of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (f) If an extra-fine job is desired, apply a second coat of Pitcairn Aged Finishing Spar Varnish. (g) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. [ 39 ] (i) Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. (j) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. CYPRESS, PINE, FIR, ASH, OR OAK WOOD GREENISH WEATHERED OAK EFFECT Specification No. 56: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Cypress, Pine, Fir, Ash, or Oak Wood (locations designated) shall receive a coat of Pit- cairn No. 4 Greenish Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Then apply a coat of Pitcairn Green Glaze and one coat of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (d) If an extra-fine job is desired apply a second coat of Pitcairn Aged Finishing Spar Varnish. (e) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (f) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. Specification No. 57: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Cypress, Pine, Fir, Ash, or Oak Wood (locations designated) shall receive a coat of Pitcairn No. 4 Greenish Weathered Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Frill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply one coat of Pitcairn Green Glaze and one coat of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least forty-eight hours between coats for drying. Specification No. 58: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Cypress, Pine, Fir, Ash, or Oak Wood (locations designated) shall receive a_ coat of Pitcairn No. 4 Greenish Weathered Stain, the excess PITTSBURGH PLATE GLASS COMPANY being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (6) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Then apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry. Apply a second coat of Wax and again polish. OAK, ASH, CYPRESS, PINE, FIR, OR REDWOOD GOLDEN OAK EFFECT Specification No. 59: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Oak, Ash, Cypress, Pine, Fir, or Red- wood (locations designated) shall receive a coat of Pitcairn No. 6 Golden Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is followed by a coat of Patton’s Natural Paste Wood Filler, tinted with Stain to match the finish, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (d) Care must be taken that all grooves and corners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (e) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours be- tween coats for drying. Sand lightly between Varnish coats with No. 0 paper. (f) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (g) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (A) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (t) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. (j) For a deep, rich, coffee-brown effect, in place of first Varnish coat, apply one coat of Pitcairn Walnut Waterspar Colored Varnish. Specification No. 60: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak, Ash, Cypress, Pine, Fir, or Red- wood (locations designated) shall receive a coat of Pitcairn No. 6 Golden Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (6) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. [ 90 ] (c) Then apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. Specification No. 61: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Oak, Ash, Cypress, Pine, Fir, or Red- wood (locations designated) shall receive a coat of Pitcairn No. 6 Golden Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer, or pure gum shellac shall be applied. (c) Then apply Patton’s Seventeenth Century Wax, and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry. Apply a second coat of Wax and again polish. Specification No. 62: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak, Ash, Cypress, Pine, Fir, or Red- wood (locations designated) shall receive a coat of Pitcairn No. 6 Golden Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (d) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (e) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil (f) Ifa dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. PINE, CYPRESS, BIRCH, OAK, OR ASH WOOD SILVER GRAY EFFECT Specification No. 63: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Pine, Cypress, Birch, Oak, or Ash Wood (locations designated) shall first be sponged with water to raise the grain. Then dry thoroughly. Sandpaper to a smooth surface and apply a thin coat of Pitcairn Silver Gray Acid Stain. After this has dried well, apply a coat of White Zinc Filler, properly reduced with Leptyne, turpentine, or ben- zine, and brushed well into the grain. (Do not add oil when thinning the Filler.) The excess of Filler PROOF PRODUCTS must be carefully and neatly cleaned from the sur- face by rubbing across the grain. (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) After twelve hours, apply a thin coat of Pitcairn Spirit Lacquer or pure gum shellac. (d) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (e) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (f) If desired, the last coats may be rubbed to a dull finish with fine pumice stone and rubbing oil. (g) If a dull finish is desired, without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (h) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. (i) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. Specification No. 64: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Pine, Cypress, Birch, Oak, or Ash Wood (locations designated) shall first be sponged