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 EXTERIOR 
 
 F. W. DEVOE & COMPANY, 
 
 NEW YORK. 
 
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 COFFIN, DEVOE & COMPANY, 
 CHICAGO. 
 
 
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EXTERIOR DECORATION 
 
 A TREATISE ON THE ARTISTIC USE OF COLORS IN THE 
 ORNAMENTATION OF BUILDINGS, 
 
 AND 
 
 A SERIES OF DESIGNS, 
 
 Illustrating the Effects of Different Combinations of Colors in Connection with 
 
 Various Styles of Architecture. 
 
 PUBLISHED BY 
 
 F. W. DEVOE & COMPANY, 
 New York. 
 
 1885. 
 
 COFFIN, DEVOE & COMPANY, 
 
 CHICAGO. 
 
Copyright, F. W. DEVOE & CO., 1885. 
 
 V 
 
 Holt Brothers’ Print, 119-iai Nassau St. 
 
PREFATORY. 
 
 In preparing what is intended to be a concise treatise on the exterior painting and decoration of 
 the modern dwelling, the object the publishers have sought to attain has been, primarily, to familiar¬ 
 ize the public, as far as this is possible in a few brief pages, with the true principles of correct and taste¬ 
 ful coloring as applied to this class of work. Practical teachings on such a subject, even where available 
 to the fullest extent, do not suffice where the best results are sought; theory on the other hand cannot 
 be exclusively relied upon; the painter must be something more than a mere manipulator of colors, 
 while the artist must go outside of his school to find a means of utilizing his knowledge of the science 
 of chromatics. 
 
 Practice, however, is essential to the profitable employment of theory, and the two combined con¬ 
 stitute the basis of all success in the correct employment and grouping or arrangement of colors and the 
 production of the most agreeable and harmonious decorative effects. The results of the scientist’s study 
 of light as reflected by different surfaces—color, as we are used to call it,—as representing the theory of 
 chromatics, will be found in the following pages tempered with the artist’s practical knowledge of effects, 
 as governed by the varying surroundings, by architectural considerations, by modern tastes, requirements 
 and predilections, as well as by the appreciation of the protective and preservative properties of paints 
 that comes to the painter through practical observation of their durability, and to the chemist through 
 a study of their character and constituents in his laboratory. Finally, we shall devote a brief space to 
 the consideration of the value especially of such paints as modern tastes call for, from an economical 
 standpoint and in the interest alike of manufacturers, dealers in and users of paints, adding a few prac¬ 
 tical hints concerning their selection and application and the durability of their materials under different 
 conditions. 
 
 In short, our endeavor will be to condense, within a few brief pages, information that will be found 
 of value either to the painter or to the person for or by whom paints are to be used, and who may be 
 desirous of seeing them tastefully, efficiently and economically employed; and we shall also give, in the 
 form of plates showing the effective and harmonious combination and contrast of colors under different 
 conditions as to landscape, architecture, etc , some practical illustrations of the application of the principles 
 of which we strive to impart a knowledge. 
 
ART IN HOUSE PAINTING. 
 
 The earliest employment of paints, as far as can be learned from the 
 relics of antiquity and the works of early authors on decoration, etc., recog¬ 
 nized only their ornamental value, and we have no positive proof that colors 
 or pigments of any kind were applied to buildings for protective purposes. 
 Chemistry had not come to the painter’s aid to supply him with materials 
 possessing preservative properties, and the pigments he used for general 
 decorative purposes mostly ochres, umbers, siennas and other simple prep¬ 
 arations—were few in number, and used entirely with a view to the pro¬ 
 duction of ornamental effect. Such, indeed, was the case for many subse¬ 
 quent ages, and only within the past two or three centuries have paints 
 been employed for the purpose of obviating the effects of the atmosphere, 
 moisture and their indigenous elements of decay, on such destructible bodies 
 as are employed for constructive purposes. 
 
 At first, as soon as the preservative properties of oil paints were recog¬ 
 nized and made known, a rapid increase in their employment took place, but 
 their popularity was based almost exclusively on their protective value, their 
 utility only was considered without regard to their appearance or effect, 
 and they were applied indiscriminately to every size and style of building 
 alike. Such have been the conditions that have prevailed to a great extent 
 in the painter’s art ever since, and at the present date these remarks are 
 still very widely applicable. We find the same white houses with green 
 blinds that our forefathers delighted in predominant now, no attempt in 
 many instances having been made to render a building anything more than 
 a glaringly prominent and unnatural feature amid its natural surroundings; 
 and the harsh, cold contrast of a white or light shade of color with the quiet 
 and subdued tones that for the most part prevail in our landscape, is yet 
 everywhere noticeable. Theoretical artists, with their erroneous ideas of 
 color; the house-owner, with his fond adherence to established precedent 
 and tradition, however hideous it might be ; and even the painter, in his inex¬ 
 perience of color effects, have all been to blame for the long perpetuation of 
 these crude ideas, in which art, as representing tasteful effect, agreeable 
 harmony and judicious contrast of color, was sacrificed entirely to utility } 
 and their joint and similar opinions were maintained with steadfast pertinac¬ 
 
 ity. The change came very gradually, the white being at first tempered for 
 the sake of variety with cold tints of grey, lavender, green, blue and other 
 colors, totally unfit for the purpose they were intended to serve, but still of 
 value as stepping-stones to better things; the rare examples of the use of 
 deeper shades, of warm rich tints and a variety of colors in exterior decora¬ 
 tion, were falsely spoken .of as “loud,” when really, compared with the old 
 style of painting, their effect was subdued and restful. The new idea in 
 painting, as it was termed, had, however, found friends, it was permanently 
 before the world, and gradually the sole consideration of utility became 
 tempered with a desire for artistic effect. The truest form of art is always 
 that in which it is combined with utility, and our present method of successful 
 house painting, the employment of colors capable of producing a really 
 ornamental appearance, and at the same time protecting the material to 
 which they are applied, embody both art and utility. 
 
 Two of the most important factors in thus developing artistic taste in 
 exterior decoration have been, in the first place, the material our architects 
 have largely had to deal with and the prevailing style of architecture. Wood 
 not only needs painting to ensure its durability, but is capable, while serving 
 every constructive purpose, of being wrought into the most picturesque 
 effects. It is the material with which our modern architects have chiefly 
 had to deal in the erection of dwellings, except within the limits of the 
 largest cities, and they have been most successful in adapting it to the re¬ 
 quirements of artistic ideas since the most popular type of architecture for 
 our residence structure came into vogue; we refer to the Queen Anne style, 
 as it is usually termed. To give the true origin of the Queen Anne archi¬ 
 tecture would be somewhat difficult, for in it are combined some of the fea¬ 
 tures of the mediaeval gothic, others pertaining to the renaissance of the 
 Roman and Grecian classic styles, and many others that are probably derived 
 from one style or another, but which have lost all but the barest traces of 
 their origin. It has come to be regarded, in short, as the vehicle for the 
 expression of almost everything quaint and uncommon in the shape of arch¬ 
 itecture, no particular style, it is true, if measured by the “school” standard, 
 but a welcome change from the “ready made” architecture that preceded it, 
 
 4 
 
and which, in its bald bareness and abrupt quadrilateral and quadrangular 
 features, displayed a fatiguing sameness that is still characteristic of most of 
 our city streets and many of our country residences, and which the painter’s 
 art can alone be relied on to render even passably attractive. 
 
 The original Queen Anne style of dwelling was essentially a comfort¬ 
 able residence, it was designed according to the plan, the exterior appear¬ 
 ance being subordinated to the interior arrangement. Such are the pre¬ 
 vailing features in the specimens of early colonial architecture that are yet 
 to be found scattered throughout the country, and although in subsequent 
 years much detail, borrowed both from the gothic renaissance and the classical 
 periods, was added, and special success attained in adapting the material to 
 the architect’s designs and our ideas of ornament, the purity of the Queen 
 Anne style (if it really possessed any) was longest preserved in this country. 
 The improvements to which we have referred paved the way for the modern 
 Queen Anne style, now the favorite here, and deservedly so. In its embel¬ 
 lished form it admits, without any appearance of incongruity, of the produc¬ 
 tion of the quaintest effects both in the grouping of the parts of a building, 
 the general appearance produced and the working out of the details in the 
 shape of doors, windows, etc. It is, moreover, a form that admits of the 
 most comfortable and attractive arrangement of the interior, and above all, 
 and what most concerns us, it furnishes an opportunity for the greatest 
 display of taste in coloring and exterior decoration. The many fronts, 
 diversified as to material, with visible framing, shingle or smooth covering, 
 the gables, the porches, etc., all provide a means for the employment 
 of parti-colored effects, the most attractive and artistically valuable feature 
 of modern house painting, and one that the old box-pattern house, with 
 its plain flat front, does not so readily admit of. 
 
 Nor have we been slow to profit by the opportunity thus offered. 
 The development, for such it really is, in architectural taste, the adaptation 
 of the exterior form of our dwellings to the luxury and elegance of their 
 interior arrangement and ornamentation, has been seconded within the past 
 
 few years by equal care and the display of corresponding taste in color and 
 decorative design, and in the production of that harmony combined with 
 contrast between the various features in the house itself, and between the 
 house and its surroundings, that underlies all true art. To-day, the architect, 
 where he values his reputation and is desirous of giving his clients perfect 
 satisfaction, is as solicitous of the color effect as of the general design of his 
 work. 
 
 It must not be forgotten, however, that the majority of the buildings 
 the painter is called on to embellish and render attractive, were erected 
 before the present change or renaissance of the modern building art, 
 came into force. They still preserve their plainness of exterior, their walls 
 bare, except for windows and window-trim, etc., their flat roofs adorned 
 at most with a chimney or cupola, and the old plan of treatment with 
 white or light colors is still followed for want of a knowledge of what 
 would suit their peculiar, unartistic style. They have been practically 
 ignored in previous works on this subject, though so important a factor in 
 the painter’s operations, and yet their skilful treatment, the moderation of 
 their harsh and unattractive characteristics, is to be regarded as the best 
 possible evidence of artistic training on the part of the painter. To ren¬ 
 der such buildings ornamental, demands the exercise of the colorists’s most 
 careful discretion, and it will be found that we have not neglected this most 
 important branch of our subject. We fully recognize, in fact, that to be 
 successful, the painter, or the person directing the use of paints, should pos¬ 
 sess an equal knowledge with the architect and the artist of the laws gov¬ 
 erning the selection of colors, not only for the picturesque buildings of the 
 style to which we have referred more particularly, on account of their present 
 predominance, and for others equally attractive in the English-domestic, 
 free-classic, colonial, gothic and other now popular styles, but for every 
 structure, plain or ornamental, handsome or unattractive, on which paints are 
 employed for decorative and protective purposes. 
 
THE ARTISTIC SELECTION AND COMBINATION OF COLORS. 
 
 In the selection of the colors employed in the exterior decoration of 
 buildings, we find the truest expression of the painter’s artistic taste and 
 skill; herein there are many factors to be studied, a disregard of any of 
 which will be more or less fatal to good effect, and the first requisite is a 
 knowledge of this art of associating the various colors in such a manner as 
 to secure an agreeable contrast without doing violence to the harmony of 
 the color group. 
 
 CHOICE OF COLORS WITH REGARD TO TIIEIR COMBINATION AND CONTRAST. 
 
