^"-^^^ c *°-n.. \„.^** / ,•1* .-ii/!^-. *, •"*".. * X''-^'-'.'^ %.""\^' :. ■^'^o* .*^°- »°-*. 5> ..^:^'* "^^ *^. '* oTT^' .^^' < o <^* ,.. %. ^^^c,V^ .^ /^ \. .>°',-a^'/°^ ./.>;z^-.V oo^.:^•->. ,. /^ ,., %. "^^ c>' .o^.^i^'.r^ . ^ A^ *• " A^-^ of :^Rj^, <.•••.'.&* V^^'v-^ *<,•'?.?•'< /^•: %/ •^'t \/ /Jfe'v %.*^ .-;«? % .s^^^. \ ^°-;.. ^. '^^^ c-?;^ *^ •\/\,^ae->^^^-- .^^ ^^^. ^^s ■^^. »'' %. c^ ^. Of- ■♦>■ ■<>' '^oV^ "-^^0^ 4 o \ / •— • s* ... % "" ,* .••/"^- -.■ :1IK*^ ^^ -^^ °-yW' /\ '-^P/ ^^ "^ ^-W^*' Entered according to Act of Congress in the year 1871, by JOHN W. MASURY, in the Oflace of the Librarian of Congress, at Washington, D. C, J. Read, Steam Job Printer, 116 Fulton St., New York. o . 2- 9 A^ ^ .d' 5HS J e-oii^^^^^iom. OF ALL THE COLORS USED IN CARRIAGE WORK ALSO 'p7'acHcal Jlints and Directions as to the :Sest Mode of Applying the same ; AND THE PROEPOETIONS POE MAKING THE BEST GEOUNDWOEK FOE LAKES AND OAEMINES. With other Pseful and General Information. THE RESULT OF 25 f arsi' irartiat (^v^txmxu \\\ tite iaiut -^ Published by JOHN W. MASUBY. '^^ 4^ Successor to MASURY & WHITON, Manufacturer of White Lead, Zinc Paints, Painters' Fine Colors, and Superfine Colors, PEEPAEED ESPECIALLY J^Ol^ COACMAJV^ CASnioiGS^ 'PAIJVT^^JnS, Ornameiital and Car Woi'k;. SOLE MANUTACTUEEE OF The Eeady Made Colors known as Eailroad Paints. : 1 111 FOLTON STREET, NEW YORK, EZST-A-BLISIilEJID 1835- TABLE OF CONTENTS. PAGE. Adulteration of Paints .• . . . 83 Burnt Umber ... 20 Burnt Sienna 25 Best Kubbing Varnish. 39 Best Brushes 34 Carmine No. 40, Light 112 Carmine No. 40, Deep 108 Car-Body Color 125 Care and Attention 126 Carmine Lake .' 88 Scouring the Body 27 Second Coat of Black on Body 39 Second Lead Coat on Carriage 43 Care of Brushes, etc 55 Coach-Painters' Green, Light 56 Coach-Painters' Green, Dark 60 Chrome YeUow, Lemon , 68 Chrome Yellow, Deep Orange 72 Coach Painting, a Fine Art 79 Crimson Lake, American Deep 80 Crimson Lake, English Deep 84 Difficulties in Grinding Colors 91 Depth and Brilliancy of Colors 122 Economy of Ground Colors 95 English Vermilion, Light 48 English Vermilion, Deep 52 First, Second and Third Coats of Eoughstuff 23 Fine Sandpapering Body 31 First Coat Color on Body 31 First Coat Eubbing Varnish 39 First Coat Color on Carriage 47 First Coat Varnish on Carriage 47 Finishing Coat of Varnish 51 Finishing Coat of Varnish on Body 55 Guide Coat 23 Good-bye 130 CONTENTS. PAGE. How to Paint a Carriage 11 How to make Best Job in Black 119 How Varnish changes Colors 119 Introduction 5 Ivory Jet Black 8 Ivory Black, Superfine 12 Indian Bed 36 Importance of Fine Colors 35 Importance of Ground Colors 87 Ivory Surface Enamel White 127 Munich Lake 92 Masury's New Green 116 New Method of Carriage Painting 63 Naples Yellow, Light 64 Priming Coat on Body and Carriage, 15-19 Puttying Carriage 27 Patent Wood Filling 67 Purple Lake, English 96 Pitting of Varnish 99-104 Eaw Umber 16 Eoyal Bed 32 Second Lead Coat on Body 23 Striping ditto 51 Striping Carriage 27 Scarlet Lake. English Light 101 Scarlet Lake. English Deep 104 Story of the Man who kicked the Lamb 103 Third Coat on Body 23 Tuscan Red 40 Trials and Perplexities Ill Testimonials 117 Work resumed on Carriage Parts 43 Washing — Care required 51 Washing Body after finishing 55 Wood-Filling — How to use it 71-75 " Ways that are Dark" 115 Waste of Paint 123 What do we buy ? 124 Very Dark Green 120 Yellow Lake, Glazing 76 ( 5 ) To CarwB and Car Paiiters, Greetii. Offering to the Trade this Book of Samples, with hints and directions, we think it not unreasonable to ask of those into whose hands it may come, a proper appreciation of the large outlay of time and money necessary to its production — its entire novelty and general utility. The inventor has succeeded where hundreds have failed ! The attempts to produce ground colors of an impalpable fineness, together with the indispensa- ble property of drying quickly and flatting perfectly, have not heretofore met with any measure of success; and this want of success has been due to the absence of machinery perfectly adapted to the desired end. The writer, after many years of experimental trials, has produced a machine whereby the fric- tion — necessary to the pulverizing to absolute fineness of the hard, unyielding substances of which many of the pigments are composed- — is possible, without the heating, which has always heretofore been an accompaniment of the process. The remedy was simple and natural, and we may wonder that the appUcation was not made until this late day. It consists merely in applying cold water to the grinding surfaces of the miU in such a way that the running stream shall carry off the heat which must come from extreme friction, and which must D GREETING CONCLUDED. otherwise be imparted to the materials subjected to the process of grinding. The difficulty of heating being obviated, there remained only to ascertain by experiment what certain vehicles are best suited to wet and to keep in a useable form the various kinds of pigments employed in the operation of coach and carriage painting; because of the fact that what are en- tirely suited to some paints are quite as unsuited to others, and the indispensable property of drying quicklj'^ could not for a moment be lost sight of. These experiments have been costly, both in time and money, to say nothing of consequent vexations and disappointments; but the entire success which has crowned our labors has in no small degree repaid the ex- penditure, and it is with entire confidence we offer to the Trade, our ground colors, samples of which — imperfect, of course, from the nature of the material on which they are painted — we herewith present. As each color will be accompa- nied with a full description of its peculiar properties, with suggestions as to the best mode of applying, both as to ground-work and finish, it is deemed superfluous to attempt a general description of the same, except to assure all consum- ers that we offer them colors in a shape best suited to the re- quirements of the Trade. The hints and directions we think may prove lessons to some, atid we trust the most skillful craftsman may recognize the truth and importance of what we have said in the pages of this little book JOHN W. MASUEY. New York, January, 1871. Successor to MASURY & WHITON, Manufacturer of White Lead, Zinc Paints, Painters' Fine Colors, and Superfine Colors, PKEPARED ESPECIALLY J^O'JR COACITAA'D CA:R:RIAGIJ T:^IJV'2\EnS, Ornameiital and. Oar Work. SOLE MANUFACTUEEE OF The Eeady Made Colors known as Eailroad Paints. 