with water to raise the grain. Then dry thoroughly. Sandpaper to a smooth surface and apply a thin coat of Pitcairn Silver Gray Acid Stain. After this has dried well, apply a coat of White Zinc Filler, properly reduced with Leptyne, turpentine, or ben- zine, and brushed well into the grain. (Do not add oil when thinning the Filler.) The excess of Filler must be carefully and neatly cleaned from the sur- face by rubbing across the grain. (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) After twelve hours, apply a thin coat of Pitcairn Spirit Lacquer or pure gum shellac. (d) Apply a coat of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Specification No. 65: WAX FINISH—FOUR-COAT TRIM STANDING TRIM (a) All Pine, Cypress, Birch, Oak, or Ash Wood (locations designated) shall first be sponged with water to raise the grain. Then dry thoroughly. Sandpaper to a smooth surface and apply a thin coat of Pitcairn Silver Gray Acid Stain. After this has dried well, apply a coat of White Zinc Filler, properly reduced with Leptyne, turpentine, or ben- zine, and brushed well into the grain. (Do not add oil when thinning the Filler.) The excess of Filler must be carefully and neatly cleaned from the sur- face by rubbing across the grain. [ 91 ] SPECIFICATIONS (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) After twelve hours, apply a thin coat of Pitcairn Spirit Lacquer or pure gum shellac. (d) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (e) If an extra-fine job is desired, allow a few hours for the first coat to dry. Apply a second coat of Wax and again polish. MAHOGANY WOOD DARK OR EXTRA DARK MAHOGANY EFFECT Specification No. 66: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Mahogany Wood (locations designated) shall receive a coat of Pitcairn No. 10 Mahogany Stain, or Pitcairn No. 15 Extra Dark Mahogany Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is followed by a coat of Patton’s Natural Paste Wood Filler, tinted with Stain to match finish, properly reduced with Leptyne, turpentine, or ben- zine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (d) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (e) Apply one coat of Pitcairn Mahogany Glaze Varnish; allow at least forty-eight hours’ drying; follow with one coat Pitcairn Aged Finishing Spar Varnish. Sand lightly between Varnish coats with No. 0 paper. (f) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (g) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (h) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (i) Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. (j) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. BIRCH WOOD DARK OR EXTRA DARK MAHOGANY EFFECT Specification No. 67: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Birch Wood (locations designated) shall receive a coat of Pitcairn No. 10 Mahogany Stain, or Pitcairn Stain No. 15, the excess being removed with a cloth after sufficient time has elapsed for PITTSBURGH PLATE GLASS COMPANY penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply one coat of Pitcairn Mahogany Glaze Varnish; allow at least forty-eight hours’ drying, and apply one coat of Pitcairn Aged Finishing Spar Varnish. Sand lightly between Varnish coats with No. O paper. (d) If an extra-fine job is desired, apply:a third coat of Pitcairn Aged Finishing Spar Varnish. (e) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (f) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with badger-hair or black fitch flowing brush. Specification No. 68: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Birch Wood (locations designated) shall receive a coat of Pitcairn No. 10 Mahogany Stain, or Pitcairn Stain No. 15, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Flat Finish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. Specification No. 69: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Birch Wood (locations designated) shall receive a coat of Pitcairn No. 10 Mahogany Stain, or Pitcairn Stain No. 15, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. OAK WOOD—FUMED EFFECT Specification No. 70: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 11 Fumed Oak Stain, [ 92 ] the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is followed by a coat of Patton’s Natural Paste Wood Filler, tinted with Stain to match the finish, properly reduced with Leptyne, turpentine, or benzine, and brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (d) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (e) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (f) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (g) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (h) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (¢) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. (j) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. Specification No. 71: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 11 Fumed Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Flat Fin- ish, flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Specification No. 72: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Oak Wood (locations designated) shall receive a coat of Pitcairn No. 11 Fumed Oak Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. PROOF PRODUCTS SPECIFICATIONS OAK AND ASH WOODS EARLY ENGLISH EFFECT Specification No. 73: VARNISH FINISH—FIVE-COAT WORK STANDING TRIM (a) All Oak and Ash Woods (locations desig- nated) shall receive a coat of Pitcairn No. 12 Early English Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) This