 A brief reference to the classification of colors according to their value 
 and effects as pigments, is essential to their proper employment and combina¬ 
 tion. The primary colors, those that cannot be produced from mixtures of 
 other colors, and which in their turn are the basis of all color combinations, 
 are red, yellow and blue. The secondary colors, green, orange and purple, 
 are obtained by combinations of the primary colors—blue and yellow pro¬ 
 ducing green; red and yellow, orange; and blue and red, purple. In the 
 same manner, by mixtures of the secondary, we obtain the tertiary colors, 
 orange and purple producing russet; green and purple, olive; green and 
 orange, citrine. These nine constitute the normal or positive colors. White 
 and black are regarded by most scientists as no colors at all, but combined 
 they form gray, and these three, under the title of the neutral colors, are em¬ 
 ployed in lightening, darkening or dulling all other hues. Each of the posi¬ 
 tive colors, and all the immense variety of shades and tints derived from 
 them, can be reduced with the aid of white, darkened by the use of black, 
 or dulled by admixture with gray. Colors may harmonize in resemblance or 
 by contrast, a harmony in resemblance being obtained by the employment 
 of various shades and depths of the same color, a harmony by contrast 
 consisting in the use of opposing colors, generally a neutral and a positive, 
 a warm and a colder color. In the perfect contrast designed to effect an 
 improvement in the colors employed, all the primary colors must be present 
 either in simple or combined form, and the same rule applies to the second¬ 
 ary and tertiary colors, each of which harmonizes with its primary or second¬ 
 ary derivatives. Red and green for instance, contrast harmoniously, the 
 
 red, with the blue and yellow of the green, making up the list of primary 
 colors. Blue and orange, yellow and purple, also harmonize by contrast. 
 By placing a dark by the side of a light color each will be intensified, the 
 light appears lighter, the dark darker; if red and green be placed in con¬ 
 trast, though they will harmonize, the red will appear redder and the green 
 greener. Much the same principle may be observed respecting harmony 
 in resemblance, the light and dark shades of the same color increasing in 
 intensity of difference when brought into juxtaposition. Blue is a cold color 
 and appears to recede from the eye, hence the cold distant effect produced 
 by a sky background. Red, on the contrary, is a warm color, it remains 
 stationary in a picture, while yellow, the color nearest allied to light, has a 
 brightening effect on its surroundings and appears to advance towards the 
 observer. However carefully we may select colors with a view to their scien¬ 
 tific harmony, we should make it a rule, wherever possible, to test the effects 
 of every combination we propose to use at a distance and ascertain how its 
 colors will appear under such different conditions as they are likely to be 
 subject to. These rules embody about all that will be found essential to 
 success in estimating the value and effect of colors and selecting them for 
 combination, and they will prove particularly useful to the painter who re¬ 
 gards his business as something beyond a merely mechanical pursuit. 
 
 In considering the effective value of the various colors and the best plan 
 on which they can be artistically combined, we must make it a rule to set 
 aside all considerations of surroundings, etc., for, if desirous of obtaining a 
 perfect result, the colors must be studied independently and entirely per se ; 
 the association of the colors and combinations with their various surround¬ 
 ings belonging in another chapter, and for the following reason : We have 
 to deal, in selecting colors, with the cold scientific theory of chromatics. 
 The building, however attractive its form, the surroundings, however pic¬ 
 turesque they may be, are powerless to transform our bad judgment or 
 improve on our defects in the combination of colors, for there is nothing, 
 as there is in natural effects, that we can rely on to modify either. Blue 
 and green, for instance, under any ordinary circumstances, and for decora¬ 
 tive purposes, could not be regarded as an agreeable or harmonious con- 
 
 6 
 
trast in color, and yet we find in nature, in the juxtaposition of green trees 
 with the blue background of sky, just such a combination. But it will be 
 found on close examination, that the green of the foliage has been trans¬ 
 formed by the bright sunlight into a green yellow at all prominent points, or 
 it is shaded and presents a greyish green or brownish green appearance; so 
 that we have either of the latter warm colors with the blue of the sky, and 
 they constitute an excellent contrast. We should rather look upon our 
 house as a piece of coloring, intended, like a flower, to relieve the same¬ 
 ness in nature’s prevailing hues, and, like the flower, it should be in itself a 
 perfect piece of coloring. 
 
 In the first place, our colors must not be violently opposed to each 
 other, and here the eye may in most cases be safely left to discriminate. 
 While the contrast in color should be sufficient to relieve the large expanse 
 of uniform tint inseparable from the tasteful decoration of any house, es¬ 
 pecially of the plainer style of buildings, in which there is but little architect¬ 
 ural detail to support parti-color treatment, no portion of the structure should 
 be rendered glaringly prominent by the use of color. This would tend to 
 give a loud or harsh appearance to the edifice, when really the opposite is 
 what is sought. On the other hand, the contrast of color may be too tame, 
 and then the general appearance will be dull and sombre. This is a frequent 
 fault where the new colors are injudiciously used, where a rush is made from 
 the hard, harsh outlines of white or light shades for walls, and green or dark 
 shades for blinds and trim, to the parti-color effects modern decoration is 
 intended to produce. Many colors are entirely unsuited for exterior dec¬ 
 oration, notably the primary colors in their lighter shades, even if used as 
 complementaries to darker tints. Bright blue, orange, purple or green could 
 not be employed for exterior decorative purposes without startling results, 
 but red and green-blue in their deep shades, being respectively warm and 
 cold, are both agreeably harmonious and a perfect contrast, as are also deep 
 purple and green. The most widely different colors do not by any means 
 make the best contrast, any more than will those bearing the closest resem¬ 
 blance to each other produce the best harmony. As a general rule, the 
 lower we descend in the chromatic scale, the nearer we approach the deep¬ 
 est shades of the colors we use, the greater will be the variety of colors we 
 shall safely be enabled to select from. Light colors require handling with 
 the greatest care if lifeless harshness, a hard outline and chilling effect are 
 to be avoided, while all contrast of very light with very dark colors, with 
 either predominating in quantity, are equally objectionable. This rule also 
 applies to colors that suggest light; yellow, for instance, with its various 
 graduations through orange to red, and the light shades of violet and 
 gray; the deeper reds, ranging from vermilion down, are suggestive of 
 warmth, not light, and may be used judiciously with excellent effect. Choose 
 such colors for your building as will not harshly contrast with each other so 
 
 as to isolate any part to which they are applied, but at the same time those 
 that will sufficiently differ to give life and warmth to the structure without 
 rendering it disagreeably obtrusive. These effects can be more safely and 
 readily produced with dark than with light colors, and this affords one good 
 reason for their preference, except in special cases, to which we shall refer 
 later, in modern exterior decoration. 
 
 CHOICE OF COLORS WITH REGARD TO SURROUNDINGS AND LOCATION. 
 
 Many of the suggestions concerning the choice of colors as regards 
 their combination and contrast will apply equally well in the choice of colors 
 according to the location of the structure on which they are to be employed, 
 and its surroundings. What we wish to avoid, as in our selection of colors 
 with regard to their fitness of association in the building, is anything that 
 will render the effect of the painter’s work in contrast with the surround¬ 
 ings, either harshly prominent or lifelessly dull, and this is a general rule 
 that will apply to every structure, whether plain or of elaborate form. 
 Ordinarily, as we before remarked, the dark, warm colors, dulled to pre¬ 
 vent obtrusiveness in tint and glaring effect, on account alike of their 
 restful subdued appearance, and the readiness with which they may be 
 made to harmonize with their surroundings, are to be preferred, and especially 
 where, on account of the construction or location of a building, it is desired 
 to give it an air of stability of warmth and comfort. A house occupying an 
 elevated site, for instance, particularly if seen from below, with the cold- 
 tinted sky for a background, would always lack solidity in appearance, and 
 even if sheltered by trees, would have a cheerless look when they lost their 
 leaves, if painted in light colors. It should be remembered, too, that such 
 a house would appear to recede from the vision according to the rule that 
 makes dark or warm-colored objects look nearer, such as are light or cold 
 colored more remote or smaller. A change to an agreeable combination of 
 dark colors, relieved with a little warmth and brightness, would give a 
 house so situated a more important air, a more substantial and far more 
 comfortable aspect, and in place of being a distant and obtrusive white point 
 in the landscape, the warmth and taste displayed in the coloring would 
 bring it into increased and agreeable prominence. Even the plainest and 
 most unpretentious dwelling so located, by judicious treatment could be 
 rendered attractive. 
 
 A building near water, or on a sandy beach, for instance, where, 
 while brightness is not lacking, color is scarce, admits of different treatment. 
 Here the same modified colors should be employed, but they admit of the 
 introduction of more pronounced effects; lighter shades may be used to 
 advantage, though anything like glaring brightness must be carefully avoided. 
 Especially where the building is intended for summer use, as in the case of 
 a hotel, a lighter appearance should be produced. The deep shade of blue- 
 
 7 
 
gfeen with red, which we quoted as an example of warm, rich decoration, 
 may here, for instance, give place to browns and ochres, with a little Indian 
 red, all dulled to secure softness in tone, and worked from the darker shades 
 in the lower stories to a lighter prevailing tone above. Thus while a warm, 
 substantial effect would also in this case be secured, the heavy contrast of 
 the dark colors with the light sameness of the surroundings would be avoid¬ 
 ed. There are cases, however, in which the effects produced by an attractive 
 deep green shade are very cool and agreeable. 
 
 A building surrounded with or backed by heavy foliage, and placed 
 where the brightest light would only reach it to a limited extent, might have 
 a dull and sombre appearance if painted in dark colors exclusively; and 
 there are cases in which even the conventional white or the indefinite grays, 
 drabs and yellowish brown shades are admissible, but they are not many, 
 and the employment of such tints, in view of their cheerless appearance as 
 soon as foliage disappears, should be as far as possible avoided. 
 
 Even the location of a building with regard to the light should be con¬ 
 sidered in the selection of the colors and decorative effect, the north light 
 being whitish or bluish, the south light yellow and purple morning and eve¬ 
 ning, with excessive brightness at noon, the east and west having the yellow 
 and purple of the rising and setting sun and the usual brightness of the day. 
 Colors that the reflection of the bright strong lights changes in appear¬ 
 ance, as, for instance, green, which acquires a yellower brighter cast; red, 
 which is rendered more vivid in the bright sunlight and darker by twilight; 
 gray, which by contrast with its surroundings appears deeper and warmer 
 if dark, and inclined to assume a purplish hue and colder appearance if 
 light; and blue, which at twilight appears much lighter than it really is, 
 should be used with a due regard to these effects. 
 
 In selecting colors with regard to the appearance of neighboring build¬ 
 ings, as becomes necessary in town or village painting, or even where 
 groups of houses are located in close proximity, too much care cannot be 
 exercised. Here the difference between harmony by contrast and harmony 
 by resemblance, to which we have heretofore referred, assumes special sig¬ 
 nificance. Originality under such circumstances, a departure from the 
 beaten track, is apt to be regarded with disfavor by those of conventional 
 tendencies, but, at the same time, where combined with fitness as to place, 
 circumstances and uses, it is one of the most important factors in artistic 
 progress. It does not necessarily follow because white or the lightest tints 
 for body, and green or darker shades of the body color for trimmings have 
 been used exclusively for many years past for house decoration, regardless 
 of the effect, that no innovation should be made. Such a sameness reveals 
 not only lack of taste, but a paucity of ideas. At the same time, the old 
 pattern houses especially, by which we mean those in which the character¬ 
 istics of modern ornamental architecture do not appear, are somewhat diffi¬ 
 
 cult to treat effectively, and the production of some unique and attractive 
 form of decoration is almost certain to find imitators until another phase ol 
 the old sameness and tasteless uniformity is the result. A certain method of 
 using a combination of colors may be effective, but its effect is immediately 
 deteriorated by the duplication of the design, particularly where this is 
 undertaken without any regard to whether or not it is appropriate to any 
 other structure than that on which it was originally employed, or whether it 
 would suit other surroundings. By working out a harmonious contrast 
 between the building we are decorating and those in its vicinity, we can 
 really render them valuable auxiliaries to the effects we are seeking to pro¬ 
 duce. At the same time, our remarks as to the effects of light and dis¬ 
 tance on the appearance of different colors should not be forgotten, especially 
 where we may desire to make a building appear near to or more remote 
 from the observer. 
 