1. Ill FDLTON STEEET NEW YOBK. E3ST-A.BLISia:E:i3 1835. Cosicli FaimteFs'- BuiperiiMe (Jet) Iwmj This color we place Urst on the list, because it holds the most important place among the var ious pigments in the car- riage paint shop, bjlng more used Insjjnishii.g coats than all the other paints. It may be said of this black that beside it all the other blacks are gray. It is ground to such a degree of fineness that a single coat, applied with a soft brush, will perfectly cover a surface of the finest French white china or porcelain Avithout in the slightest degree roughening the same. It Avill dry ready for varnish in about half an hour, and some of the most skillful coach painters in New York, and elsewhere, have declared that its working under the brush is a perfect charm. Its economy over black produced in the paint shop is not a question. This Black is put. up iji our patent cans in [quantities of one pound and upward,. Slifi^ jyill keep soft and fre^h for any length of time, even after bteJ^g opened, if kept covered from the air. Price per pound in assorted cans, - - - - .50 " " " " 100 lb lots, large, do. - .45 N. B. — This color will dry ready for varnish in half an hour or less when thinned with clear turpentine. By using a por- tion of raw oil it may, of course, be made slow to suit the work. Prepared Especially for Poach and Carriage Paintee AND Ornamental and Par )Vork. Coach Painters' Superfine Ivory (Jet) Black. VALENTINE'S VARNISHES. The American Institute Fair, at their thirty-ninth annual display of 1870, gave to Valentine's Vaknishes the award of ' ' Honorable Mention." The value of this award is explained in the judges' re- port, thus: "The Honorable Mention award is in most cases in- tended to indicate that the article so praised marks an important step forward in the discovery of things generally useful. " In the report of the Committee on Paints and Varnishes, they add: " These var- nishes, for body, brilliancy and durability, are the best, in our judg- ment, ever manufactured in this country." VajjEntine & Co. have labored long and perseveringly to improve the manufacture of coach varnishes, and to compete with the im- ported article by an American varnish equally good ; and they are now able to offer a sufficient guarantee that this result has been ac- complished. The fact is beginning to be generally accepted, and the report of the American Institiite is confirmed daily by "honor- able mentions " awarded them by practical carriage painters located in all parts of the United States. The general expression of their report is this : ' ' Valentine's Coach Varnishes are fully eqiia-l to the best imported in every respect." VALENTINE & CO., 88 Chambeks Stkeet, New York. A Monthly Magazine Devoted to Carriage Building. Address: EDITOR OF THE HUB, 88 Chambers Street, New York. In March, 1871, " The Hub " and the " New York Coachmakers' Magazine " will be combined, forming a Magazine of 24 pages. It will be divided into the following departments : 1. Wood Shop ; 2. Smith Shop ; 3. Paint Shop ; 4. Trimming Shop ; 5. Ofiice ; 6. Correspondence; 7. Trade News. Price, ^3.00 per year, beginning with April, 1871. 10 ( 11 ) ■ Mow to PsLiMt SI CarriEge, There are many ways of proceeding to the same objective point; and doctors even will disagree as to tlie proper mode of treating the same symptoms. Coach painters can hardly be supposed to be more unanimous than M.D.'s, particularly when the latter fraternity are leagued by all sorts of oaths and bonds not to affiliate or hold consultation with a School of Medicine, which proposes to kill — or cure — by some irregular method. No doubt some of my fellow craftsmen will see a better road than I propose to travel to reach the same point; which is, a well painted job in every respect. . The writer does not belong with that class which takes for granted, that a thing is good because it is new; nor with those who cling to a time honored custom, simply for the reason that the same is sanctioned by long use ; nor, with those who believe that any particular theory or mode of procedure includes all that is good and avoids all which is bad. The prejudices of craftsmen are difficult to meet and hard to overcome. One clings to a system and dogmatically pro- nounces it best, simply because he has never tried any other and he hates innovation. Another readily adopts, or tries, all suggested improvements, and becomes an innovator because of the charms and excitements of novelty. As a rule the first will win in the race : but the second is useful in his day and genera- tion. Without attempting to trace the progress of improvement [Cnntinued on page 15. ( 12 ) This color is made from the best English Drop Black, and is ground equally fine with the " Jet " described in the forego- ing page. All the remarks applied there to the "Jet" Black are equally applicable to this, as to drying, ease of working, etc. It is put up in the same way, and is sold — Assorted cai^s, ------ 45 cts. per lb. 100 ft LOT^, LARGE CANS, - - - 40 " " " The samj^le shown on the opposite page was painted by the following processi: About four o'clock, p. M.,,a coat of Black, thinned with tui|pentine and a very small quqjntity of raw oil, was applied to wrapping paper, stretched on U wooden frame. At 10| on the following morning, the rough surface of the sheet was rubbed with fine sand paper, and another coat of black, thinned with clear turpentine, was a^Dplied. In two hours this was ready for varnish. This Black will be found superior, both- in fineness and color, to any of the JMaiCks in common use. ' For drying see remarks above. Pri(^i^.^' ^. ^'^', - - - - 40 cts. per lb. 100 ft LOTS, LARGE CANS, - - - 35 " " " Assorted cans;" This Black has been sold by us for the past twenty years, and is too well-known among consumers to require a particular description. f^' ■gMperfflne ^olori Prepared ^specially for Coach and Parriage Painters, AND PrNAMENTAL AND pAR 'NA^'ORK. Coach Painters' Superfine Ivory Black. MURPHY & COMPANY, 53 & 55 Oliver Street, FMICE LIST Of th«ir Goods adapted to the uses of CAKMIAGE BTIIIjDEItS and kjliijWay companies. WEARING BODY, For Outside Finishing. $5 75 This Varnisli is very pale, of the freest working properties, and has unequalled durability. It is especially adapted for last coats on exteriors of Railway Cars and Coach Bodies, where the greatest dura- bility is required. In the cooler months it can be employed with safety in all ordinary shops. MEDIUM DRYING BODY, For Outside Finishing. - - - $5 75 This Varnish is fully equal to our Wearing Body in paleness and working properties, and is intended for use on all work requiring moderate dispatch, when time cannot be given for our Wearing Body to harden, especially during the summer months. This Varnish is also employed with great satisfaction for last coats on Engines. HARD DRYING BODY, For Under Coats, &c. - - - - $5 00 This Varnish is also equal to our Wearing Body in paleness and freedom of working, and is mainly intended for under coats, for pre- paring a surface of great durability for our finishing Varnishes. It is also used with great satisfaction for last coats on interiors of Cars, giving a brilliant and durable finish. RUBBING BODY, For Under Coats. $4 50 A pale Varnish sufficiently free in its working properties to permit its employment on the largest panels. It is intended for under coats, where moderate dispatch is desirable. ELASTIC CARRIAGE, For Last Coats on Running Parts. - $5 00 An Elastic Varnish of great durability, intended for finishing coats on running parts of fine carriages. HARD DRYING CARRIAGE, For Last Coats on Running Parts. $4 50 This Varnish has heavy body and is intended for use on running parts where it is desired to finish with one coat on flat color. It is also a very desirable Varnish for use on old work. COACH MAKERS' JAPAN, For Binding and Hardening Paints. $2 00 A Superior dryer for Coach and Car Painters' uses. It is made from finest Shellac and will mix readily \ni\x oil. HOW TO PAINT A CARRIAGE. 