is to be followed by a coat of Patton’s Natural Paste Wood Filler, tinted with Stain to match finish, properly reduced with Leptyne, turpen- tine, or benzine, and brushed well into the grain. (d) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (e) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (f) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (g) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (h) If a dull finish is desired without the ex- pense of rubbing, substitute Pitcairn Aged Flat Fin- ish for the last Varnish coat. (i) Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. (j) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. (k) For a deep, rich, coffee-brown effect, in place of the first Varnish coat apply one coat of Pitcairn Walnut Waterspar Colored Varnish. BIRCH, PINE, CYPRESS, REDWOOD, AND FIR WOOD EARLY ENGLISH EFFECT Specification No. 74: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Birch, Pine, Cypress, Redwood, and Fir Wood (locations designated) shall receive a coat of Pitcairn No. 12 Early English Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (d) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (e) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. [ 93 ] (f) If a dull finish is desired without the expense of rubbing, substitute Pitcairn Aged Flat Finish for the last Varnish coat. (g) Apply Flat Varnish freely with a badger-hair or black fitch flowing brush. (h) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. Specification No. 75: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Birch, Pine, Cypress, Redwood, and Fir Wood (locations designated) shall receive a coat of Pitcairn No. 12 Early English Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Flat Finish flowed on with a badger-hair or black fitch flowing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. (d) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. See Specification No. 73 (j) and (k). Specification No. 76: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Birch, Pine, Cypress, Redwood, and Fir Wood (locations designated) shall receive a coat of Pitcairn No. 12 Early English Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the finish. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. See Specification No. 73 (j) and (f). GUM, PINE, AND FIR WOODS CIRCASSIAN WALNUT EFFECT Specification No. 77: VARNISH FINISH—FOUR-COAT WORK STANDING TRIM (a) All Gum, Pine, and Fir Woods (locations designated) shall receive a coat of Pitcairn No. 13 Circassian Walnut Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the filler. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. PITTSBURGH PLATE GLASS COMPANY (c) Apply two coats of Pitcairn Aged Finishing Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (d) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Finishing Spar Varnish. (c) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. (f) If a dull finish is desired without the ex- pense of rubbing, substitute Pitcairn Aged Flat Fin- ish for the last Varnish coat. (g) Apply Flat Varnish freely with a badger- hair or black fitch flowing brush. (h) Apply only enough Spirit Lacquer to seal the Stain. Avoid a heavy coating. Specification No. 78: MISSION FINISH—FOUR-COAT WORK STANDING TRIM (a) All Gum, Pine, and Fir Woods (locations designated) shall receive a coat of Pitcairn No. 13 Circassian Walnut Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the filler. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply two coats of Pitcairn Aged Flat Fin- ish, flowed on with a badger-hair or black fitch flow- ing brush to insure a smooth dull finish. Allow at least twenty-four hours between coats for drying. See Specification No. 77 (h). Specification No. 79: WAX FINISH—THREE-COAT WORK STANDING TRIM (a) All Gum, Pine, and Fir Woods (locations designated) shall receive a coat of Pitcairn No. 13 Circassian Walnut Stain, the excess being removed with a cloth after sufficient time has elapsed for penetration. Fill all nail holes with putty tinted to match the filler. (b) After twelve hours, a thin coat of Pitcairn Spirit Lacquer or pure gum shellac shall be applied. (c) Apply Patton’s Seventeenth Century Wax and polish by hand-rubbing. (d) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. See Specification No. 77 (h). FLOOR FINISHES OAK OR ASH WOOD Specification No. 80: VARNISH FINISH—FOUR-COAT WORK (a) All Oak or Ash floors (locations designated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, turpentine, or benzine, brushed well into the grain. (The ex- cess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) [ 94 ] (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) The surface shall then receive a coat of Pit- cairn Tector, reduced with Leptyne or turpentine, gallon for gallon. After twenty-four hours, sand carefully. (d) Apply two coats of Pitcairn Aged Floor Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (e) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Floor Spar Varnish. (f) If desired, the last coat may be rubbed to a dull finish with fine pumice stone and rubbing oil. Specification No. 81: WAX FINISH—THREE-COAT WORK (a) All Oak or Ash floors (locations designated) shall receive a coat of Patton’s Natural Paste Wood Filler, properly reduced with Leptyne, turpentine, or benzine, brushed well into the grain. (The ex- cess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty tinted to match the finish. (c) The surface shall then receive a coat of Pit- cairn