 SELECTION AND APPLICATION OF COLORS AS INFLUENCED BY THE SIZE AND 
 STYLE OF A BUILDING. 
 
 Herein we have one of the most important factors in exterior decoration 
 and house painting, and one that has until recently been entirely ignored. 
 The light shades and white used indiscriminately on buildings of all sizes, 
 are really only fit for the smallest houses, and are admissible then only 
 under special circumstances. A large structure in white, with only the abrupt 
 green relief, is a distressing object in any landscape, but one that was uni¬ 
 versal until the revival in artistic ideas took place. We have already 
 dwelt at length on the advantages the present fashionable styles of archi¬ 
 tecture possess from the decorative point of view, and having also considered 
 the contrasts and combination of colors, we can dismiss this branch of our 
 subject in a few words. Our warnings against violent contrasts will suffice 
 to show the error, unless there is good reason for a sharp distinction, in giv¬ 
 ing the mouldings, beams, etc., in a building undue prominence in the broad 
 color spaces. However much they differ, it should be a harmonious differ¬ 
 ence under all circumstances. Even the frame of the building, where it 
 shows, should not be treated as far as light and shade is concerned, in such 
 a manner as to make it appear separate from the remainder of the structure, 
 but only so as to suggest its solidity by the employment of darker colors. 
 The unity of the building as a piece of construction should be carefully pre¬ 
 served, no matter how tempting may be the opportunities in the shape of 
 diversified materials, quaint design, etc., for the protection of original parti- 
 color effects. 
 
 In this branch of our subject we encounter one of our most serious 
 difficulties in the treatment of the plain style of house that still predom¬ 
 inates to so large an extent throughout the country. It is rational enough 
 to make a consistent contrast between the trim and the prominent parts in 
 
the building and the flat surfaces, but it is an unmistakable error in style 
 and taste to attempt, by the use of two colors on the plain surface, to break 
 it up. In place of the parti-color effects desired, we produce a piece of 
 patch-work that will always proclaim its incongruity, and the greater the 
 contrast the worse it will cause the building to appear. Even the intro¬ 
 duction of an artificial cornice or moulding does not suffice to disguise the 
 violence done to the artistic appearance of the structure. In decorating the 
 exterior of a building of the ordinary flat, square form, the more quiet tints 
 and contrasts should prevail, and the brighter colors, introduced to afford 
 relief and heighten the effect, should be used as sparingly as possible. 
 Such suggestions as we have made as to the effects of distance, light and 
 surroundings, should be most carefully considered in painting this class of 
 houses, anything that would tend to draw them forcibly into prominence 
 should be studiously avoided, light colors or bright shades of color should 
 on no account be used, and even the dark tints employed should be care¬ 
 fully dulled, the object being to secure a warm, cheerful, subdued effect. 
 
 Large plain buildings may be darker than those of smaller size, while 
 an isolated structure will usually bear greater warmth and depth of coloring 
 than one standing in a group or street. Finally, we would urge on our 
 readers the necessity for avoiding the idea, that what will look well on 
 one structure will look equally well on another. The proportions, the 
 form, the location of a building, may render the decoration found so attract¬ 
 ive on another structure positively objectionable, and no style should be 
 accepted on account of its beauty and fitness in one class of building with¬ 
 out due consideration as to its adaptability to another. Imitation may be 
 sincere, but it is often a very disastrous form of admiration in decorative 
 art. 
 
 The uses to which a building are to be put should also exercise some 
 influence on the choice of colors; a hotel, for instance, sometimes admits of 
 brighter treatment than a private dwelling without any serious offense against 
 good taste, especially if located near a lake or on the beach. In a building 
 devoted to ecclesiastical purposes, the employment of a great variety of 
 colors does not show a due regard for the fitness of things, though warm 
 rich coloring is by no means out of place in such structures. The olives, 
 the sage and dark blue-greens, with red relief, may give place to well- 
 harmonized quiet shades of brown, a little lighter than would perhaps be 
 selected for residence purposes, or gray tints may be preferred, the effect 
 
 being wrought out in harmony of resemblance rather than in harmony by 
 contrast. The season during which the structure will be used, where it is 
 not intended for constant occupation, should also be allowed to exercise 
 some influence. A building that is only open during the summer months 
 may with advantage be decorated in lighter colors than one intended for 
 winter occupation, but it is best in case of a residence to err, if any doubt 
 is entertained, on the side of deep warm tints. 
 
 A few words on the decoration of extraordinary structures will enable 
 us to conclude this chapter. The decorative treatment of such works as 
 iron bridges, elevated railroads, etc., has already begun to attract the atten¬ 
 tion of the community. It is not by any means necessary that they should 
 render our streets as hideous as they do. Though it would, perhaps, be 
 impossible to make them altogether attractive in appearance, yet, by soften¬ 
 ing their outlines and employing colors that would not prove obtrusively 
 harsh and disagreeably prominent, they might certainly be 'rendered less 
 objectionable, and without detracting from their durability or employing 
 pigments deficient in protective value. Iron bridges might in the same 
 manner, especially in country places, be rendered unobjectionable if not at¬ 
 tractive features in a landscape, by decorative treatment in conformance with 
 the ideas and suggestions to which we have given expression. We might 
 sum up these remarks in the following few words of advice to painters and 
 those using paints: Avoid in decoration all such attempts at forced display 
 or prominence in style or coloring as are obtained by the employment of 
 harsh contrasts in color or arrangement of light and shade. Let good 
 taste rather than bright attractiveness render your work conspicuous; above 
 all, recollect that simplicity, in which is included perfect harmony in color 
 and design, is the acme of art in decoration. The more natural we can 
 make our buildings appear in associating their decorative effects with their 
 surroundings, the more successful we are in imparting the idea that in their 
 fitness and attractiveness they are part and parcel of the location, the nearer 
 we come to the truest form of artistic decoration. 
 
 With the above remarks we conclude the artistic portion of our subject, 
 and having thus fully referred to the selection of colors with regard to their 
 intrinsic effects, their surroundings, and the nature and uses of the struc¬ 
 tures on which they are to be employed, we can proceed to discuss briefly 
 and from a more practical standpoint, the paints themselves. 
 
 9 
 
I 
 
 A CHAPTER ON PAINTS. 
 
 I 
 
 So far, the decorative value of paints and pigments, their selection 
 with regard to effect alone, has come under our consideration, but we 
 must not lose sight of the utility of the painter’s art, which demands that 
 these paints shall possess a certain durability and protective power. We 
 have shown how in early art the decorative value only of a paint was con¬ 
 sidered, and it would almost seem as though the tendency in modern times 
 is more or less in a similar direction. The widespread introduction of the 
 modern ornamental colors, the dark greens, olives, maroons, etc., in which 
 the leads and other materials hitherto relied on to give body and durability 
 to the paint (although, as we shall proceed to show, the supposition was 
 erroneous), could not be used with good effect, opened the door for the in¬ 
 troduction of combinations of ingredients bearing the name of paints, and 
 possessing a temporary decorative value, that were entirely worthless as 
 far as any protective effect was concerned. 
 
 In order to be able to select a paint as to quality, and to form some ap¬ 
 proximate idea of its value and purity, a knowledge of the nature of a good 
 paint and of the work it is intended to perform is necessary. 
 
 Paints are applied to the exterior of buildings, apart from the desire 
 for the production of an ornamental effect, on account of their waterproof- 
 ing properties. If of good quality, they form a coating on the surface of 
 the wood or other substance that moisture cannot penetrate. A good 
 paint, therefore, forms an impenetrable covering in the first place, its body 
 is sufficient to obviate porosity and to cause the perfect cohesion of its 
 particles, while at the same time it is of such a character as to ensure the 
 economical distribution of the paint over the surface to which it is to be 
 applied. In addition to this the paint must possess a certain amount of 
 hardness, to enable it to withstand the friction of the rain and wind, and of 
 the dust particles carried violently against its surface; sufficient toughness 
 to enable it to resist ordinary abrasion or friction without sustaining injury, 
 and sufficient elasticity to enable it to remain uninjured by the contraction 
 and expansion of the surface to which it is applied incidental to changes of 
 temperature. These qualifications no paint can possess unless the liquid 
 ingredients are in proper chemical combination with the solid elements. 
 
 A fact chemists were prompt to recognize, and one of the features on which 
 the popularity of the different leads and zincs have been based, was that 
 they all formed a sort of saponaceous union with certain elements in the 
 oil. Paints in which the liquids merely hold the solids in suspension or 
 mechanical mixture, can never possess durability, their liquids are absorbed 
 by the wood, or chemically changed by the atmosphere or evaporation into 
 solids, leaving solid components on the surface in dry form to be scattered 
 by the first breeze, or washed off by the first rain. Barytes does not unite 
 with paint oil at all, and yet it is one of the commonest ingredients in the 
 cheap preparations that have brought such discredit on the name of ready 
 mixed paints. We must have in a good paint, substances that form a 
 perfect combination, that cannot, even when applied as a coating to any 
 surface, be separated or divided, and the ingredients must at the same time 
 aid in hardening the oil. This white lead does not do; on the contrary, 
 the acids employed and generated in its production are inherent factors in 
 its destruction, and therefore we have so many complaints—especially 
 where painters have been deceived as to the quality of the lead supplied 
 them— concerning the quality of their paints, as well as a strong point 
 against the exclusive use of white or light shades produced with the aid 
 of white lead in exterior decoration, from an economical point of view. 
 
 Owing, in large part, to the growing extent to which buyers of paint 
 were recognizing these facts, and to the increasing demand for the dark 
 modern shades, in which the old zincs and whites could not be used as a 
 paint body, as well as to their conviction that the time had come when 
 really excellent ready mixed paints ought to secure recognition, the firm 
 of F. W. Devoe & Co., one of the oldest and most extensive and success¬ 
 ful paint manufacturing houses in the trade, turned their attention to the 
 production of a superior line of house paints in ready mixed form. Not 
 content with basing their claims to the patronage of painters and others on 
 the prestige of their high reputation for honesty in their materials, which 
 they manufacture from the initial processes and can consequently guaran¬ 
 tee, and the skill, combined with the best of appliances, of which they avail 
 themselves in their manipulation, they earnestly studied the subject both 
 
as practical painters and paint makers and chemists. They introduced 
 valuable improvements in the preparation of the oil, with a view to increas¬ 
 ing its hardening and elastic properties, they perfected the processes for 
 manufacturing the different dry colors, and succeeded in producing new 
 combinations of pigments, whereby a “body” was secured free from the 
 objections to which the lead and zinc and crudely handled oil were open, 
 and experience and practical use for a number of years has shown that 
 their productions possess all the advantages required in a perfect paint, 
 both in economy, in covering properties and facility of application, and in 
 durability. 
 
 When the subject comes to be fairly considered, there is plainly every 
 reason why colors supplied ready mixed by so well known a concern 
 should be superior to any produced by hand. The painter buying his 
 material in small quantities, however honest his intentions and however 
 carefully he may work, labors under many disadvantages. He cannot 
 always rely on the quality of his colors, his pigments, his oils, etc., he must 
 mix his paints by hand and in small quantities, and cannot hope to secure 
 the proper thoroughness in incorporation. He cannot always command 
 the same make of colors and ingredients, and if his formulae are never so 
 carefully followed, the materials one concern supplies will nine times out 
 of ten produce results different from those furnished by another. Then 
 again, with the materials at his command and of which he has the know¬ 
 ledge, he cannot produce the colors and results modern decoration de 
 mands. 
 