15 in vehicular constructioB, from the rude log-wheel carts of the ancients to the graceful and elegant vehicles of the present day, it may be asserted without fear of contradiction, that there are few things in our advanced civilization and refinement which are more attractive, which combine more fully the useful and the beautiful, than the gracefully modeled, luxurious and com- fortable carriages which are turned out from the first-class city and country manufactories. To paint a carriage in the highest style of the art requii-es a judgment matured, an eye to appreciate combinations and contrasts, and a hand cunning and skillful to execute and per- form. In nothing more than this, is it true, that practice alone makes perfect. Written rules and dii-ections are valuable only as hints and suggestions, which, if properly heeded and carried into practice, may lead to the correction of errors, which exist because of the want of proper instructions. As well might one expect to educate the ear to harmonious combinations of sounds by a treatise on musical composition, as to teach the art of painting by mere words. Yet, while the finished workman needs no written rules, there are many throughout our country, living remote from the great centers of poj)ulation, who i^rofess and practice the art of carriage painting, without the ojDportu- nity of perfecting themselves in the higher branches of the pro- fession. In the hope that to such, our directions may prove of practical benefit, we proceed to give the mode of proceeding in the old method of carriage painting. Of the new and shorter method we shall treat hereafter. As the priming, or first coating of the new wood, initiates [Contintied on page 19. ( 16 Maw l[Jmt)©F, This pigment is a native ochre, and occurs in the island of Cyprus. It is known in the Trade as Turkey Umber, although a great portion of '''■^ T'-'ibt 'oM in IhiLi m'L,rkct is a native pro- duct. Crenuine Tui key Umber is a soft, br wr pigment, trans- parent in oil, and f bourrling in manganese, from the presence of which it derives i1:' di-ying property. l!: h one of the most useful colors in the oi 'ck nf the house pa.intor, and is much used in graining, and i' ; x^tliiciiig, villi white, pu;e quaker drabs and browns. With blue, it affords a good nei^tral green, very permanent. st'tuto for tliis pigment ieems to possess s ot the genuixie arUde, except a resem- The Americar none of the propC; blance in color. In assor' .oi..'., i ?l> udL. upward, ?5 cts. Raw Umber, > soft, delicate shi die a\iJ ,. A'Ae Cluvnne Yellow, makes . j.Mvvi.ih Jral). N. B. We grind the genume article only, and purchasers may depend on getting the best of its kind, under all circum- '^MpeFlfiM© ^^(Ol©FS, Prepared ^specially for Coach and Parriage j^aintei^s, AND PrNAMENTAL AND PaR '^ORK. ..mm Superfine Raw Umber. ESTABLISHED 1837. , $1. This Blue dries in about half an Tiour. Prepared Especially for Poach and Carriage Painters, AND PrNAMENTAL AND pAR ^VoRK. Superfine Ultramarine Blue. f IJllIi S©1I1A11 218 to 230 York and 2 to 10 Ashmun Sts. Manufacturers of IHEELS aill fflEL MATERIAL, OF ALL DESCRIPTIONS. ALSO THE CELEBRATED SarTes Palest Wheels^ WHICH, FOK Strength, 'Durability , I^iffhtness a?id beauty, FAB EXCEL ALL OTHEK WHEELS IN THE MARKET. It is not a new patent, depending upon the success of future experi- ments to demonstrate its practical value, but has been growing steadily into public favor for the past twelve years This, with the numerous tes- timonials we have received regarding its merits, fully suffice to verify all that we or the patentee have ever claimed for it. It is equally well adapted for the lightest Trotting Wagons or the heaviest Steam Fire Engines. jFOiJ fvijTj f^hticvjjAjis send for circular. SPOKES, Finished and Unfinished, HUBS, RIMS, WHIFFLETREES, HANDLES, Ac, Ac. ON HAND AND MADE TO OBDER FROM THE BEST OF EASsiTERlV HlCItOIC^S'. Office: 224 YORK STREET. HENEY G. LEWIS, President. EDWAED E. BEADLEY, Secretary. HOW TO PAINT A CARRIAGE. 47 the wood ; and, as these parts receive most of the wear and tear of actual use, it follows that these, of aU, require to be best protected with the jjaint. The smoothing being pro- perly performed, and the loose parfirles removed from every pari, nook and corner, the work is ready for first coat of color. That portion of the ground black remaining in the can, after the painting of the body, will be found — supposing it to have been kept well covered with turpentine or water — as soft and pliable as when first opened. Mix a proper quantity of this with tur- pentine, using oil and varnish at discretion, and apply with flat camel-hair brush. Ten hours will be sufficient to dry this coat, when the second will follow, mixed the same as the first coat, with a little more varnish and less oil, if any. If the work is to be finished with a very wide stripe, put this on before the first coat of varnish. The carriage parts being ready for first coat of var- nish, apply rubbing varnish, which should be as good in every respect as that used on the body, and as carefully put on. Leaving this to harden, return to the body, which was left with one coat of varnish, and it will be found hard enough for first rubbing. Provided with a piece of cloth or felt and finely pul- verized pumice-stone, a water tool, and plenty of clean cold water, proceed to cut down the varnish as closely as pos- sible, being careful not to go through to the color, and not to allow the pumice-stone to dry on the varnish ; use the water-tool freely in all the corners and around the mould- ings. This operation will be repeated through three suc- cessive coats of varnish, and the body is ready for the trim- ming shop. The carriage part must now be subjected to [Contimted on page 51. EmgMsl YeriMliom, Fate ami Beep. This indispensable pigment, although one of the most import- ant, is really one of the simplest in its constituent parts of all the paints in use. It is composed of two elementary substances, both well known, one of which is of universal distribution. Sulphur combined with quicksilver, in the proportion of about one part of the former to