Tector, reduced with Leptyne or turpentine, gallon for gallon. After twenty-four hours, sand carefully. (d) Apply Patton’s Seventeenth Century Wax and polish with a weighted brush. (e) If an extra-fine job is desired, allow a few hours for the first coat to dry; apply a second coat of Wax, and again polish. MAPLE, BIRCH, BEECH, PINE, AND FIR WOODS Specification No. 82: VARNISH FINISH—THREE-COAT WORK (a) All Maple, Birch, Beech, Pine, and Fir Wood floors (locations designated) shall receive a coat of Pitcairn Tector, reduced, according to di- rections on the can, with Leptyne, turpentine, or benzine. After twenty-four hours, sandpaper care- fully. Fill all nail holes with putty tinted to match the finish. (b) Apply two coats of Pitcairn Aged Floor Spar Varnish, allowing at least forty-eight hours between coats for drying. Sand lightly between Varnish coats with No. 0 paper. (c) If an extra-fine job is desired, apply a third coat of Pitcairn Aged Floor Spar Varnish. (d) If desired, the last coat may be rubbed to a dull fmish.with fine pumice stone and rubbing oil. Specification No. 83: WAX FINISH—TWO-COAT WORK (a) All Maple, Birch, Beech, Pine, and Fir Wood floors (locations designated) shall receive a coat of Pitcairn Tector, reduced, according to directions PROOF PRODUCTS SPECIFICATIONS on the can, with Leptyne, turpentine, or benzine. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty tinted to match the finish. (b) Apply one coat of Pitcairn Aged Floor Spar Varnish, allowing at least forty-eight hours for drying. WHITE ENAMEL FINISHES—BANZAI SYSTEM OAK AND ASH WOODS Specification No. 84: HIGH-GLOSS ENAMEL FINISH—FIVE-COAT WORK (a) All Oak and Ash Woods (locations desig- nated) shall receive a coat of Patton’s Natural Wood Paste Filler, properly reduced with Leptyne, turpentine, or benzine, brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty. (c) Then apply two coats of Banzai Double- Cover Undercoater as it comes in the can, allowing twenty-four hours between coats. Sand the last coat to a smooth surface. (d) For the next coat, use a mixture of two part of Banzai Enamel and one part Banzai Double Cover Undercoater. Sand lightly after allowing forty-eight hours for this coat to dry. (e) The last coat shall be flowed on freely— using Banzai Enamel as it comes in the can. (f) If an extra-fine finish is desired, rub the enamel coat and flow on another coat of Banzai Enamel. Specification No. 85: EGG-SHELL ENAMEL FINISH—FOUR-COAT WORK (a) All Oak and Ash Woods (locations desig- nated) shall receive a coat of Patton’s Natural Wood Paste Filler, properly reduced with Leptyne, turpentine, or benzine, brushed well into the grain. (The excess of Filler must be carefully and neatly cleaned from the surface by rubbing across the grain.) (b) Care must be taken that all grooves and cor- ners are well cleaned with a hardwood stick. Fill all nail holes with putty. (c) Then apply two coats of Banzai Double- Cover Undercoater as it comes in the can, allowing twenty-four hours between coats. Sand the last coat to a smooth surface. (d) The last coat shall be flowed on freely, using Banzai Egg-Shell Enamel as it comes in the can. (e) If an extra-fine finish is desired, rub the Enamel coat and flow on another coat of Banzai Egg-Shell Enamel. [ 95 ] (f) In applying Egg-Shell Enamel avoid retouch- ing places which have already set or flattened. BIRCH, MAPLE, CYPRESS, GUM, WHITEWOOD, REDWOOD, AND POPLAR WOOD METAL AND PLASTER Specification No. 86: HIGH-GLOSS ENAMEL FINISH—FIVE-COAT WORK (a) All Birch, Maple, Cypress, Gum, White- wood, Redwood, and Poplar Wood, and metal and plastered surfaces (locations ‘designated ) shall re- ceive a coat of Pitcairn Tector, reduced according to directions on the can, with Leptyne, turpentine, or benzine. If desired, covering will be improved by use of a priming mixture of one gallon Pitcairn Tector reduced with one gallon Banzai Double- Cover Undercoater and one-half gallon boiled lin- seed oil. After twenty-four hours, sandpaper care- fully. Fill all nail holes with putty. (b) Then apply two coats of Banzai Double- Cover Undercoater as it comes in the can, allowing twenty-four hours between coats. Sand between coats to a smooth surface. (c) For the next coat use a mixture of two parts of Banzai Enamel and one part Banzai Double- Cover Undercoater. Sand lightly after allowing forty-eight hours for this coat to dry. (d) The last coat shall be flowed on freely, using Banzai Enamel as it comes in the can. (e) If an extra-fine finish is desired, rub the last Enamel coat and flow on another coat of Banzai Enamel. Specification No. 87: EGG-SHELL ENAMEL FINISH—FOUR-COAT WORK (a) All Birch, Maple, Cypress, Gum, White- wood, Redwood, and Poplar Wood, and metal and plastered surfaces (locations designated) shall re- ceive a coat of Pitcairn Tector, reduced according to directions on the can, with Leptyne, turpentine, or benzine. After twenty-four hours, sandpaper carefully. Fill all nail holes with putty. (b) Then apply two coats of Banzai Double- Cover Undercoater as it comes in the can, allowing twenty-four hours between coats. Sand the last coat to a smooth surface. (c) The last coat shall be flowed on freely, using Banzai Egg-Shell Enamel as it comes in the can. (d) If an extra-fine finish is desired, rub the last Enamel coat and flow on another coat of Banzai Egg-Shell Enamel. (e) In applying Egg-Shell Enamel avoid re- touching places which have already set or flattened. (f) The success of the finish depends upon each coat being