 By the use of ready mixed paints, on the other hand, provided he is 
 careful to procure them from a responsible concern, he is enabled not only 
 to accomplish more work, but far better results within a given time, than 
 was possible where he had to perform personally the entire work of mixing 
 his colors. 
 
 Ready mixed paints supplied by such a firm as F. W. Devoe & Co., 
 who themselves produce the dry colors from their first origin and all 
 materials used in their manufacture, who have made their preparation 
 
 I 
 
 with a view to their employment for exterior decorative purposes a special¬ 
 ty, who have facilities for the perfect mixing and grinding of the materials 
 in such quantities as to ensure uniformity, and who have a reputation 
 that is in itself a valuable protection to patrons, must naturally be superior 
 to any that can be produced by hand, and by using them, the painter is 
 freed from the trouble, risk and responsibility that attaches to the mixing 
 and preparation of paints. Not only this, but he is able to select his colors 
 from an immense assortment, in place of having to produce the tints he 
 requires one after another, without having an opportunity to judge of their 
 appearance alone or in combination ; he is spared the trouble and difficulty 
 of groping after effects in decoration which, with the colors before him, he is 
 able to determine on without hesitation. Ready mixed paints are, more¬ 
 over, an advantage to the painter in modern times, with the competition 
 and striving after the highest excellence that is evident in every craft, and 
 who, if he is desirous of maintaining a position in the front rank among his 
 fellow-tradesmen, should have long since developed from a mere color- 
 mixer into an artist. 
 
 It cannot be denied that considerable prejudice exists in reference to 
 the employment of ready mixed paints. The trade has been injured so 
 seriously by the operations of unscrupulous manufacturers, who have 
 placed the worst possible trash on the market in the guise of ready mixed 
 paints, that not only painters, but all for whom paints are used, look upon 
 their purchase in this form with considerable doubt. Where they are sup¬ 
 plied by an old established house, with a high reputation for the possession 
 of honest intentions towards their customers, and the ability, facilities and 
 resources that enable them to put these intentions into practice, this feeling 
 should not operate against an article the value of which experience has 
 fully demonstrated, while painters, for reasons we have already given, 
 should regard the wholesale manufacturer of first-class ready mixed paints 
 as a friend and assistant in their business, instead of in the light of a com¬ 
 petitor. 
 
PRACTICAL SUGGESTIONS TO THE PAINTER. 
 
 If the painter, or the person using paints, will bear in mind what we 
 have previously stated with regard to the properties of a perfect paint, many 
 things will suggest themselves to him as absolutely necessary to avoid in 
 order to ensure successful work. 
 
 Good paint covers the surface to which it is applied with a waterproof 
 film. The more perfect and durable its impermeability, the better the paint. 
 It is designed to protect the surface to which it is applied against the de¬ 
 structive effects of moisture—the most active element in promoting decay— 
 and should, therefore, only be applied to a thoroughly dry surface or 
 substance, for it will keep moisture in as well as out. The decay of sappy 
 wood, due to the effect of the fermenting vegetable moisture, is naturally 
 heightened by coating the wood with a substance that keeps such 
 moisture in the wood against all hope of evaporation, and the same 
 may be advanced with regard to such moisture as the wood absorbs. 
 Care should be taken, therefore, to apply a paint only on a dry surface , 
 (and substance) otherwise it will inevitably blister, owing to the issue of 
 moisture from the pores beneath it in the shape of vapor; the gases of 
 decay may also puff up the paint skin, if it is good paint and strong 
 enough to withstand the distention ; it may also crack and peel off from 
 the same cause, or lose its gloss, turn blotchy or dull. Even if applied 
 when there is dampness in the atmosphere, although the surface on 
 which it is used may apparently be perfectly dry, a similar effect may be 
 produced, and carelessness in applying paint on damp days or to a damp 
 surface is a frequent cause of trouble, bringing discredit on the painter, 
 the manufacturer of the paint, and the article itself. Not only this, but 
 the presence of moisture prepares the substance of the wood for the attack 
 of the dry rot organism, which at first softens the wood, causing paint to 
 lose its hold and peel off, and finally effects the total destruction of the 
 wood substance. 
 
 What we have suggested concerning the application of paints will 
 apply with equal force to the employment of priming coats, which ’hre used 
 in the first place to protect the upper stratum of the fibre substance of the 
 wood against the attacks of moisture from either direction, to preserve it 
 
 so that the paint may remain firmly attached to it. It can readily be 
 seen that if the surface be impregnated with moisture, the spaces the 
 priming is designed to enter will be more or less occupied by watery 
 particles, and it cannot therefore penetrate to do its work. The priming, 
 in the second place, is designed to prepare the surface for the paint and 
 prevent the too rapid absorption of the latter. It should consequently be 
 as thin as possible to secure its penetration, of such a nature as to ensure 
 its drying near the surface instead of being too rapidly absorbed or (as 
 in cases where turpentine or benzine is used in primers) evaporated. 
 Finally, it should be of such a character as to unite readily with the oil 
 in the paint, if we do not wish the latter to peel off, and therefore in most 
 successful dryers we find a very large proportion of oil. Some painters use 
 oil alone, under certain conditions, with the most satisfactory results. 
 
 It is needless to admonish painters of the necessity for allowing the 
 priming to dry thoroughly before paint is applied to its surface, and the 
 same remarks must apply to the conditions to be observed in putting on 
 the second coat, etc. If the weather has been unfavorable to the drying 
 of one of the coats, a favorable change in the atmosphere should be 
 awaited; under no circumstances should one coat go over another while it 
 is not perfectly dry, or while any sign of dampness or moisture appears 
 on its surface. To the finishing coat these remarks apply with special 
 force, and if not observed the result will be spotting, dullness and lack of 
 durability. 
 
 The priming should be flowed evenly over the entire surface and 
 well rubbed in ; the first coat of paint should be worked in with extra 
 thoroughness, filling all pores, cracks, etc., and forming a good foundation 
 for subsequent coats, which should be applied with the even finish that is 
 acquired only by a practised use of the brush. Before priming, in new 
 work, knots and “ fat” places in wood, which by their resinous exudations 
 spoil all colors and often cause cracking, chipping, etc., should be 
 thoroughly killed, an application of shellac varnish being the best medium 
 for this purpose; in the case of a troublesome knot, a hot iron may be 
 used to draw out the rosin, or if very bad, the spot should be cut out 
 
cleanly and the hole properly stopped. After the first coat of paint is 
 dry, every crack or aperture should be carefully puttied and a smooth 
 surface prepared for the finishing coat. Some painters prefer a dark, 
 others a light color for their priming, leaving the finishing coat to be the 
 lightest of all; this is, however, a matter of technical taste, though it is 
 usually considered advisable to have a dark background to work on. 
 
 The ready mixed paints sent out by F. W. Devoe & Co., are, as their 
 name implies, ready for use , and contain all that is necessary in a first class 
 paint. In cold weather, which has a tendency to thicken all paints, the 
 least possible addition of spirits of turpentine may be allowed as thinning, 
 but it should be used only in barely sufficient quantity to effect the desired 
 result; at other times where a thin coat is desired, a small quantity of 
 
 raw linseed oil may be used ; any addition of benzine or other common 
 adulterant will impair at once the appearance and the durability of the 
 paint. 
 
 With these instructions and suggestions as to the selection and use 
 of colors, which we respectfully dedicate to the public in general and our 
 painters in particular, either the painter or the property owner should be 
 enabled, with the exercise of due intelligence, to accomplish the tasteful and 
 effective exterior decoration as well as the protection and preservation 
 of a building, in such a manner as to increase its durability, and at the 
 same time render it an agreeable object to contemplate from a distance 
 or near by ; a harmonious feature amidst the plainest or the most picturesque 
 surroundings. 
 
 With a view to the practical demonstration of the correctness of the principles we have enunciated 
 in the foregoing chapters, and as a means of illustrating the effects that can be produced by a judicious 
 and artistic use of colors, we present in the following pages, a series of Plates showing some methods of 
 decorative treatment applied to buildings of diversified styles and with varied surroundings. 
 
 Our object has been in these Plates to illustrate an average selection of existing buildings, both 
 modern and old-fashioned, in order to ensure the universal utility of the work; at the same time we 
 regard our Plates only as suggestions, upon which the painter can enlarge at pleasure to such an extent 
 as the colors at his command will allow, without, however, losing sight of artistic and tasteful effect. 
 
 In our Plates every condition as to the location, form, exterior design, etc., of the buildings repre¬ 
 sented has been carefully studied, and we reproduce the actual appearance, taking light and shade and 
 other important factors into consideration, that such structures would present if treated with the colors 
 enumerated, and in the manner described in the notes accompanying each illustration. 
 
 Note —The numbers in the descriptive matter accompanying each Plate refer to the tabulated Color Charts to be found on pages 94, 95. 
 
 ! 3 
 
PLATE I represents a private residence in the vicinity of New York, built in the modern ‘‘ Queen 
 Anne ” style of architecture. The building occupying an elevated site, stands near the highway and in a 
 somewhat exposed situation, there being but little foliage or variation of color in the surroundings. 
 
 The effect desired was richness and warmth of appearance and the avoidance of all violent contrasts 
 in the building itself and with the landscape. 
 
 To accomplish this the following combination of colors was employed: 
 
 Body, First Story, ------- No. 662 
 
 “ Second Story, 608 
 
 Trimming, - -- -- -- - “ 588 
 
 Blinds, 652 
 
 Sashes, - -- -- -- -- “ Black. 
 
 Peaks and Sides of Dormer, - - - - - - “ 651 
 
 The roof, of shingles, was left in the condition caused by exposure to the elements, but the same 
 color could be produced in new shingle work by the employment of a stain made with copperas solution. 
 
 14 
 
mi&b 
 
 
PLATE II shows the same building depicted in the previous plate treated with a view to bringing 
 it into greater prominence by the production of a bolder, brighter effect. 
 
 It will be observed that the general appearance of the house is still warmer and better-adapted, for 
 instance, to a winter landscape or surroundings in which cold or neutral tints prevail, than the previous 
 
 design. 
 
 The combination of colors used is: 
 
 Body, First Story, ------- No. 580 
 
 “ Second Story, 658 
 
 Trimming, - -- -- -- - “ 652 
 
 Blinds, - - - - - - - - -“651 
 
 Sashes, - -- -- -- -- “ 582 
 
 Peaks and Sides of Dormers, - - - - - “ 662 
 
 Roof, - - - - - - - - - “651 
 
 
 18 
 
PLATE III represents a style of building first erected in the Eastern and Middle States about 
 twenty-five years ago and still very popular. The original design was taken from an Italian villa residence, 
 and houses of this type, on account of their spacious interiors and reasonable cost of construction, are still 
 built in all parts of the country. 
 
 Our combination of colors, adapted to almost any surroundings, represents the first transition from 
 the original white and delicate neutral tints, and is intended to produce a somewhat more substantial effect 
 than the former were capable of, preserving, however, their cool appearance in a subdued form. 
 
 We use the following colors: 
 
 Body, 
 
 No. 541 
 
 Trimming, 
 
 534 
 
 58i 
 
 587 
 
 Blinds, 
 
 Sashes, 
 
 22 
 
PLATE IV. Here we illustrate the same building represented in Plate III, a brighter and more 
 prominent effect being desired. 
 
 The house in this case may be supposed to stand in near proximity to other structures, and the 
 design is therefore adapted for village or town purposes as well as for isolated buildings. 
 
 The body color in the front of the house is intensified by the strong sunlight falling on it; the 
 actual tint is best shown in the shadows. 
 