five parts of the latter, under a cer- tain mode of treatment produces the pigment mostly known in the trade as English Vermilion. The test of purity in this paint is simple and inexpensive. A small quantity put on a plate of iron heated almost to redness, will burn for a time with pure blue flame, exhahng a sulphurous odor. After the burn- ing of the suljihur, the mercury will entirely be evaporated by the action of the heat, leaving no residuum, supposing the ar- ticle to be pure. In jjainting the sample sheets, specimen of which is shown on ojDposite page, one jjound of ground Ver- milion was consumed in giving one coat to about twenty-two square yards of surface. Therefore a coating of pure Vermil- ion may be had at the rate of about seven cents per square yard. So, a Avagon presenting a superficial area of, say, seven square yards may be painted over with this brilliant color at a cost for material of about fifty cents. Price per pound in assorted cans, - - - $ J&M^ W» Mm&wmr^& 'im© \ Prepared ^specially for poACH and Parriage Paintei^, AND Ornamental and Car y^'oRK.. Pure English Vermilion, Light. MM99BM S PlMMS^M 317 & 319 Railroad Avenue, MANUFACTUEEES OF FOR THE CARRIAGE AND RAILWAY TRADE, Wonlil respecilully call tlie attenlioii of llie Trade to their article or Traasf artil Brytr. OF WHICH THEY ARE THE INVEMTORS AND SOLE MAWUFACTDRERS, This article has been thoroughly tested by the most experienced painters for more than eighteen months. It has been found to be not only superior to the best Japans now in use as a dryer, but has the advantage in its color, about like pure Linseed Oil, and is a good gold size ; will not discolor pure white or fancy colors, or curdle in oil or varnish. It is very desirable for striping ; is a complete binder of all colors, and being of an elastic nature, it positively will not crack. For the above reasons, and on account of its medium price, it is rapidly coming into use in place of Japan for all purposes as a dryer, as it is just what is needed. 50 HOW TO PAINT A CARRIAGE. 51 the same i-ubbing process as has been apphed to the body. This work must not be trusted to unskillful hands. An expert only can do it to perfection. If performed by in- experienced hands, the result will be an untimely striping of all the sharp angles, and the prospect of a well-finished job materi- ally impaired. Supposing this dehcate operation to be success- fully performed, the striping is next in order. On this subject there is not much to be said. If any one supposes he can do this because he has been told " how to do it," a single attempt will be all sufficient to cure him of his vain delusion ! There is no royal road to this accompHshment ; its attainment is through the steep path of long-continued practice. The striping done and dry, a thorough washing must follow; and be sure that eyerj^ pai-ticle of dust you leave upon the work, will be found by the varnish brush, and carelessness in this respect has too often called down maledictions upon the head of the innocent varnish maker. The carriage parts removed to the varnish room, are ready for finishing coat ; and the \\Titer confesses himself at loss how to give any hints even which shall prove of value as to the successful performance of this, of all, the most important in the whole proceeding. A knowledge not only of the nature of varnish generally, but of the par- ticular varnish to be used in the operation, is indispensable to success. To become an adept in this art requires long experience, confidence, and self-possession ; and, we may add, a good conscience. A mistake in this, is little less than a crime! and your shortcoming will not only rise in judg- ment against you, but will be known and read of all men. [Continued on page 55. ( 52 ) Y©F]iiiiiM©ii, True Vermilion is a rich bright color, of dense body and per- manent when exposed to the light. This is one of the few pig- ments which will not ^ ..ar too much grinding. If crushed to the degree of fineness which some paints absolutely require to develope the color which is in them, it becomes dull, dead and comparatively worthless. The so-called American Vermilion is made from white lead and chromic acid (bi-chromate of potash). It must not be' rubbed so hard as to break the crystals, or it loses its vermilion hue and shows what it really is, a deep orange chrome. Red Lead is a pure oxide of lead and is produced by ex- posing metallic lead to the action of the heat, taking care not to fuse it. It is aostly employed as a pigment in painting iron vessels and iron work generally. It has an affinity for the latter metal and serves admirably in protecting it from corrosion. Orange Mineral is another name for Red Led and is pro- duced by the slow calcination of White Lead in iron trays. J^REPARED Specially for poACH and Parriage J^ainteb^, AND pRNAMENTAL AND pAR 'JVORK. Pure English Vermilion, Deep. J XJD D Linseed and Spekm Oil Manufacturers and Importers of Rai;ir, Refined and Boiled mM.ffHALE,AHBOTHEBOILS, Sole Successors to SAMUEL JUDD, SAIL.JDDD'nONUCO.aiJ.&LK.BEIDGE. ESTABLISHED OVER FORTY YEARS. 54 HOW TO PAINT A OAERIAGE. 55 The body received from the trimming shop, is ready for rub- bing, preparatory to the finishing coat of varnish. This, too, is a delicate piece of work, and requires judgment, skill and patience. Remember that a viote on a panel becomes a beam in the eye of the beholder, and the smallest speck looms up like a distant hill in a misty atmosphere. Having completed it (for better or worse), close the door reverently behind you, lock it, call on your good angel to protect your work from harm, and await the result. If not pressed for time, it will be well to allow the body to stand over one night before finishing. Remove it to the finish- ing-room, which was put in order the previous evening, wash it off thoroughly with cold, clean water, using a clean sponge, and a chamois skin which has been well broken in. Do not use dusters which have been used on lead or color, or the mould- ings will be discolored. After dusting off well, take a dry, flat Fitch brush and wet the ends of the hair with a small quantity of varnish. Let this stand for half-an-hour, and then go care- fully and lightly over the whole surface. This will pick up every remaining particle of lint and dust and there remains only to apply the varnish. This should be done as you should say your prayers, without the presence of any third party; and being done, retire without ostentation, locking the door behind you, and keeping it locked, until the surface is no longer liable to injury from dust. The nest thing in order is to care for the tools. The brush used for picking up the lint should be first softened with a little oil and then thoroughly washed with soap and water, and [ Continued on page 59. ( 56 ) Greens, so abundant in the vegetable kingdom, are rare in the mineral world, copper being the only metal which