thoroughly dry before another coat is applied. As much time as possible should be given between coats. PITTSBURGH PLATE GLASS COMPANY A SERVICE FOR INDUSTRIAL PAINT USERS burgh Plate Glass Company has a techni- cal staff composed of men with years of both practical and laboratory experience, whose services are at the disposal of industrial concerns who have exceptional or troublesome problems to meet. This organization is the outgrowth of a definite demand for a service of this nature, and this group of men are functioning daily at our plants at Milwaukee, Wisconsin, and Newark, New Jersey, being known as the Patton Paint and Varnish Advisory Board. Manufacturers are constantly striving to im- prove the appearance of their products; others are in search of a finish that will last longer. Special finishes to resist oil, brine, gases, extreme temperature, or vibration, are among the prob- lems this Board has been called upon to solve. There is always the question of reduced fin- ishing costs, or better results at an equal cost. The Patton Paint and Varnish Advisory Board has found it possible to make suggestions which in a number of instances have resulted in mate- rial economies. Again, there are plants which are improperly painted, where corrosion is getting in its de- structive work, where dark and dingy interiors are decreasing efficiency of men and machines, and greatly multiplying the chances for acci- dents. A chart of standardized practices for plant maintenance, as to material and color to be used for the various needs encountered, would eliminate all guesswork and would result in much saving to almost any concern whatsoever. The Patton Paint and Varnish Advisory Board is ready to co-operate and to assist any manufac- turer in the development of new paint products Pe Paint and Varnish Division of the Pitts- exactly suited to his problem, new methods of application as a means toward economy or im- proved finishes, or the preparation of charts and specifications for scientific plant maintenance. Perhaps your paint department is having dif- ficulties which our Advisory Board, thanks to years of varied experience, can quickly remedy. In many cases a single wrong paint product is spoiling an otherwise good finish. Sometimes the filler is causing the trouble, or it may be the priming or finishing coat. The changing of one or two ingredients in one of these paint products may make a world of difference in the quality of the final finish. Are your finishing costs too high? Perhaps satisfactory results can be obtained with fewer coats. Or, possibly, by changing your methods of application economy can be secured. Let our Advisory Board co-operate with your paint department. If you are now following the best practices, they will tell you so; if not, suggestions for improvement will be made. Since the founding of the Patton Paint and Varnish Advisory Board hundreds of manufac- turers have requested and received help—help for which no charge has been made or accepted. So, by availing yourself of this service you are placed under no obligation whatsoever. Any increased business that may develop must come to us on the merits of the changes suggested. Let one of our representatives confer with you concerning any paint difficulties you may be hav- ing. Or, if the case requires it, a member of the Advisory Board will call in person. Then a thorough study of your problem will be made and a written report will be submitted to you giving in detail the recommendations of our Advisory Board. [ 96 ] COLOR SUGGESTIONS N THE following pages are illustrated a number of exteriors and interiors showing effects produced by the use of Proof Paint and Varnish Products. These selections cover a wide range of subjects. The color specifications given below each picture are not intended as infallible guides. In choosing a combination of colors, many things must be taken into account. On exteriors, the surroundings enter largely into the problem; and in interiors the furnishings play a very important part in deciding on the wall color that will display them to the best advantage; in commercial interiors practical considerations are uppermost, but individual preference weighs heavily in the final decision. The subjects following, therefore, are given as examples of what can be produced by the use of Proof Paint and Varnish Products. Of course, it goes without saying that where the illustration aptly meets some particular need, it may be utilized unchanged, as a euide for producing like results. PITTSBURGH PLATE GLASS COMPANY Pitcairn Banzai Enamel is used in finishing this white enamel entrance. [ 98 J COLOR SUGGESTIONS Color Suggestions for Subject Above BODY—No. 308 Deep Buff Sun-Proof Paint. TRIM— Outside White Sun-Proof Paint. ROOF—No. 343 Indian Red Tor-on Shingle Stain. PORCHES— Outside White Sun-Proof Paint. PORCH FLOORS—Old Gold Porchite. FRONT DOOR—Pitcairn Banzai White Enamel. [ 99 ] > Z, << ~ = S CO op) op) < = o iS = < = = == O pe — GQ op) = = a COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page BODY —Patton’s Buff Cementhide Paint. TRIM —Patton’s Buff Cementhide Paint. ROOF—Composition Shingles-—Terra Cotta color. WINDOW SASH AND WOOD TRIM—Out- side White Sun-Proof Paint. PORCH FLOOR—Terra Cotta color. Tile floors. FRONT DOOR—Stained with Pitcairn Dark Mahogany Stain No. 10, varnished. Color Suggestions for Subject Above BODY—No. 302 French Gray Sun-Proof Paint. TRIM— Outside White Sun-Proof Paint. ROOF—No. 342 Ivy Green Tor-on Shingle Stain. BLINDS—No. 336 Willow Green Sun-Proof Paint. PORCH—No. 302 French Gray Sun-Proof Paint. PORCH FLOOR—Maltese Blue Porchite. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. [ 101 | PITTSBURGH PLATE GLASS COMPANY Color Suggestions for Subject A bote No. 1 BODY—No. 340 Copper Brown Sun-Proof Paint. TRIM—No. 55 Milwaukee Brick Sun-Proof Paint. ROOF—No. 354 Moss Green Tor-on Shingle Stain. PORCH FLOOR—Leaf Brown Porchite. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. No. 2 BODY— Upper: No. 304 Neutral Drab Sun- Proof Paint. Lower: No. 320 Amber Brown Sun-Proof Paint. TRIM— Outside White Sun-Proof Paint. ROOF—No. 342 Ivy Green Tor-on Shingle Stain. PORCH FLOOR—Maltese Blue Porchite Paint. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. No. 3 BODY—Upper: No. 320 Amber Brown Sun-Proof Paint. Lower: No. 55 Milwaukee Brick Sun- Proof Paint. TRIM—No. J Indian Tan Sun-Proof Paint. ROOF—No. 362 Stain. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. Russet Tor-on Shingle [ 102 ] COLOR SUGGESTIONS ie net # é hoe 4 ey Color Suggestions for Subject Above No. 1 BODY—No. J Indian Tan Sun-Proof Paint. TRIM—No. 314 Rich Buff Sun-Proof Paint. ROOF—No. 362 Russet Tor-on Shingle Stain. BLINDS—No. 341 Copper Verde Sun-Proof Paint. PORCH FLOOR—Leaf Brown Porchite Paint. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. No. 2 BODY—No. 12X Light Olive Sun-Proof Paint. TRIM— Outside White Sun-Proof Paint. ROOF—No. 354 Moss Green Tor-on Shingle Stain. BLINDS—No. 336 Willow Green Sun-Proof Paint. FRONT DOOR—Pitcairn Banzai White Enamel. No. 3 BODY—No. 173 Straw Sun-Proof Paint. TRIM—Outside White Sun-Proof Paint. ROOF—No. 343 Indian Red Tor-on Shingle Stain. BLINDS—No. 338 Kentucky Blind Green Sun-Proof Paint. PORCH FLOOR—Leaf Brown Porchite. FRONT DOOR—Stained with Pitcairn Stain No. 6, Golden Oak, and varnished. [ 103 | PITTSBURGH PLATE GLASS COMPANY SF nngguocnacenmnne tata eA ieainninoummeoe “3 yeittnen Po # pes] i COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Rich Cream Velumina. WALLS— Medium Buff Velumina. WOODWORK—Banzai Enamel tinted to a very light gray. STAIR RAIL—Stained with Pitcairn Dark Mahogany Stain No. 10, varnished. FLOORS—Stained with Pitcairn Early Eng- lish Stain No. 12 and varnished. Color Suggestions for Subject Above CEILING—lIvory Velumina. WALLS—Velumina intermixed according to the following formula: Two parts Ivory Velumina, One part Silver Green Velumina, One part Pearl Gray Velumina. WOODWORK—Banzai Enamel tinted ivory. FLOORS— Natural and varnished. [ 105 ] PITTSBURGH PLATE GLASS COMPANY Ce eee eee [ 106 ] COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING AND WALLS—Banzai Enamel tinted to a very faint gray. WOODWORK—Same as walls, except side boards, which are to remain natural and to be varnished. FLOORS— Covered with linoleum, varnished. RADIATORS—Velumina intermixed accord- ing to the following formula: Two parts Medium Buff Velumina, One part French Gray Velumina, One part Nile Green Velumina. PPS CPN LN MEY Color Suggestions for Subject Above CEILING—Patton’s Velumina intermixed according to the following formula: Two parts Light Buff Velumina, One part Medium Buff Velumina, One part French Gray Velumina. WALLS—Same as ceiling. MOULDING AND WOODWORK—Banzai Egg-Shell Enamel tinted to same shade as the walls. DOORS—Stained with Pitcairn Mahogany Stain No. 10, varnished and rubbed dull. FLOORS—Natural and varnished. [ 107 | PITTSBURGH PLATE GLASS COMPANY ivadiiamatnchatenacetnedte SMTA SU La rea COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Patton’s White Velumina tinted with Azure Velumina. WALLS—Same as ceiling. WOODWORK—Banzai Enamel tinted a deep ivory shade. FLOORS—Covered with linoleum and var- nished. Color Suggestions for Subject Above CEILING—Patton’s Rich Cream Velumina. WALLS—Patton’s Velumina intermixed ac- cording to the following directions: Three parts French Gray Velumina, One part Silver Green Velumina. Stencil design as shown. WOODWORK —Banzai Enamel. FLOORS—Natural and varnished. [ 109 | PITTSBURGH PLATE GLASS COMPANY >, —— bes ti sii Nae eelasicsnetiite a i eR Tk aes rane ee SS COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page WALLS AND CEILING—Velumina tinted with Patton’s Oil Colors to the desired shade. BEAMS—White Velumina tinted to a light brown by addition of the Wall Color. SEATS—Stained with Pitcairn Early English Stain No. 12 and varnished. FLOOR—Natural and varnished. Color Suggestions for Subject Above WALLS AND CEILING—Patton’s Velumina intermixed according to the following formula: Three parts French Gray Velumina, One part Silver Green Velumina. INSETS—Silver Green Velumina. BEAMS—Gold Bronze. Stencil and decor- ations as shown. WOODWORK—Stained with Pitcairn Extra Dark Mahogany Stain No. 15, varnished. SEATS—Stained with Pitcairn Silver Gray Acid Stain and varnished. p Z = jae = 5 Sa WN a set z (2 = = a ae = O re = jae! Tp) = = o Es cI aE ee en Op COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Patton’s Velumina intermixed according to the following formula: Two parts Light Buff Velumina, One part Pearl Gray Velumina, One part Ivory Velumina. WALLS AND BEAMS—Pitcairn Banzai Enamel Egg-Shell Gloss tinted to match ceiling. Color Suggestions for Subject Above WALLS AND CEILING—Patton’s Velumina intermixed according to the following formula: One part Light Buff Velumina, One part Pale Raspberry Velumina. WOODWORK-—Stained with Pitcairn Dark Mahogany Stain No. 10, varnished. [ 113 ] PITTSBURGH PLATE GLASS COMPANY COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Patton’s