 The colors used are : 
 
 Body, 
 
 No. 526 
 
 Trimming, 
 
 Blinds, 
 
 Sashes, 
 
 608 
 
 651 
 
 608 
 
 26 
 
PLATE V shows the same building as the two preceding plates illustrate, but the combination of 
 colors is intended to give it a richer, warmer appearance. 
 
 A house so colored would form, under similar conditions, a helpful and agreeable contrast to either 
 of the two previous styles of decoration adopted for the building. 
 
 The colors comprise: 
 
 Body, - No. 656 
 
 Trimming, - 654 
 
 Blinds, - - - - - - - - * “651 
 
 Sashes, ~ “ 608 
 
PLATE VI. The residence of a prominent South American Government official, built in the 
 United States and erected in the Argentine Republic. 
 
 Being in a hot climate, with tropical surroundings as to foliage, etc., a cool effect was necessary and 
 neutral tints only, relieved with brighter colors, were selected, the ornate design of the building itself 
 greatly facilitating their employment. 
 
 The colors used‘are: 
 
 Body, --------- No. 591 
 
 Trimming and Sash, ------- 534 
 
 Blinds, --------- “544 
 
 The roof is of slate of a natural bluish shade. 
 
 34 
 

 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
In PLATE VII the building depicted in Plate VI is again represented, but a brighter and more 
 conspicuous appearance has been produced by the use of livelier colors. 
 
 At the same time it will be observed that any tendency towards warmth or heaviness has been 
 carefully and successfully avoided. 
 
 Body, --------- No. 595 
 
 Trimming, 527 
 
 Blinds, - - - - - - - - - “651 
 
 Sashes, - -- -- -- -- Color Same as Body. 
 
 38 
 
PLATE VIII. The style of house here represented is very prevalent and deservedly popular in 
 all parts of the country. It is economical as far as cost of construction is concerned, spacious and commo¬ 
 dious, and when treated with due regard to taste in decoration is capable of making an excellent 
 appearance. 
 
 Where the house occupies a prominent position, the coloring shown will be found effective and 
 appropriate. The contrast between the window shades in the upper and lower stories, and the general 
 effect is worth noting. 
 
 Body, --------- No. 651 
 
 Trimming, 654 
 
 Blinds, - - - - - - - - - “ 5^9 
 
 Sashes, - - - - - - - - -“ 539 or Black. 
 
 Roof, - - - - - - - - - “588 
 
 4 2 
 

In PLATE IX the same house is shown that has been illustrated in Plate VIII, the location being 
 similar, and a quieter but yet a warm effect being sought. 
 
 The colors used are: 
 
 Body, - ------- N 0> (56 j 
 
 Trimming, - 663 
 
 Blinds, - - - - - - - - - “652 
 
 Sashes, - - - - - - - - 651 
 
 Roof, --------- “ 587 
 
 46 
 

In PLATE X the building shown in the two previous illustrations is supposed to be located in an 
 isolated position, in a hilly country or remote from the highway or point of observation. 
 
 The bright, bold effect is peculiarly suited for such conditions, or where a building is surrounded by 
 heavy foliage, but would not constitute an agreeable contrast with other buildings that might be located in 
 the vicinity. 
 
 The local surroundings in our plate are the same as previously shown: 
 
 Body, 
 
 No. 580 
 
 Trimming, 
 
 Blinds, 
 
 Sashes, 
 
 Roof, 
 
 653 
 
 589 
 
 583 
 
 California Redwood Shingles 
 
 5 ° 
 

PLATE XI. The tendency of modern transportation companies to render their various structures 
 as attractive as possible, and the consequent increase in the demand for technical skill in the accomplish¬ 
 ment of this object, induces us to present an illustration of a depot on the Pennsylvania Railroad, the 
 coloring of which is intended to produce a bright and striking effect. 
 
 The surroundings are somewhat open, as is usual with buildings of this nature, but it will be noticed 
 that the depot is skilfully set off by the well kept grounds. 
 
 The colors used are: 
 
 Body, First Story, 
 
 No. 650 
 
 “ Second Story, 
 Trimming, 
 
 Sashes, 
 
 654 
 
 653 
 
 525 
 
 The roof is a combination of blue and green slate. 
 
 54 
 
PLATE XII. The production of a rich and elegant effect being desired in the depot described 
 Plate XI, a combination of deeper, warmer tints has been employed with a most pleasing result. 
 
 We have used: 
 
 Body, First Story, ------- No. 651 
 
 “ Second Story, ~ “ 654 
 
 Trimming, - ^S 2 
 
 Sashes, - - - - - * " " 5 2 5 
 
PLATE XIII. The old style country dwelling, typical in its lack of all architectural ornamentation 
 of the plain tastes and habits of the early settlers in the New England States, and of which many are still 
 to be found, is here depicted treated in conventional style—painted plain white with green blinds. 
 
 The cold, glaring effect is always harsh amid any surroundings, but the form of the house has been 
 regarded as almost prohibitory of any attempt at artistic treatment. 
 
 In Plate XIV we offer a suggestion as to what might be accomplished with a house of this style. 
 
 62 
 
PLATE XIV. At an expense of about twenty-five or thirty dollars belt courses of four-inch 
 tongue and groove boarding have been substituted for sections of the clap-boarding of our old-fashioned 
 house, effectually breaking up the flat side-wall surfaces, allowing of a contrast in color and effect between 
 the first and second stories, and architecturally changing the entire appearance of the structure. 
 
 The style of decoration would be adapted to almost any locality. 
 
 Body, First Story, 
 
 No. 611 
 
 “ Second Story, 
 
 Belt Courses and Trimming, 
 Blinds, - 
 Sashes, - 
 
 589 
 
 656 
 
 652 
 
 651 
 
 The roof of shingles is left the natural weather-beaten color. 
 
Plate XIV 
 
PLATE XV. In order to show the importance of care in the selection of colors in the produc¬ 
 tion of the harmony in contrast to which we have referred in our chapter on the “ Artistic Selection and 
 Combination of Colors,” we illustrate two houses, differing in design, but represented in close proximity to 
 each other and under similar conditions as to surrondings. 
 
 The general effect is rich, warm and elegant, the architectural details being brought into agreeable 
 prominence. The colors used in the house on the right hand side of the picture are: 
 
 Body, No. 605 
 
 Trimming, “ 652 
 
 Blinds, - - - - - - - - - “651 
 
 Sashes, - - - - - - - - -‘‘655 
 
 Peaks and Gable Fronts, ------ “ 650 
 
 Roof, - - - - - - - - - -‘‘587 
 
 In the house to the left of the picture we have used: 
 
 Body, --------- No. 650 
 
 Trimming, - - - - - - - “ 611 
 
 Blinds, --------- “ 652 
 
 Peaks, Shingle Work, Sashes and Belts around House, - “ 605 
 
 Roof, - - - - - - - - - ”589 
 
PLATE XVI shows the same houses illustrated in the preceding number, a different plan of 
 decorative treatment having been adopted. 
 
 The general effect is a little more subdued, but equal prominence has been given to the picturesque 
 
 architectural features of both buildings. 
 
 In the right hand house we use: 
 
 Body, Peaks, and Gable Fronts, ----- No. 589 
 
 Trimming, - _ _ - -“651 
 
 Blinds, --------- “652 
 
 Roof, ---_. Natural Weather Beaten Shingles. 
 For the decoration of the house on the left of our picture there has been employed: 
 
 Body, - - - - . . _ . No. 651 
 
 Trimming, 589 
 
 Blinds, --------- “ 609 
 
 Roof, Shingle Work and Belts around House, - - - “ 589 
 
 74 
 

PLATE XVII. We have endeavored in this illustration to give some idea of the decoration of a 
 building located on a lofty elevation and seen only from a distance, as is the case with many hotels and 
 summer places of residence throughout the country. The object is to produce a bold, striking appearance, 
 in contrast with the landscape and forming in it, from a remote point of observation, a prominent but 
 agreeable feature. 
 
 This can only be accomplished by a tasteful and judicious employment of the brightest and most 
 brilliant colors, even the chrome yellow shown in our plate producing an agreeable effect. 
 
 We have used: 
 
 Body, --------- No. 585 
 
 Trimming and Blinds, - - - - - - “ 651 
 
 Sashes, - - - - - - - - - “589 
 
 The roof is slate, of a natural bluish color. 
 
 78 
 
In PLATE XVIII we have the hotel building .shown in Plate XVII,. treated with a view to the 
 production of a richer and more substantial appearance, the harmony with the surrounding landscape 
 being more subdued, but equally agreeable, and the building from the customary points of observation 
 still prominent. 
 
 The colors used are : 
 
 Body, 
 
 No. 65 1 
 
 Trimming, 
 
 556 
 5 89 
 652 
 
 Blinds, 
 
 Sashes, 
 
 82 
 

PLATE XIX. The residence here shown, of excellent proportions and erected in an attractive 
 style of architecture, Is located in Connecticut and situated at such an elevation and with such open sur¬ 
 roundings as to have from almost all points of view, the sky as a background. 
 
 Painted in light neutral shades it presented a cold, unsubstantial appearance, and in order to give it 
 an air of warmth and solidity, and at the same time a certain cheerful prominence, the colors shown in our 
 design were suggested. 
 
 They are: 
 
 Body, --------- No. 589 
 
 Trimming, - - - - - - - - -“651 
 
 Blinds, - “ 652 
 
 Sashes, - - - - - - - - - “ 58 7 
 
 Roof, slate of natural blue aud green tints. 
 
 86 
 
Plate XIX 
 
 
In PLATE XX a second suggestion for the decoration of the building shown in Plate XIX is 
 illustrated, which as developing greater warmth and richness of effect, securing the desired solidity of 
 appearance and at the same time producing a still more satisfactory contrast with the surroundings, was 
 finally adopted, with entirely satisfactory results. 
 
 The colors employed were: 
 
 Body, 
 
 No. 651 
 
 Trimming, 
 
 652 
 
 588 
 
 Blinds, 
 
 Sashes, 
 
 582 
 

W.. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852,) 
 
 Offices: Corner of Fulton and William Streets, New York City. 
 
 MANUFACTURERS OF 
 
 WHITE LEAD, 
 ZINC WHITE, 
 DRY COLORS, 
 
 COLORS 
 
 I11 Oil; in Japan; and in Pulp. 
 
 VARNISHES 
 
 AND 
 
 JAPANS. 
 
 MANUFACTURERS OF 
 
 Artists’ Materials, 
 Tube Colors, 
 Artists’ Canvas, 
 FINE BRUSHES, 
 
 Civil Engineers’ 
 Supplies. 
 
 F. W. DEVOE & CO’S SALESROOMS AND OFFICES, 
 Corner Fulton and William Streets, New York. 
 
 We publish complete Illustrated Catalogues for each department of our business, giving full information as 
 
 regards cost, styles of packages, shades, descriptions, etc. 
 
 FREDERICK W. DEVOE. 
 
 JAMES F. DRUMMOND. 
 
 J. SEAVER PAGE. 
 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City, 
 
 MANUFACTURERS OF PAINTS OF ALL KINDS 
 
 Direct from the Crude Material. 
 
 This engraving exhibits the 
 present appearance of our Paint 
 Factories, which, we believe, 
 are the best arranged Works 
 of their kind in this country. 
 They all have the most approved 
 machinery, and their location in 
 New York City enables us to 
 make quick shipments and sav¬ 
 ing in cost of transportation. 
 They remain under the super¬ 
 intendence of Mr. James F. 
 Drummond, —of our Firm,— 
 who has personally directed their 
 operation since 1856. 
 
 Our Works have two hundred 
 feet frontage on Horatio Street 
 and extend through to Jane 
 Street, with a frontage of one 
 hundred and seventy-five feet. 
 