gives in its combinations the "arions shades of green in common use. All the greens used in painting are either copper greens or chrome greens. Chrome Green (when moderately pure) possesses a dense body, or covering property, and belongs among what are known as body colors. These colors are not as permanent as the cop- per greens, being compounded of blue and yellow, which colors are not affected in like degree by the action of light. The cop- per greens, however, are transparent, but far more durable and retain their brilliancy much longer when exposed to the action of the sun's rays. Paris Green, or, more properly, Scheele's Green (arsenite of copper), is a comparatively late discovery and was first man- ufactured by the chemist whose name it bears. It consists of about twenty-eigh puts oxide of copper and seventy-two parts arsenic. It is one of the highly transparent pigments, will not bear grinding, works badly under the brush and is by no means a favorite with the painter. Coach Painters' Green, Light. Price per pound, in lib cans and upwards, 50 cents. '^MpeFfflMe ^©loFg Prepared Especially for Coach and Carriage Paintef^, AND PrNAMENTAL AND pAR ]VORK. Coach Painters' Green, Light. WADSWORTI, HOWUND & CO. IMPORTERS AND DEALERS IN Oils, Brimstone, Phosphorus, Drugs and Dyestuffs. MANUFACTURERS OF r^'M^IMMMS And Agents for ATLANTIC WHITE LEAD, 34 INDIA STREET, BOSTON. Particixlar attention paid to furnishing Carriage Painters with all kinds ot goods used by them, including English Varnislies; English, French and G-erman Colors, Also, BEAR, FITCH, BADGER, SABLE, and CAMEL HAIR BRUSHES and PENCILS. SOLE BOSTON AGENTS FOR fe Weffiai«»F*s ©la© @@l@fit HOW TO PAINT A CAREIAGE. 59 carefully put away for future use. Remember that good work depends in a great measure on the strictest attention to clean- liness ; and a sloven cannot in the nature of things produce a perfect job in Carriage Painting. " Neatness, order and econ- omy," should be the motto in every paint shop. The work which has been under way for a period of about five weeks may now be considered as finished. It may stand a few days to harden, and then be hung up. The bolts, etc., hav- ing been blacked off, and dry, the completed cai'riage should receive the first of repeated washings, which it is destined to rmdergo ; but this clean, cold water washing should be done by an experienced hand ; otherwise it is better left undone. If properly performed it will tend to harden the varnish, and will rather improve the general appearance. The finished vehi- cle now may be turned out for service, and there need be httle apprehension that the painting will not prove a durable and creditable job. It might have been completed in much less time and have presented to the eye quite as good an appear- ance. A great many carriages are so finished, and they may, and do no doubt, stand the ordinary wear and tear of country roads pretty well ; but for use on city pavements, time is an in- dispensable element, and it would not be safe to finish work for city wear in less than we have given to the job in hand, unless some other and shorter method be adopted. For the last ten years ways and means have been devised, and every effort made to shorten the process of Carriage Paint- ing ; to expedite the work and turn it out in less time. The pace has not been fast enough for the " times ;" and quicker, [Continued on page 63. ( 60 ) Ciirome Ureeia, This well known and serviceable pigment is another of the products of the metal chromium, in combination with iron and cyanogen (prussic acid). Chrome ore is a union of chromium and iron and is of rare occurrence. It is found in considerable quantities in Maryland, near Baltimore. The chief application of this ore is in the production of chromic acid (bi-chromate of potash), which is extensively used in dyeing and calico printing and in the production of the paints known as chrome colors. Chromic acid, literally color acid, derives its name (the Greek original signifies color, or to color) from the property it pos- sesses of throwing down a colored precipitate when added to the saline solutions of certain metals. The paint known as Chrome Green is made by mixing to- gether Chromate of Lead (Chrome Yellow), and Prussiate of Iron (Prussian Blue). This prodiict is combined with an earthy base, Sulphate of Baryta, or Silica, in proportions to suit the market as to price. It is sold under various names but the paints are the same, differing only in the quantity of coloring- matter which they contain and the tones of color. Coach Painters' (Superfine) Green, Dark. Price, per pound, in one pound cans, &c., 50 cents. Prepared Especially for Coach and Carriage Painters, and prnamental and ^ar '^a^'ork. Coach Painters' Green, Deep. ^ IP o ^ o ^ o 00 FIRST CLASS WORK, AT LOWEST PRICES. 00 ^ tJ3. o o o I o ^^W €i.SS^ « JI14I««^^' «i3ia«i^- f ^iffi't gf imm«^ s« ^« HOW TO PAINT A CARKIAGE. 63 shorter ways, of arriving at the same result have been sought for — ^if not discovered. Keeping in mind the grand, pervading principle of compensation, we are not of those who beHeve the time heretofore deemed necessary to produce a first-class job of Coach Painting can be materially shortened, at the same time retaining all the good features and results of the slow process. That is to say : the chances are altogether in favor of durabili- ty, when oil enough has been used in the painting to ensure elasticity and prevent the material from drying to that flinty hardness which cannot be supposed to bear the shaking and concussions which all wheeled vehicles on city pavements are necessarily subjected to, without cracking, and perhaps, chip- ping off. In short the mode of jDainting carriages such as we have described in the foregoing pages of this book, involves the expenditure of a certain number of days, which cannot be materially curtailed without incurring the risk of what has been too common of late, viz., jobs which soon perish with the using. If haste be a sine qua non with the painter; if the work must be completed in half the time heretofore deemed essential in the production of enduring carriage painting, it is suggested that some other mode be adopted. If we will have railroad speed, we must abandon the stage-coach system ! In writing about the " new way," which certainly has found favor in many first-class manufactories, we propose simply to give the results of our own experience, without endorsing or committing ourselves either to the old system or the new, as possessing superior advantages. To give the facts as we find them is what we propose, leaving every man to his own judg- [Contimied on page 67 laples Yellow, This pigment i'; of r,o particular importance or interest to coach painters, 1\, .