Velumina intermixed ac- cording to the following formula: Two parts Medium Buff Velumina, One part French Gray Velumina, One part Nile Green Velumina. BORDER AND MOULDING—Velumina in- termixed according to the following formula: Two parts French Gray Velumina, One part Light Buff Velumina, One part Nile Green Velumina. WALLS—Ground Tone, Circassian Brown Velumina, finished in Tiffany effects by use of Yellow, Green, and Blue Oil Colors. WOODWORK-—Stained with Pitcairn Wood Stain No. 12, varnished, and rubbed dull. FLOORS—Stained with Pitcairn Early Eng- lish Wood Stain No. 12, varnished. Color Suggestions for Subject Above CEILING—Patton’s Light Cream Velumina. Decorations in gold leaf and red. Bor- der in green bronze. WALLS—Deep Red, made with Patton’s Oil Colors thinned with Turpentine. WOODWORK—Banzai Enamel tinted to ivory. FLOORS—Natural, varnished and waxed. [ 115 | PITTSBURGH PLATE GLASS COMPANY E | Fy ent teeemee COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Patton’s Rich Cream Velumina. WALLS—Velumina intermixed according to the following formula: Two parts Light Buff Velumina, One part Medium Buff Velumina, One part French Gray Velumina. BEAMS AND WOODWORK-Banzai Enamel tinted a very light gray. DOORS—Stained with Pitcairn Dark Mahog- any Stain No. 10 and varnished. FLOORS—Natural and varnished. Color Suggestions for Subject Above CEILING—Velumina intermixed according to the following formula: Three parts Pearl Gray Velumina, One part Pink Velumina. BEAMS—Same as ceiling, with stencil design as shown. WALLS—Dado: Circassian Brown Velumina. Top Walls: White Velumina tinted with Patton’s Oil Colors. WOODWORK-—Stained with Pitcairn Stain No. 11 and varnished. RAILING—Stained with Pitcairn Stain No. 10 and varnished. STAIRWAY — Natural. CENTER PILLARS—Top: Stained with Pit- cairn Stain No. 10 and varnished. Varnished. Bottom: Carrara Glass. SIDE PILLARS—Pitcairn Banzai Enamel. FLOORS —Tile. [ 117 ] sine iene > z; < ~ = S CO W ep) <— = o (2) — = ~ A, =" O pe — za DY = = Ay COLOR SUGGESTIONS Color Suggestions for Subject on Opposite Page CEILING—Equal parts White and Pearl Gray Velumina. WALLS—Velumina intermixed according to the following formula: One part Pearl Gray Velumina, One part Silver Green Velumina. WOODWORK—Banzai Enamel tinted a very light gray. FLOOR—Natural and varnished. FIXTURES—Banzai Enamel tinted to match woodwork. Color Suggestions for Subject Above CEILING—Velumina intermixed according to the following formula: Two parts Ivory Velumina, One part Silver Green Velumina, One part Pearl Gray Velumina. WALLS—Velumina intermixed according to the following formula: Two parts French Gray Velumina, One part Light Buff Velumina, One part Nile Green Velumina. WOODWORK-—Stained with Pitcairn Dark Mahogany Stain No. 10 and varnished. FLOORS—Pitcairn Stain No. 6, varnished. SEATS—Tops: Stained with Dark Mahogany Stain No. 10 and varnished. Backs and seats: Natural and varnished. [ 119 ] Pi Z, < ae = S CO op WW < —] o ea = %.& Ge aaa 234 254 We 314 316 36 Bar, fs Pack eases ee) ae 3 ae ae” Chang.......-.--++- 1% Q gg 244 2% Pourskitbye. «2a 1% 1% 2% 2% 2% Blackbird): cassette 1% 1% 1% 2 Qe Bane Manis sha cc reornas 1% 1% 1% 1% 1% f SASH BRUSHES TYCOON (OVAL) Pure black Chinese bristle, chiseled, vulcanized in rubber, seamless oval nickel ferrule, natural varnished handle. Packed twelve in a box. Seer Omen etre ate) aah Meine vay Lerete corte Q 3 4 5 6 AS C8 Kiel eeepc Ay beni cpa eth eae eee inches y 6 34 BG 1544 1 Length Clear...........---- inches 14% 15% 13% 1% 15% SV eR Ve See PNA ech cen DAC 7 8 9 10 £e Width tie ores aetna eect inches 14% 1% 1% 1% 1144 Length: Clear’. i bic... inches 2 Qi, 2% 23% 234 MASTER PAINTER (FLAT) Pure black Chinese bristle, double thick, chiseled, vulcanized in rubber, nickel bound, natural varnished long half-round handle. Packed twelve in a box. Whdtnoaehounac res inches 1 1% Q Ql6 Length Clear........ inches 2 Qle Q3¢ Ql4 DUTCH CALCIMINE BRUSHES STRANGLEHOLD Gray Russian bristle of finest quality, vulcanized in a solid hard-rubber block, natural varnished block and handle. Packed one in a box. ONeR 5 ie a wht ok ek ae 1-S 3-S 5-S Dimensions........-. inches 734x23¢ '734x28@ == 734x236 Length Clear..... ..inches 414 46 5 CONTINUOUS ROW CALCIMINE BRUSHES A new type of Dutch Calcimine construction described and illustrated on page 149. These brushes are made of gray Rus- sian bristle. ie te wh We alges aer 10 20 30 40 50 ~=— Block Length Clear. . inches Appingedam...... Seer ars, See. ee Q3eEx714 Vreendam.......- 4 44y 444 434 5 134x714 Amsterdam....... uA Se eS ORS. 5 WVWex7l4 Rotterdam....... 4 44% 4% 4% ~ 5 26x74 Vandartlccsecers 4 44% 4% 44° 5& 134x714 [ 153 | PITTSBURGH PLATE GLASS COMPANY PARTIAL LIST OF HORSESHOE BRAND BRUSHES WITH SPECIFICATIONS — Continued FLAT CALCIMINE BRUSHES SUPERFINE Pure yellow Russian bristle casing, middle of pure gray Russian bristle, vulcanized in rubber, bound with galvanized iron, unvarnished poplar handle. Packed three in a box. inches 7 inches 51% MASTER PAINTER Pure yellow Russian bristle casing, middle of pure gray Russian bristle, similar to but of lighter weight than the Superfine. inches inches Similar to but lighter than the Master Painter. inches 7 inches 5 NICKEL PLATE Pure black Chinese bristle, stiff and heavy, vulcanized in rubber, nickel bound, natural varnished handle. Packed three in a box. 8 51 inches 6 8 inches 434 434 4156 BULL DOG Pure yellow Russian bristle, vulcanized in rubber, nickel bound, natural varnished