 PAINT AND COLOR WORKS, 
 AND BRUSH FACTORY: 
 
 104,106,108,110& 112 Horatio Street. 
 
 105,107,109 & 111 Jane Street, New York City. 
 
 Their different departments 
 cover a floor space of about four 
 acres. 
 
 The perfect mills and machin¬ 
 ery, and the general arrange¬ 
 ments for economic manufacture, 
 with the care exercised in the 
 selection of materials, enable us 
 to produce, at the closest figures, 
 the best grades of goods, equal to 
 any in the market. OUR Dry 
 COLORS are much esteemed by 
 the Trade, for their strength, bril¬ 
 liancy and purity. Great care 
 is given to the fine grinding of 
 Colors in Pure Linseed Oil, 
 for Painters’ use; and the purity 
 of the best grade is indicated by 
 a copy of our signature on the 
 label. 
 
 The growing interest in Art matters, induced us some years since to add to our general business the Manufacture, Importing and Dealing in ARTISTS’ MATERIALS. 
 For this purpose we increased the facilities of our Factories, and secured the most experienced workmen and approved machinery. The intention was to give special care to the 
 production of ARTISTS’ Fine COLORS IN Oil, Brushes, Canvas, Academy Boards, etc., and make these goods equal, and where possible superior to those of the best 
 Foreign manufacture. This effort has met with a very liberal appreciation from Artists of highest standing through the country, and a largely increased demand each year, 
 from the Trade. We have recently added a department for the manufacture of MATHEMATICAL INSTRUMENTS. 
 
 Among the various departments in the Factory, we may mention those for:— 
 
 White Lead and Zinc White Paints. 
 
 Dry Colors, Chrome Greens, Blues, Chrome Yellows, etc. 
 “ Zubia Vermilion.” 
 
 “Persian Scarlet.” 
 
 Colors in Oil,—for House Painters. 
 
 Colors in Japan,—for Coach and Car Painters. 
 
 Pulp, Distemper, “Florentine Fresco Colors.” 
 “ Park Lawn Green.” 
 
 “Artisan Graining Colors.” 
 
 “Flat Brick Red.” 
 
 Mixed Paint Ready for Use. 
 
 “Diamond Colors,” in Paste Form, 
 
 Dry Grinding and Pulverizing of Umbers, Siennas, Drop Black, etc. 
 Tin Pails, Cans, Painters’ Tinware. 
 
 Brashes and Pencils,— for Artists, Grainers and Painters. 
 
 Artists’ Tube Colors, Prepared Canvas, etc. 
 
 Mathematical Instruments. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner of Fulton and William Streets, New York City. 
 
 Manufacturers of Fine Varnishes. 
 
 VARNISHES 
 
 OF EVERY DESCRIPTION, 
 
 For Exterior Work, 
 
 INCLUDING 
 
 CAR FINISHING, 
 COACH and CAR RUBBING, 
 COACH FINISHING, 
 SHIP COATING, 
 
 Etc. 
 
 
 R R1AGE' 
 
 
 VARNISH WORKS: 213, 215, 217 and 219 RAILROAD AVENUE, NEWARK, NEW JERSEY. 
 
 VARNISHES 
 
 OF EVERY DESCRIPTION, 
 
 For Interior Work, 
 
 INCLUDING 
 
 HARD OIL FINISH, 
 
 WOOD COATING, 
 
 WOOD FILLER, 
 COPAL, DAMAR, 
 Etc. 
 
 Our Works for the manufacture of Varnishes, Japans, etc., are located in the city of Newark, New Jersey. They are very completely arranged and have every facility 
 for the perfect production of the different classes of Varnish, such as Railway, Car, Fine Coach, Carriage, Copal, Damar, Black Japan and Liquid Dryers. 
 
 We have been engaged many years in the manufacture of the above, and have a large and valuable experience in that line. 
 
 Our goods have been long and favorably known, both at home and abroad, for their great superiority. 
 
 We shall continue to maintain their high standard of quality in the future as in the past, and our goods will be found to be fully equal in quality to those of European 
 
 manufacture, and much lower in cost. . 
 
 Our Fine Varnishes after being exposed to severe competitive tests, have been adopted by many of the leading RAILWAY COMPANIES of the United States. 
 Among them we may mention the Pennsylvania Railroad, New York Central Railroad, Manhattan Elevated Railroad, Brooklyn Elevated Railroad, Philadelphia & Reading 
 Railroad, Pullman Palace Car Company, New York, Lake Erie & Western Railway, Long Island Railroad, and many others. 
 
 They will be found to be BRILLIANT and ELASTIC, and to possess all the important qualities of reliable Varnishes. They are put up in barrels, and m cans of 
 every size, from one-half pint to five gallons each, labeled and carefully boxed for distant shipment; each package bearing our label and seal. 
 
 This department of our business is under the special direction of Mr. J. Seaver Page, of our firm. 
 
 SEND FOR SPECIAL CATALOGUE GIVING FULL INFORMATION. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852,) 
 
 Offices: corner Fulton and William Streets, New York City, 
 
 Manufacturers and 
 
 F. W. Devoe & Co’s Artists’ Oils, Varnishes, Mediums, &c. 
 
 Importers 
 
 of Artists’ Materials. 
 
 F. W. Devoe & Co’s Sketching Blocks, for Oil, Water Color and Pencil. 
 
 We publish a complete Illustrated Catalogue of 250 pages devoted entirely to the above goods. In it will be found a descriptive Priced List of every requirement of an artist. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City. 
 
 Manufacturers of Fine Brushes 
 
 Of Every Description. 
 
 F. W. Devoe & Co.’s Fresco Brushes. 
 
 We publish a complete Illustrated Catalogue of 88 pages of our Brush Department. We manufacture brushes of every description direct from the 
 raw material, and the appointments of our Brush Factory are second to none in the country. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852,) 
 
 Offices: corner Fulton and William Streets, New York City, 
 
 Manufacturers of 
 
 THE HIGHEST GRADES OF READY MIXED PAINTS. 
 
 Attention is called to 
 our sample pages, show¬ 
 ing fifty of our more 
 desirable shades. 
 
 O 
 
 Ready for 
 
 THIS PAINT IS MIXED READY FOR THE BRUSH,AND REQUIRES 
 
 NO THINNING.-STIR IT THOROUGHLY BEFORE USING. 
 
 '— MANUFACTURED BY -— 
 
 F.W.DEV0E&CO.-NEW YORK. . 
 
 The value of these 
 Paints has been demon¬ 
 strated by many years 
 of practical use. 
 
 This is a fac-simile of our Label, which will be found on every package. 
 
 Our Ready Mixed Paints are made from the best materials only, and do not enter into competition with low- 
 priced goods. Send for special Catalogue, showing samples of shades and giving full information. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852,) 
 
 Offices: Corner Fulton and William Streets, New York City. 
 
 Manufacturers of 
 
 THE HIGHEST GRADES OF READY MIXED PAINTS 
 
 FOR HOUSEHOLD USE. 
 
 IMPORTANT! 
 
 Please read this notice. 
 
 iT 
 
 NOTICE. 
 
 WE GUARANTEE THAT THE PAINT CONTAINED IN 
 THIS PACKACE IS STRICTLY PURE IN EVE RV 
 RESPECT-IT IS COMPOSED ONLY OF STRICTLY PURE 
 WHITE LEAD (carbonate of lead) AND PURE WHITE ZINC 
 (OXIDE OF ZINC) COMBINED WITH PURE LINSEED OIL AND 
 SUFFICIENT TURPENTINE AND DRYER TO INSURE PROPER 
 WORKING- IT CONTAINS NO BENZINE,ALKALI, WATER OR 
 ANY OTHER FORM OF ADULTERATION- 
 
 THIS PAINT IS PUT UP FULL WEICHT- 
 
 k signed- f.w.devoe&co. a 
 
 We put this guarantee on every 
 package of Inside and Outside White, 
 from a one pound can to a 40 gallon 
 barrel. 
 
 Our Tints and Body Colors are 
 composed of mineral colors and the 
 most permanent pigments. 
 
 We use ON LY pure linseed 
 oil in our Mixed Paints. 
 
 This is a fac-simile of our label which we put on small packages of Mixed Paint. 
 
 Sample Cards, containing 50 desirable tints and body colors, sent to any address on request. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices and Salesrooms: corner Fulton and William Streets, New York City, 
 Manufacturers and Importers of 
 
 Mathematical Instruments 
 
 —AND— 
 
 Draughtsmens’ and Civil Engineers’ Supplies. 
 
 SWISS, GERMAN, 
 
 FRENCH AND ENGLISH 
 
 MATHEMATICAL INSTRUMENTS, 
 
 THUMB TACKS, 
 
 PROTRACTORS, 
 
 SCALES, 
 
 T SQUARES, 
 
 TRIANGLES, 
 
 DRAWING BOARDS, 
 
 INDIA INKS, 
 
 DRAUGHTSMEN’S CHINAWARE, 
 WHATMAN PAPERS, 
 
 PARCHMENT, 
 
 TRACING PAPERS, 
 
 DRAWING PAPERS (in Rolls), 
 BLUE PROCESS PAPER, 
 PROFILE AND CROSS-SECTION PAPER, 
 
 TRANSITS, 
 
 LEVELS, 
 
 THEODOLITES, 
 
 PLANE TABLES, 
 
 CHAINS, 
 
 LEVELING RODS, 
 
 TAPES, 
 
 PROFILE BOOKS, 
 
 PLUMB BOBS, 
 
 BAROMETERS, 
 
 SEXTANTS, 
 
 COMPASSES, 
 
 BOOKS ON ENGINEERING. 
 
 We publish a complete Illustrated Catalogue of 264 pages devoted entirely to the above goods. In it will 
 be found a full description and Priced List of every requisite of a Civil Engineer or Draughtsman. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 Florentine Fresco Colors, 
 
 FOR FRESCO AND SCENE PAINTING. 
 
 LIST OF COLORS. 
 
 Mountain Blue. Roman Ochre. 
 
 Maroon Lake. Roman Ochre,—Extra Deep. 
 
 Mauve Lake. Scarlet Lake. 
 
 Magenta Lake. Solferino Lake. 
 
 Milori Yellow,—Light. Sepia. 
 
 Milori Yellow,—Deep. Turkey Burnt Umber. 
 
 Milori Green,—Light. Turkey Raw Umber. 
 
 Milori Green,—Medium. Turkey Red,—Light. 
 
 Milori Green,—Deep. Turkey Red,—Deep. 
 
 Naples Yellow. Ultramarine Blue. 
 
 Olive Green,—Light. Ultramarine Green,—Light. 
 
 Olive Green,—Medium. Ultramarine Green,—Deep. 
 
 Olive Green,—Deep, Ultramarine,—Violet. 
 
 Old Gold. Venetian Red. 
 
 Prussian Blue. Yellow Ochre. 
 
 Purple Lake. 
 
 These are carefully selected Superfine Colors, and prepared in a pulp state—without glue or sizing, for the use of Fresco and Scene Painters. They 
 are very finely ground and will be found much more desirable than the usual Distemper Colors. These Colors are packed in round, clear white glass 
 jars carefully covered and bladdered. The jars are of one size—about 3^ inches high by 2$ inches in diameter (as per cut above). 
 
 SPECIAL LARGE PACKAGES FOR CONSUMERS. CATALOGUES CONTAINING SAMPLES OF ALL THE ABOVE COLORS SENT ON REQUEST. 
 
 We keep a full line of Fresco Designs , Brushes and other materials for decoration. 
 
 LIST OF COLORS. 
 