- id to be a compound ol the metals Anti- mony, Lead and 7 o in unequal proportions, the first named metal being predominant. It was at one time an important pigment, particularly in the fine arts, and its manufacture was confined to Naples, the mode of operation in its production being kept for many years a profound secret. Since the discovery and introduction of Chromate of Lead (Chrome Yellow), the demand for Naples Yellow has very much declined, the Chromate of Lead, being in all respects a s'lperior paint, both in color, body, drying property and ease /' working. Naples Yellow is a poor dryer, does not flat well, rrsd great care is required to make solid work vsdth it. The sample s i;\' on il^'- oppr ■ .e ]), A, 4 A, 2 oz. " " $6.50 6.75 50 5.50 5.75 40 4.50 4.75 35 N. B. — A continued washing of one's hands in spirits of tur- pentine will almost certainly result in stiff joints. 'guiperime ||(0)l©rs3 Prepared ^specially for poAcn and Parriage Paintei^s, AND PrNAMENTAL AND C^-R ')VoRK. Scarlet Lake, Deep. i 210 & 212 Washington Avenue, ST. LOTJIS, PUTTY, GLASS, BRUSHES, &c. PURE WHITE LEAD, Of various brands, at Factory Prices. Enslisli M American ?araislies. A SUPPLY OF JOHN W. MASURY'S AND OP HIS CELEBRATED ^up^riitt^ &ol0x^ fox (Rujch ^mtm. These Colors, nianufnctured only hy John W. Mastiry, of New York, are used on the i>ery best ivorh. done in the United States. 106 HOW TO PAINT A CARRIAGE. 107 AVill those who are so ready to find a place whereon to rest the blame of a spoiled job, bear in mind the fact that all our Coach Painters' Colors are prepared under the immediate supervision of an intelligent man who has had an experience of more than a quarter of a century in the paint shop ! It is well to be wise, but not good to be wise in one's own conceit ! There are to-day hundreds of painters throughout the country using our Super- fine Colors. In one or two solitary instances a complaint comes that the Varnish " pits" over our Black. Now, as this does not happen in the ninety and nine cases, but only in the one hundredth, we claim that it is only fair to look for some other cause before condemning the Color. It must be kept in mind that Coach Painting is an art, and that something more is required to perform it satisfactorily than just enough of knowledge to mix a cup of color and apply it. Good judgment, sound discretion, close observation, no less than a cunning- hand, are the sine qua non of success. Every painter, whose vision is not limited by the end of his nose, is aware that Var- nish is apt to " pit " on a Japan gloss; especially if the color be not quite hard. Our Colors are mixed and ground with a pur- pose to avoid the use of Japan, in thinning for application. Turpentine for thinning, with a little hard-drying, rubbing varnish for a binder (and a drop or two of oil, if you please), are all that is required. If one vnll use Japan in place of varnish, we beg of him to use something which is entitled to be called Japan, and not the stuff which is hawked around the country under that name, but which would almost thicken tur- pentine when mixed with it. [Continued on page 111. ( 108 ) (OarmiiiKe Pure, lOc. 4(0, Pure French Carmine, of brilliant color and unsurpassed strength. The sample on the opposite page is put on over a ground of our deep English Vermilion, one coat of clear Car- mine, thinned with turpentine, and one coat of color varnish. The Carmine coat was dry enough for the color varnish in one hour ; but we do not advise working it so quickly, except in cases of actual necessity. If not driven, we advise the use of a small quantity of raw oil, which gives more time to work, and, therefore, ensures a more perfect solidity. We have found a first-rate wearing body-varnish best for glazing Carmine jobs. The use of a small quantity of our Indian Red or Tuscan Red with the Vermilhon, for ground-work, makes it much easier to cover with Carmine. For this color, as for all other transparent colors, use no other brush than that known among painters as flat camel's hair, but to the brush trade as ^.palters. Bear in mind the fact that all our colors are perfectly pure and of the best quality. Pkice of Carmine in 1 and | lb. cans, - - $11.00 i " - - 11.50 " " PEE OUNCE, 2 oz., - - 75 J^MM W^ Mm&wmr^B (^ .^luperllme ^olor^ J^REPARED ^SPECIALLY FOR j^OACH AND pARRIAGE PaINTEI^S, AND QrNAMENTAL AND QaR WoRK. '^r-»m. Pure No. 40 Carmine, Deep. JOHN H. BAILEY. GEO. W. XOBK. Manufacturers of Carriages and Sleighs, Nos. 41, 43 & 45 BOWKER STREET, Boston, FeVy 2, 1871. I have used the "Ground Paints," manufactured by John W. Masury, of New York, and shall continue to do so as long as I can get them — that I consider them the finest, purest, and best material ever used in a paint shop. FRED. J. GEEENE, Painter, With Bailey & Yokk. Boston, FeVy 3, 1871. J. W. Masuky, New York. Bear Sir: — Some eight months ago we adopted the use of your •' Suj)erfine Colors," and the frequency of our orders must convince you of the high estimation in which we hold them. They never come short of all that is claimed for them, and with us they have been a perfect success. Very truly yours, D. P. NICHOLS & CO. Boston, Feh\j 3, 1871. J. W. Masuky, New York. Dear Sir : — Your " Superfine Ground Colors " have been used in my shop for some six months, and have given the best of satisfaction to myself, and also to my painters. Very respectfully, CHAUNCY THOMAS. I cheerfully indorse the above. Leonaed B. Nichols, Foreman Painter. 110 HOW TO PAINT A CARRIAGE. Ill Let us enforce, by a few words, a wise injunction, the re- sult of inspii'ed wisdom. " Be not wise above what is written." Every man is supposed to be the best authority as to how to mix and thin colors which he has himself manufactured from the beginning. We rightly, we think, claim the same authority respecting the Colors which have been mixed and ground by " us. We have jDut all these colors to actual test — witness, our Sample Cards — and we write what we have found out by actual experience. In the painting of four thousand sheets, including all the Colors, there was not a single instance where the var- nish did not flow smoothly. So, we think we have the right to suggest that the best results may be produced by following our written suggestion, rather than by being " wise above what is wi-itten." Trials ami Bifficmlties, The introduction of a new article — or an old one iu a new form — is under the most favorable circumstances attended with many difficulties. Not only are there the prejudices even of the skillful and honest workman to contend with, but the besotted prejudices of the ignorant and stubborn; as, also, the "tricks of the trade," which unscrupulous salesmen know too well how to use to give a bad name to goods with which they cannot suc- cessfully compete in honest and fair competition; to say nothing of "the ways that are dark" among the very men of all others who would be supposed to encourage any improvement which would [Continued on page 115. ( 112 ) Pmre Mo, 40 (CarmiMe, JLigM. i This color is put on over a