handle. Packed six in a box. inches 6 inches 4 MIKADO Pure black Chinese bristle, cement set, nickel bound, natural varnished handle. Packed six in a box. ry inches 6 inches 334 BUSTER Pure black Chinese bristle casing, middle of black Chinese bristle and horsehair, cement set, nickel bound, natural var- nished handle. Packed six in a box. Width inches 6 inches 3l4 3% / a WHITEWASH BRUSHES MIKADO Pure black Chinese bristle, extra row of bristle set in center, cement set, nickel bound, natural varnished block, black stripe. Packed six in a box. inches 6 7 inches 34 3h NICKEL PLATE Similar in detail to the Mikado. Width Length Clear......... inches 6 “; Se. anehes Qi BLACK DIAMOND Pure black Chinese bristle casing, middle of Chinese bristle and horsehair, cement set, nickel bound, natural varnished block. Packed six in a box. inches inches FLAT PAINTER-DUSTERS 26 STRANGLEHOLD Pure black Chinese bristle casing, middle mixture of black Chinese bristle, horsehair and fiber, vulcanized in rubber, natural varnished handle. Packed six in a box. 26 Width. ..in. 414 Length Clear .in. 414 ROUND PAINTER-DUSTERS 50 STRANGLEHOLD Pure white French bristle casing, middle of pure yellow £ yi Russian bristle, vulcanized in rubber, natural varnished handle. Packed six in a box. Diameter..in. 2144 ROYAL COACH Pure white Russian bristle casing, middle pure white French bristle, pitch set, natural varnished handle. Packed six in a Length Clear.. .in. 4 Diameter..in. 23% WINNER Pure black Chinese bristle casing, middle mixture of black Chinese bristle, horsehair and fiber, other details identical with the Royal Coach. Length Clear. ..in. 4 Diameter..in. 234 Length Clear..in. 37% The brushes listed above are a partial list of the standardized Horseshoe Brand line, manufactured and distributed by the Pittsburgh Plate Glass Company. A complete catalogue can be obtained from the nearest warehouse. PAINTERS, PAPERHANGERS, AND GLAZIERS TOOLS, EQUIPMENT, AND SUPPLIES 1 Row of Dry-Color Tubs in the Milwaukee Factory PAINTERS, PAPERHANGERS, AND IFTY years ago, even twenty-five years ago, the tools used by mechanics in every craft were comparatively simple in design and construction and limited in variety. It was not uncommon in those days to find the exacting workman fashioning his own instruments in order that he might per- form his work with greater ease and skill. Yankee inventive genius has ever sought to devise ways and means for the elimination of unnecessary motions and for lightening labor. Enterprising manufacturers quickly embraced the opportunities offered in the production of tools to meet the requirements of the artist and the mechanic. Thus, where formerly but one shape of instrument was manufactured for the per- formance of a certain piece of work, today many and varied shapes of that type are available, and the mechanic may select from the numerous offerings such tools as suit his particular need or fancy. The average workman is very critical in the appraisal of a tool: the material must be GLAZIERS TOOLS, EQUIPMENT, AND SUPPLIES of good quality and it must be of a design which he feels will enable him to perform his work with speed and satisfaction. Many improvements in tools and appli- ances used by the painter, paperhanger, and glazier have been advanced by the workmen in those lines, and have been adopted as soon as their practicability was established. For example, the original measuring rule was made of one piece of seasoned wood, and later reinforced with brass bindings and edges; today, rules are built in lam- inated construction, inset in brass, and are practically impervious to atmospheric influ- ence, retaining their alignment indefinitely. Valuable cutting and trimming devices have been developed, reducing labor and increas- ing precision. Devices which make for safety and convenience are constantly being perfected. The illustrations in the following pages represent the latest productions in tools, ap- pliances, and supplies used by the painter, paperhanger, and glazier. [ 157 | PITTSBURGH PLATE GLASS COMPANY $4) ri tr 2 iz if —_ SUNDRIES. = ECOGNIZING the importance of Sundry items to the success of paint- ing operations, provision has been made to supply the trade through our distributing Warehouses with a select line of Calcimines, Cold Water Paints, Dry Colors, Shellacs, Glues, Sandpaper, and other Abrasives; Steel Wool, Sponges, Bronzes, and other paint sundries. . Advantage has been taken of many years’ experience to eliminate un- necessary or duplicating items, while retaining all the essentials, so that we are able to present on the following pages a compact list of miscellaneous articles used and sold in connection with Paints, Varnishes, Enamels, Stains, and other finishing materials. SUNDRIES CALCIMINES AND COLD WATER PAINTS KALKOMO WALL FINISH Kalkomo is the ideal calcimine for the decoration of interiors. It gives that soft, velvety, water-color effect so essential to refined surroundings and can be applied on plaster walls, wood, or wallboard. { ARTISTIC | WALL FINISH | | = KALKOMO = WALL FINISH Kalkomo is scientifically prepared from the finest washed and floated whiting, and the very best hide- stock glue. It is instantly soluble in cold water. One pound of Kalkomo when properly mixed will cover from 60 to 120 square feet, according to the surface. Kalkomo is made in white, attractive tints, and rich deep colors, all of which are intermixable, so that any desired shade may be produced. : KALKOMO ¥} WALL FINISH 4) HP j “4 No. 101 ey ae Of