 Antwerp Blue. 
 Blue Black. 
 Bremen Blue. 
 Brown Ochre. 
 Cobalt Blue. 
 Carmine Lake. 
 Carnation Lake. 
 Crimson Lake. 
 Chrome Green,— 
 Chrome Green,— 
 Chrome Green,— 
 Cremnitz White. 
 Chrome Yellow,- 
 Chrome Yellow,- 
 Chrome Yellow,- 
 Chrome Orange. 
 
 Light. 
 
 •Medium. 
 
 Deep. 
 
 -Light. 
 
 -Medium. 
 
 -Deep. 
 
 Dutch Pink. 
 
 Emerald Green. 
 
 English Vermilion,—Pale. 
 English Vermilion,—Deep 
 Florence Lake. 
 
 French Zinc White. 
 
 Gold Ochre. 
 
 Green Lake. 
 
 Ivory Black. 
 
 Indigo. 
 
 Italian Burnt Sienna. 
 Imperial Madder,—Light. 
 Imperial Madder,—Deep. 
 Italian Raw Sienna. 
 
 Italian Vandyke Brown. 
 Indian Red. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City, 
 
 MANUFACTURERS OF 
 
 Finest Grades of Colors, 
 
 GROUND IN PURE LINSEED OIL. 
 
 Fac-simile of our Label used on our BEST GRADE. 
 
 During the past few years many manufacturers have largely deteriorated the quality of their highest grades of Oil Colors by 
 grinding them in inferior oils, such as “Rosin Oil,” Petroleum Products, etc., instead of “ Pure Linseed Oil and also by using inferior 
 grades of pigments. We have, on the contrary, not only resolutely maintained our high standard of absolute purity, but have made many 
 improvements in our shades , etc., which have, as a consequence, given our colors the highest reputation among the best class of painters. 
 
 We claim that our colors, taking both their quality and price into consideration, are for the consumer the most economical ever 
 manufactured. 
 
 We publish the most complete Color Catalogue, of 135 pages, ever issued, giving full description of our 
 
 goods, fac-similes of our Labels, etc. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 Finest Grades of Dry Colors, 
 
 DIRECT FROM THE RAW MATERIAL. 
 
 CHROME YELLOWS. 
 
 CHROME GREENS. 
 
 PRUSSIAN BLUE. 
 
 CHINESE BLUE. 
 
 PARIS BLUE. 
 
 OCHRES. 
 
 UMBERS. 
 
 SIENNAS. 
 
 TRADE MARK. 
 
 VERMILIONS. 
 
 “ ZUBIA ” VERMILION, 
 
 (A Substitute for Quicksilver Vermilion.) 
 
 “PERSIAN SCARLET." 
 
 TUSCAN REDS. 
 
 INDIAN REDS. 
 
 IVORY BLACKS. 
 
 ORANGE MINERAL. 
 
 FINE LAKES. 
 
 We are large manufacturers of Dry Colors direct from the raw material, and also have an extensive 
 correspondence with English, French and German Color Makers, and large storage facilities at our Works. 
 We are, therefore, enabled to have constantly on hand a full stock of Dry Colors, such as are used by Paint 
 Grinders, Decorators, Paper Stainers, Lithographers, Printing Ink Makers, Etc., Etc. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: Corner Fulton and William Streets, New York City. 
 
 Specialties for Interior and Exterior Woodwork. 
 
 WAX FINISH. 
 
 For finishing interior woodwork where 
 a soft, oily appearance is desired, and is de 
 signed to be used in place of varnish where 
 hard or stained woods are used. It is also 
 serviceable for coating wood floors. 
 
 HARD OIL FINISH. 
 
 For finishing interior woodwork where a 
 hard, glossy finish is desired. This is very 
 durable, and has always given absolute 
 satisfaction. We make “ Light Oil Finish,” 
 for light woods, and “ Hard Oil Finish,” 
 for dark woods. 
 
 FRENCH ZINC. 
 
 Green and Red Seal, in Poppy Oil. 
 
 We grind strictly pure French Zinc in 
 poppy oil for inside finishing where a pure 
 white surface, which will not turn yellow, 
 is desired. 
 
 ZANZORITE. 
 
 An elastic and durable Varnish for coating 
 the exterior of buildings where a handsome 
 finish is desired. Houses painted in dark 
 shades which have become dull can have 
 their lustre and color renewed by using Zan- 
 zorite. 
 
 PASTE WOOD FILLER. 
 
 For filling the grain of hard woods. It 
 fills the pores of the wood thoroughly, giv¬ 
 ing a soft, smooth finish without grit, so that 
 a brilliant surface is obtained with but one 
 coat of varnish. 
 
 GRAINING COLORS. 
 
 For graining woods in imitation of Light 
 and Dark Oak, Chestnut, Walnut, Ma¬ 
 hogany, etc. These colors are especially 
 prepared so as to work to the best advan¬ 
 tage under the graining tool. Will dry in 
 twelve hours. 
 
 WOOD STAINS. 
 
 For staining soft woods in perfect imita¬ 
 tion of the natural hard woods. We make 
 Rosewood, Mahogany, Cherry, Ebony, Black 
 Walnut, Chestnut, and Light and Dark Oak 
 Stains. 
 
 SHIP COATING. 
 
 A tough and elastic finish for all exposed 
 parts of vessels, such as spars, masts, 
 woodwork, cabins, etc. This is specially 
 designed to withstand the action of the 
 elements. 
 
 INSIDE WHITE LEAD. 
 
 We manufacture this lead specially for 
 inside work. It has great covering proper¬ 
 ties, works remarkably smooth under the 
 brush, and is particularly adapted for hotel 
 work. Will not turn yellow. 
 
 WRITE FOR CIRCULARS GIVING FULL DESCRIPTION. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 Coach and Car Colors, 
 
 GROUND IN JAPAN, 
 
 For the Special Use of Coach, Car and Carriage Painters. 
 
 Fac-simile of Label used on Can. 
 
 These Colors are made with great care, and ground from dry materials and Japans manufactured in our own Factories. We are thereby 
 enabled to guarantee their perfect purity. They have been largely used for the past ten years in the leading Car and Carriage Shops of the 
 United States. 
 
 We publish a Catalogue and Priced List, giving full information and to which is 
 
 attached finished samples of Colors. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 corner Fulton and William Streets, New York City. 
 
 Offices: 
 
 Specialties 
 
 MANUFACTURERS OF 
 
 — SPECIAL — 
 
 Paint and Varnish Brushes. 
 
 Made expressly for the use of Railway 
 Car Painters and Varnishers. 
 
 .MANUFACTURERS OF 
 
 F. W. DEVOE & COMPANY'S 
 
 PASTE WOOD FILLER. 
 
 For Filling up the Grain of Hard Woods 
 
 Preferred by Car Finishers to any other 
 make. 
 
 for Railway 
 
 MANUFACTURERS OF 
 THE HIGHEST GRADES OF 
 
 OUTSIDE 
 
 RAILWAY CAR VARNISHES 
 
 Used by the leading Railway Companies 
 in the United States. 
 
 MANUFACTURERS OF 
 THE HIGHEST GRADES OF 
 
 INSIDE 
 
 RAILWAY CAR VARNISHES 
 
 Used by the leading Railway Companies 
 of the United States. 
 
 Companies. 
 
 MANUFACTURERS OF 
 
 Special Car Body Colors, 
 
 FOR PASSENGER CAR WORK. 
 
 These Colors were awarded the Gold 
 Medal in the National Exposition of Rail¬ 
 way Appliances, held in Chicago, June, 1883. 
 
 MANUFACTURERS OF 
 
 Special Car Body Colors. 
 
 FOR FREIGHT CAR WORK. 
 
 MANUFACTURERS OF 
 
 F. W. DEVOE & COMPANY’S 
 
 Rocky Mountain Vermilion, 
 
 Mixed Ready for Use. 
 
 
 MANUFACTURERS OF 
 
 F. W. DEVOE & COMPANY'S 
 
 “PERGRADUS.” 
 
 
 MANUFACTURERS OF 
 
 Special Ready Mixed Paints. 
 
 FOR ROOFS, BRIDGES AND IRON WORK. 
 
 This Paint contains the largest known percentage of Oxide of 
 Iron, and is very fine and durable. 
 
 
 A system for Painting and Varnishing 
 Coach, Car and Carriage Bodies. 
 
 Send for Circular giving full description. 
 
 
 For Railway Depots, Sheds, Etc. 
 
 SPECIAL CATALOGUES GIVING FULL EXPLANATION SENT ON APPLICATION. 
 
F. W. DEVOE & COMPANY, 
 
 (Established i 852 .) 
 
 Olfices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 ELASTIC ROOF COATING, 
 
 MIXED READY FOR USE. 
 
 In Two Shades— Brown and Red. 
 
 SPECIALLY ADAPTED LOR USE ON METALLIC ROOLS. 
 
 There is no surface to which paint is applied that receives such severe wear as the roofs of 
 buildings, railway cars, etc., as they are constantly exposed to the action of the elements, and to keep them 
 in good condition by the use of ordinary roofing paints it is necessary to re-coat them frequently. 
 
 Many of the roofing paints heretofore manufactured have been found, after short exposure, to 
 crack badly or disappear in the form of a powder. 
 
 The Elastic Roof Coating has been extensively used for many years, and has been found 
 to be the most lasting and satisfactory ever manufactured, as, owing to its peculiar composition, it has 
 never been known to crack or rub off, but retains its elastic and solid surface, perfectly impervious to 
 water and thoroughly protecting the metallic surface from rust and leakage. 
 
 Architects and Builders are requested to give this paint a trial, as we feel very confident that its 
 value will in every case be demonstrated by practical use. 
 
 Put up in Barrels and Flalf-Barrels, Kegs of 5 and 10 gallons, Cans of 1 gallon. 
 
F. W. DEVOE & COMPANY, 
 
 (Established i 852 .) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 THE HIGHEST GRADES OF 
 
 COACH, CAR AND CARRIAGE VARNISHES. 
 
 Our Varnishes have been long and favorably known by the Railway Car and Carriage Manufacturers throughout the United States, and are by them 
 highly esteemed for their ease of working, brilliancy and great durability. 
 
 At different times some of the largest RAILWAY CORPORATIONS in the country have made elaborate and severe tests of the varnishes made 
 by different manufacturers, and in every case the results of such tests have been in favor of the varnishes manufactured by F. W. DEVOE & COMPANY. 
 
 We claim that our varnishes are equal in quality to any manufactured in the United States or abroad. We do not spend large sums in extravagant 
 methods of advertising, but market our goods on their merits alone. 
 
 DESCRIPTIVE LIST OF SOME OF OUR DIFFERENT MANUFACTURES : 
 
 WEARING BODY, or FINISHING, - $5.50 
 
 A very pale Varnish of great brilliancy and 
 durability. Unsurpassed in its free working 
 qualities. Dries dust free in io to 12 hours, 
 and can be run out in 3 to 4 days. 
 
 MEDIUM DRYING BODY, - - - 5.00 
 
 Fully equal to our Finishing Body in pale¬ 
 ness and freedom of working. Dries dust free 
 in 10 hours, and can be run out in from 2 to 3 
 days. 
 
 HARD DRYING BODY, - - - 4.50 
 
 A pale and brilliant Varnish, working easily, 
 and drying dust free in 6 to 8 hours. Can be 
 used for hurried finishing. 
 
 WEARING CARRIAGE, OR GEAR, - - 4.50 
 
 For finishing wheels and the under parts of 
 carriages. A free working, rich lustre and 
 durable Varnish. 
 
 ELASTIC CARRIAGE, - - - 4.00 
 
 A superior Varnish for finishing the under 
 parts of carriages. Very light in color, good 
 body; will dust-dry over night, and harden in 
 24 hours. 
 
 PALE RUBBING, or LEVELING, - - 4.25 
 
 Is quite pale, works freely and rubs easily. 
 