groundwork of John W. , j Masury's English, Pure, Dark Vermilion. One coat of the 1 Carmine, thinned Avith clear turpentine, and one coat of Color Varnish. This Carmine, when thinned with clear turpentine, will dry ready for varnish in one hour in a warm room — that is, in a room heated to about seventy degrees Fahrenheit. If there be no great hurry for the job, the use of a small quantity of raw oil is recommended, as the same will make the color work more freely, and, by giving more time, does not drive the workman to such an extent. A first quality wearing body varnish is best for glazing Carmine jobs. The addition of a proportion of our "Coach Painters' Indian Red" — say, one part of Red to two of Vermilion, for the groundwork — will make it easier for the painter to produce a solid, well-covered job. For applying this, as for all transparent dolors, use nothing but what are known among painters as flat camel-hair brushes. These are known in the brush trade as camel-hair spalters. fme \ i J^REPARED ^SPECIALLY FOR pOACH AND pARRIAGE J^AINTEI^S, AND PrNAMENTAL AND PaR '^ORK. Pure No. 40 Carmine, Light. OLID noTTSEi o:f bir,e!^v^st:e:r. ESTABLISHED Bridgeport, May 1, 1870. This is to certify, that, having used Mr. John W. Masury's (successor to Masury & Whiton) "Fine Ground Colors," I find them superior to anything ever used, in every respect. P. MUNDRY, Ornamental Painter of Housatonic R. E. Co. 63 East 23TH Street, New York. 100 lb. Wagons, Demi-Landau, Derby Wagons, 3 styles. ALL THE OEDINART STYLES CONSTANTLY ON HAND. All Wagons are made with our Vertical Steel Flates, combining the Greatest Strength with the Least Weight. 65 East lUh St., New York, FeVy 8, 1871. J. W. Masuky, Esq., Ill Fulton St., N. Y. Dear Sir: — We have used your "Superfine Ground Colors" for some time past, and can cheerfully recommend them as first-class in every particular. Very respectfully yours, J. B. BEEWSTER & CO., 65 East 25th St. HOW TO PAINT A CARRIAGE. 115 seem to lessen tlie drudgery of their daily occupations. Illus- trative of the last named difficulty, let us give a case in point. The foreman of one of our city shops after using our Ground Colors for months with entire satisfaction and written com- mendation, all at once discovered that he could not use them more, because the varnish "pitted" over the black; which cer- tainly were "pity, if 'twere true." Thinking to overcome the difficulty^ — not at first seeing the " cuUered pussun in the fence" — we called upon the disaffected one, and proposed to try the Black then and there, and wait the. drying and see with our own eyes this most wonderful phenomenon. Curious to relate, there was nothing just then which could, by any possibility, be used to make the test. Mirabile dictu ! Not a gig-lamp even ! Not a spoke, old or new, which would bear a coat of Black; and the innocent could not even hazard a guess as to when there would probably be any work ready for a coat of Black. As a last resort, we begged a small vial full of this varnish which be- haved in such a pitiful manner, only when covering a coat of our Superfine Ivory Jet Black. Thankful for this, we went home and proceeded to coat, with some of the identical Color, four spokes; which were finished in black and varnished more than a year before. This was completed just at night-fall, and the next morning we apphed to spoke number one, which pre- sented a surface smooth as enamel, a coat of the aforesaid varnish. To spoke number two, we applied a coat of the same varnish, mixed with the color. To number three we gave a coat of the same varnish mixed with two other varnishes, one of which was a hard-polishing, and the other a very elastic [Continued on page 119. ( 116 ) MasMFy's lew (S-reen. This pure, brilliant and permanent light green seems to. supply a want which has long existed, viz. : a green which should possess the durability and non-fading properties of the so-called Paris or Emerald Green — with the brilliance and pure tone which no other green gives — and at the same time admit of being ground to that perfect fineness indispensable to the best carriage work, without losing color. In the belief that our New Green does possess all these good qualities, we offer it as a not expensive substitute for all the Ught greens used in coach painting. The sample on opposite page was put on over a ground of our Coach Painter's Green, light, mix 3d with enough white to produce a tone of color most like the pure green pos- sible. Two coats of pure green, mixed mostly with turpentine (a little good rubbing varnish added to make the color flow well) were put on over the coat of body green. This green works as well in t^^e bmsh as any color and dries for varnish in a few hours. In assorted cans, one pound and upward, "W ft», 75 cts. J^'repared ^specially for Coach and Parriage Paintei^s, AND Ornamental and Car ^ork. Masury's New Green. Boston, Feb't/ Isi, 1871. Mr. J. W. Masuky. Dear Sir : — Having sold your " Fine Colors " for the past three months, we find the demand for them constantly increasing, and we are happy to add that wherever they have been used they have given perfect satisfaction. Yours, very truly, WADSWOETH, ROWLAND & CO. Buffalo, Sept. 19, 1870. Messrs. Mastjry & Whiton. Gentlemen : — We take pleasure in stating that we have been using your "Superfine Ground Colors " for the past six months, and find them all they are represented to be. They are ground very much finer than we can grind them, work easy, flat and dry well; and we find them to be much cheaper than dry colors, waste and labor of grinding added. We most cheerfully recommend them to all car- riage makers, as cheap, reliable, and just what is wanted. Yours, truly, HAEVEY & WALLACE. J. C. Snydek. Amesbury, Mass., FeVy 7, 1871. J. W. Masuby, New York. Bear Sir : — We, the undersigned, carriage manufacturers of Ames- bury, after using your "Superfine Ground Colors" for a sufficient length of time to determine as to their merits, do now freely testify that we consider them unequalled for fineness, drying, and working qualities, and believe them to be the most economical paints ever put upon the market. Wishing you the success which your efforts so richly deserve. We remain very truly yours, E. S. FELCH. CHESWELL & BOAEDMAN, C. W. PATTEN, HUME & MOEEILL, E. F. BEIGG8, F. B. PAEEY, J. E. HUNTINGTON, S. & C. EOWELL, CAEE & ALLEN, A. M. WATEEHOUSE, West Amesbury. 118 HOW TO PAINT A CARRIAGE. 119 varnish. With number four we made another most severe test. In every case the result was a surface as smooth — aye, smoother than the most highly polished plate glass. " Was it not pitiful ?" We then concluded that Ah Sin had " been seen," as the politicians put it; or, that he wished to be "at the game he did not understand!" How to msifee tli© Ibest Jolb m Elaci. A pure Black is, in theory, the absence of all the primary colors and of the extreme color. White. The presence of any one of these detracts from the entireness of black. So, when black is viewed through any colored medium it ceases to be pure black, and assumes that tone of color which would result from mixing the color of the medium with the black. For ex- ample: Black, when viewed through a medium of yellowish varnish, reflects, however slightly, a greenish hue ; and the greater the number of coats of clear varnish, the greater will be the detraction from the purity of the black ! So with white ! A single thin coat of the palest varnish over a coat of pure white detracts slightly from its purity. But successive coats, of the most colorless varnish, destroy the whiteness, and the surface reflects more or less of impure yellowish light. The same may be said of all the primary and secondary colors. Some of the mixed and broken colors would be improved, on the contrary, by a coating of a yellowish translucent medium ; as, yellow lake over drab or over a mixed green. (See colored [ Continued on page 122. ( 120 ) Beep &©©ii. The sample on the opposite page shows one of the colors which can be produced only in the paint shop, and in the pro- gress of the work of painting. Any tone of this color may be produced by mixing together Prussian Blue and Yellow Lake, and adding a small quantity of Lemon Chrome Yellow. The ground should be prepared thus : With Prussian Blue and Chrome Yellow make the ground as near the tone of color you desire to finish as possible. Put into the first coat of rubbing varnish a Uttle Yellow Lake — say, two spoonfuUs of Lake to a cup of varnish. In thus proceeding you get a green of depth and richness which can be obtained in no other way. To satisfy any of this, let the sample be held in the sunshine. In case any one of our ground colors should be found too thick to incorporate readily with the thinning, it may be run loosely through the mill so as to mix it perfectly. A cupful may be run through in a few minutes. We purpose to have all our colors of such a consistency as to admit of thinning readily, but mistakes will sometimes occur. \ J^REPARED ^SPECIALLY FOR pOACH AND pARRIAGE J^AINTEI^S, • AND pRNAMENTAL AND pAR '^ORK. 1 Very Deep Green. • 122 HOW TO PAINT A CARRIAGE. examples on pages 77 and 123. ) In avoidance of these accidents, and in order to secure the best results possible in carriage painting, we suggest the application of only one coat of clear varnish, and that, of course, the last one. We believe the best work turned out of any city establishment is finished without a single coat of clear color (we speak now more particularly of glazing jobs), and with but one coat of clear varnish. In carmine and the lakes, the first coat on the ground is put on in varnish, and every coat of varnish up to the last is colored. In this way a depth of color is obtained which can be had by no other process. It should be borne in mind that the opaque, or body colors do not compare in beauty and brilliancy with the transparent colors ! And, as a rule, the colors are beautiful in proportion as they are transparent. For examples : ultra- marine blue, carmine, emerald green, scarlet and crimson lakes, &c. All are familiar with the beautiful colors reflected from the vases placed in the Avindows of apothecary shops. This results from the depth of colored fluid. A thin, flat glass vessel would not reflect such hues, though filled with the same sub- stance. The principle is the same in carriage painting! To show the best possible colors, the light must be reflected, not from a flat, opaque surface, but from a surface which has be- neath it, a depth of continuous colored particles reaching away down through the successive coats of varnish to the ground- work. To be sure, this mode of proceeding is expensive, both in labor and material ! but who ever- gained any good thing without working for it ? Black should be put on one coat of clear flat color; after that, every coat of varnish should contain HOW TO PAINT A CARRIAGE. 123 more or less of the same black as used for the first coat, up to the finishing- coat, which should be clear varnish. In this mode the black holds its color, and does not take on the greenish tinge, which otherwise it is impossible to avoid. All work, of course, is good or bad only by comparison. Any carriage is black enough in a dark night ! and almost any tolerably good black looks well enough when viewed per se. It is only when placed in comj)arison with the best, that its inferiority is apparent; and men who strive to excel in their productions are not content to occupy inferior positions in any particular. " Excelsior " is a good motto for coach painters ! Waste of Faints tlromgli legMgemee imi IgMOMlKE©* The money value of paint wasted in this country is enor- mous. Greater, perhaps, than in all the world beside. Our reckless prodigality, in a certain way, is only equalled by our absurd attempts at economy. For example : A painter will sometimes spend the time' and exertion necessary to walk a mile, all for the purpose of purchasing a can of paint a shilling less than he can buy it for under his very nose; and then neg- lect the proper precaution and preventive to waste, by omitting to cover up and take care of whatever paint may be remaining after the job is finished. Now, a quarter part of the time and labor necessarily expended in saving the shilling, devoted to care and cleanliness, would have resulted in the saving of 124 HOW TO PAINT A CAKKIAGE. twice that amount. Another absurdity ! a slavish devotion to names. When will men learn that two things are not necessarily the same, because they may be called by similar names ? Take, for example, the greens used in carriage painting. These are either chrome or copper greens, and are briefly described in the foregoing pages. The body greens are chrome colors, and the diaphanous greens ''^'f copper colovg. as a rule. Chrome Green, when pure, is of a denne body (almost, in thi ; respect, rivaling lampblack), and covers and conceals all it touches, whether white or black. A fair selling price of this pure green, dry, would be about eighty cents per pound to consumers, and at this price it would be the cheapest green attainable. Yet the proba- bilities are, that a pound of this color, under its own proper name, cannot be found in any carriage shop in the United States. What, then, do we buy ? Listen ! The so-called " chrome green" of commerce is simply an earthy base — silica, sulphate of baryta, or carbonate of lime, colored with chrome green, in proportions varying from (the best), say, one pound of color to five pound, of the base, to one pound of color and two hundred pounds of the base; and all is sold as chrome green, Now, this earthy b{ '«, which is transparant when mixed in oils, adds to the value o. ^^aint in thj same La:r^.hii ir:4( WW iM ^f| Ihf ,»J ->i ^,^i*^ o' .H;.^^i^|ip^/:!::ih:i i K ,u ' . L P n.i^lSr- 'Hf ii^^ Jq K 5 m m \mi ffi