 Will rub in 3 days without sweating. 
 
 QUICK RUBBING, - $375 
 
 This Varnish is used for quick work, as its 
 name indicates. Can be rubbed in from 36 to 
 48 hours, and will neither sweat nor crack. 
 
 BLACK RUBBING, ----- 4 . 00 
 
 A Jet Black Rubbing Varnish. Works easily 
 and can be rubbed in 48 hours. 
 
 ONE COAT COACH, - - 3.00 
 
 A heavy bodied, light colored Varnish. 
 Works easily and gives a brilliant finish. Dries 
 in 24 hours. 
 
 EXTRA No. 1 COACH, - - - - 2.50 
 
 Heavy body; light color and quick drying; 
 for general carriage undercoats and repairing. 
 
 Dries hard in 12 hours. 
 
 No. 1 COACH, ----- 2.00 
 
 Good body; light color; for carriage repair 
 work, grained and inside work generally. Dries 
 over night. 
 
 No. 2 COACH, ------ 1.50 
 
 For general carriage work, painters’ use, etc. 
 
 COACH PAINTERS’ JAPAN, - - 1.75 
 
 For coach and car painters. A sure dryer 
 and binder. Will mix readily with oil, and will 
 not curdle. 
 
 BLACK ENAMEL LEATHER TOP, - 3.00 
 
 For refinishing old coach and carriage tops. 
 
 OUTSIDE CAR FINISHING, - - $5.50 
 
 This Varnish is intended for final or finishing 
 coats on best passenger car work. Is very pale 
 and durable; will resist the action of dust, 
 cinders and rain. Dries dust free in 18 hours. 
 
 INSIDE CAR FINISHING, - - - 4.50 
 
 For finishing interior work of passenger cars. 
 
 Very light color, heavy body, and dries 
 thoroughly hard over night. 
 
 RAILWAY RUBBING, - 4.50 
 
 For undercoats on passenger cars. Can be 
 rubbed in 2 days without sweating. 
 
 ENGINE FINISHING, - 5.00 
 
 A pale and free working Varnish. It is in¬ 
 tended for finishing coats on engines. It dries 
 over night, and can be run out in 3 days. 
 
 ENGINE RUBBING, - 4.50 
 
 For undercoats on engines. Can be rubbed 
 in 24 hours. 
 
 BROWN DRYING JAPAN, - - - 1.50 
 
 A superior article for drying and binding 
 colors. 
 
 BLACK JAPAN, ----- 1.50 
 
 A quick drying Black Japan, for use on 
 smoke-stacks and all iron work on railway cars. 
 
 Dries hard, with brilliant lustre. 
 
F. W. DEVOE & COMPANY, 
 
 (Established i 852 .) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 Paste Wood Surfacers, or Fillers, 
 
 FOR LIGHT AND DARK WOODS. 
 
 Th ese articles are superior to anything of the kind heretofore manufactured, from the fact that they thor¬ 
 oughly fill the pores of the wood and leave a perfectly smooth finish. 
 
 Many Fillers being largely composed of gritty substances, leave a rough, sandy surface, thereby pre¬ 
 venting a perfect result after polishing or varnishing. 
 
 Our Paste Fillers, on account of their peculiar softness, are preferred by all who have given them a 
 careful trial. 
 
 They are used by many of the leading Railway Companies and builders, who value them particularly on 
 account of the superior results attained by their use. 
 
 We ask Architects and Builders to give the above their careful consideration. 
 
 DIRECTIONS : 
 
 Thin the Filler with Spirit Turpentine to the consistency of Heavy Body Varnish. If it sets too quick, add a little Raw Linseed 
 Oil. Apply with ordinary paint brush (well worn), rubbing well into the wood. Allow it to set until it assumes a whitish appearance, 
 which will be in from fifteen to twenty minutes; then scrape off with a square putty knife, or wipe off with rags or waste. The best 
 result is gained by scraping. 
 
 Use a sharp stick to clean out the crevices in ornaments and mouldings. Allow the filled work- to stand, after scraping and cleaning 
 off, from eight to ten hours; then proceed to finish with Shellac or Varnish, as desired. Care must be taken not to go over more surface 
 with the Filler than can be cleaned off before hardening. 
 
F. W. DEVOE & COMPANY, 
 
 (Established i 852 .) 
 
 Offices: corner Fulton and William Streets, New York City, 
 MANUFACTURERS OF 
 
 Superior Wood Coating, 
 
 A brilliant and durable Pinish and Protector for all kinds of hard and soft woods, either natural, painted or 
 stained. It is highly recommended as a finish for churches, dwellings, public buildings, 
 hospitals, floors, etc., used either on exterior or interior work. 
 
 No. i COATING, 
 
 Dries in 24 Hours. 
 
 $4.00. No. 2 COATING, - - - $2.75. 
 
 Dries in j 2 Hours. 
 
 These Coatings give a more BRILLIANT, HARD and ELASTIC surface than Hard Oil Finish, and although higher in price, will 
 be found much more DURABLE and ECONOMICAL in the end ; as, owing to the materials used in their manufacture, they will not scratch 
 or crack , as is the case with many of the cheap articles. 
 
 We call the attention of ARCHITECTS and BUILDERS to the above, and ask them to give these their careful consideration. 
 
 DIRECTIONS : 
 
 On new work, fill the grain or pores of the wood with our “ Paste Wood Surfacer” as per directions. When thoroughly dry, rub 
 
 down with fine sand paper, and apply one coat of either No. 1 or No. 2 Coating, as circumstances permit; if a very high gloss is wanted, 
 
 finish with No. 1 Coating. Care must be used to allow one coat to thoroughly harden before applying another. For last, or finishing coat 
 
 on outside work, use No. 1 Coating. 
 
F. W. DEVOE & COMPANY, 
 
 (Established 1852.) 
 
 Offices: corner Fulton and William Streets, New York City. 
 
 THE HIGHEST PREMIUM. 
 
 THE ONLY GOLD MEDAL 
 
 FOR 
 
 CAR BODY COLORS 
 
 GIVEN AT THE 
 
 National Exposition of Railway Appliances, held in Chicago, (tine, 1883, 
 
 WAS UNANIMOUSLY AWARDED TO F. W. DEVOE & COMPANY. 
 
 THE HIGHEST AWARD. 
 
 A SILVER MEDAL, 
 
 FOR OUR MANUFACTURE OF 
 
 FAINT, VARNISH AND ARTISTS* 
 
 BRUSHES. 
 
 At this Exposition our manufactures were subjected to the most severe tests, and the most searching criticisms, by specially appointed 
 juries, composed of some of the most practical master car painters of the United States, and we are happy to state that we were unanimously 
 awarded the above prizes, over all other competitors. F. W. DEVOE & COMPANY. 
 
COFFIN, DEVOE & COMPANY, 
 
 176 Randolph Street, Chicago, Ills., 
 
 General Wholesale Western Agents 
 
 FOR THE SALE OF 
 
 F. W. Devoe & Company’s 
 
 MANUFACTURES. 
 
 Messrs. Coffin, Devoe & Company keep on hand a full and complete stock of our 
 PAINTS, VARNISHES, BRUSHES and ARTISTS’ MATERIALS. 
 
 FREDERICK W. DEVOE, 
 
 President. 
 
 GORHAM B. COFFIN, 
 
 Vice- President. 
 
 }. SEYMOUR CURRY, 
 
 Secretary and Treasurer. 
 

Telephone (212) 772-8787 
 Telefax (212) 737-9306 
 
 Ursus Rare Books Ltd. 
 
 981 Madison Avenue 
 New York, NewYork 10075 
 
 WITH THE COLOURED PAINT CHIPS 
 
 DEVOE & COMPANY, F.W. Exterior Decoration. A 
 Treatise on the Artistic Use of Colors in the Ornamentation of 
 Buildings and A Series of Designs, Illustrating the Effects of 
 Different Combinations of Colors in Connection with Various 
 Styles of Architecture. Text: 13 pp. Illustrated by 20 
 chromolithographed plates with letterpress description 
 opposite, plus two plates with 50 paint samples and 20 pp. of 
 ads in the rear for Devoe & Co. products, some with colour 
 printing. Oblong folio, 300 x 375 mm, bound in original blue 
 publisher's cloth, title in gilt on front cover. New York: F. W. 
 Devoe & Company, 1885. 
 
 First Edition. Extremely rare work on nineteenth- 
 century American architectural design. Colour documentation 
 is a most difficult problem facing the owner of a period house 
 who wants to paint it authentically. It is nearly impossible for 
 two people to discuss colour without an actual sample as a 
 point of reference. This volume uses full-page colour 
 lithographs in duplicate to demonstrate the effects of different 
 colour schemes and how they can be combined successfully. 
 
 Each paint colour on the houses in the colour lithographs is 
 keyed by number to a specific "ready-mix" paint chip bound in 
 at the rear. Thus the Devoe treatise is in part an actual "display 
 book" with colour plates and paint chips matching the colours 
 used for contemporary American Victorian houses. 
 
Telephone (212) 772-8787 
 Telefax (212) 737-9306 
 
 Ursus Rare Books Ltd. 
 
 981 Madison Avenue 
 New York, New York 10075 
 
 The text includes short introductory sections on: "Art in House 
 Painting," "The Artistic Selection and Combination of Colors," 
 "A Chapter on Paints," and "Practical Suggestions to the 
 Painter." The purpose of this book was to make available rare 
 primary documents on nineteenth-century architecture and 
 decoration to which curators, collectors, architects and 
 preservationists could refer. Topics of some of the other titles 
 in the series included works on drapery design, architectural 
 ironwork, lighting fixtures, Gothic Revival furniture, plumbing, 
 kitchens and architectural pattern books. 
 
 A reprint facsimile of this volume was issued in 1975 as the 
 first publication in a new series entitled The Athenaeum 
 Library of Nineteenth Century America. Near-fine condition. 
 
Devoe & Company. F.W. Exterior Decoration. A Treatise on the 
 Artistic Use of Colors in the Ornamentation of Buildings and A Series of 
 Designs, Illustrating the Effects of Different Combinations of Colors in 
 Connection with Various Styles of Architecture (New York, 1885). 
 
 This is the first edition of an extremely rare work on nineteenth-century 
 American architectural design. Color documentation was a difficult 
 problem facing the owner of a period house who wanted to paint it 
 authentically. It is nearly impossible for two people to discuss color 
 without an actual sample as a point of reference. This volume uses full- 
 page color lithographs in duplicate to demonstrate the effects of different 
 color schemes and how they can be combined successfully. 
 
 Each paint color on the houses in the color lithographs is keyed by 
 number to a specific "ready-mix" paint chip bound in at the rear. Thus 
 the Devoe treatise is in part an actual "display book" with color plates 
 and paint chips matching the colors used for contemporary American 
 Victorian houses. 
 
 The text includes short introductory sections on: "Art in House 
 Painting," "The Artistic Selection and Combination of Colors," "A 
 Chapter on Paints," and "Practical Suggestions to the Painter." The 
 purpose of this book was to make available rare primary documents on 
 nineteenth-century architecture and decoration to which curators, 
 collectors, architects and preservationists could refer. Topics of some of 
 the other titles in the series included works on drapery design, 
 architectural ironwork, lighting fixtures, Gothic Revival furniture, 
 plumbing, kitchens and architectural pattern books. Illustrated by 20 
 chromolithographed plates with letterpress description opposite, plus 
 two plates with 50 paint samples and 20 pp. of ads in the rear for Devoe 
 & Co. products, some with color printing. 
 
 A reprint facsimile of this volume was issued in 1975 as the first 
 publication in a new series entitled The Athenaeum Library of 
 Nineteenth Century America. Near-fine condition.