I LIBRARY OF CONGRESS.! # „, . f J ^^.^...GrZA I # ^ # I UNITED STATES OP AMERICA. | 7^ ?- •^' £ THE CAEBIAGE PAINTEES' ILLUSTEATED MAITUAL. CONTAININa A TKEATISE ON THE AET, SCIENCE, AND MYSTERT 01' COACH, CARRIAGE, AND CAR PAINTIUa, INCLUDINa THE LATEST IMPROVEMENTS IN FINE PAINTING, GILDING, BRONZING, STAINING, VAS- NISHING, POLISHING, COPYING, LETTERING, SCROLLING, AND ORNAMENTING, WITH AN APPENDIX, CONTAINING USEFUL SUGGESTIONS, RECEIPTS, ETC. ; A UST OP THE PRINCIPAL VARNISH MAKERS AND DEALERS ; A CORRECT LIST OP CARRIAGE AND VTAGON-MAKERS IN NEW YORK CITY. BY F. B. GAKDNEE, A FHAOTICAL NEW YORK COACH AND OBNAMENTAL PAINTEH, 3sr:H:v7"-"YOi^K: : S. E. ^\rELLS, PUBLISHEE, 389 Beoadwat. 1871. Entered according to Act of Congress, in the year 1871, by SAMUEL E. WELLS, In the office of the Librarian of Congress, at Washington. ^^f"'' BT. JOHNLAND STEREOTYPE FOUNDRT, BUiTOLK CO., N. T. PREFACE THIS book is designed to present a clear and concise statement of tlie principal metliods employed in Fancy and Carriage Painting ; and to form a reliable Manual for the experienced workman, as well as the apprentice. Having been practically engaged in the business since 1850, and having paid great attention to the art, science and mystery of fine painting, I have, in common with others, met with many difficulties, which careful experiment and perseverance have overcome. Therefore, in laying before my readers the results of my own experience, it is with the hope that my endeavors to aid my fellow craftsmen will not fail of appreciation. Preface. I will detail the methods usually employed by others, and the various processes which have appeared to me to answer best, because of their simplicity, certainty, and economy, and I will then leave the reader to judge for himself which method is most deserving } of his practical consideration. The Author. THE PAI:NTEES^ MAl^fUAL. PAUT I. THE TOOLS USED. IT is unnecessary for me to enter into details as regards the equipment of the shop, for that is constituted according to circumstances ; suffice it then to say, a paint shop should he clean, tidy, and well lighted. The tools, colors, varnishes and liquids with which we do our w^ork are of the first importance, and I will describe those generally used in first-class shops, and those which experience has taught me to be the best. The first tool which claims attention is the paint miU. The best, and one commonly used by carriage painters, is Harris' mill, manu- 8 The Painters' Manual. factured at Waterville, New York. Tliis is made of different sizes, and possesses an excellent feature in that when the grinding surfaces are worn by long use, they can be filed by any handy man with a saw-file and a round-file, and so made ^' as good as new." The next tool in order, is a marble slab, or " stone," with its accompanying '' muller." Besides, we have also a medium-sized palette knife, and one or two good putty knives, cups for colors and varnishes, pails, sponges, cha- mois skin or ''shammy," dusting - brushes, water-brush or tool, scraping irons, and a ''burning off" furnace. These comprise the " rough " tools, and will be found indispensable adjuncts to a well-arranged paint shop. BRUSHES. For painting carriage parts, and for first coats on bodies, we require bristle brushes. The best for the purpose are medium-sized oval The Painters' Manual. 9 varnish brushes, as they invariably wear better, and are cheaper than low-priced brushes. We also require flat bristle-brushes of various sizes. The small or one-inch ones we vv^ill call *^ tools," to be used in cleaning up on carriage parts. The same quality and kind of brushes are used in varnishing, and reference will be made to these in other pages. All bristle brushes should be kept suspended in water ; and the most convenient way is shown in the engraving, much better than by any written description I might give. 10 The Painters' Manual, Nails are driven through the staves of a tub, at such a distance from the bottom that the water never should be allowed to reach above the binding of the brushes. The brushes, when suspended by them, should barely touch the bottom. For fine colors, or last coats, fiat camels'- hair brushes or blenders are used ; these are bound in tin, and when new, care should be taken to tighten the hair by an easy squeeze in a vice, of the lower part of the tin binding. Several of these brushes are required for different colors ; it being a bad plan to change them from color to color, — and different sizes are needed, from one inch to three or three and a half inches, wide enough for the quarter or back panels of a coach. These should be kept clean by rinsing lightly in tui^pentine, wiping with a rag, and then being suspended in water, the same as bristle brushes. Some painters hang their The Painters' Manual. 11 brashes in turpentine, bat this practice is found to be injurious, as it soffcens or rots the hair, which breaks off in minute pieces when coloring a panel or other work, and causes more or less trouble. VARNISH BRUSHES. There exists among painters various opin- ions with regard to Tarnish brushes, some contending that bristle brushes are best for all work, others, that fitch hair brushes are best ; and others will use none but " Philadel- phia brushes." The latter are bristle, ground to a chisel edge. I will simply offer my 'ideas'' in this matter, and leave the "pudding to be proved by the eating." I find the best and most reliable varnish brushes to be both bristle and fitch-hair. For heavy work, such as large panels on clarences, coaches, etc., I use the best quality 12 The Painters^ Manual. of elastic bristle brushes, made with a chisel edge, but not ground. The brushmaker takes the required quantity of bristles for a brush, and draws back the outside bristles on each side of a centre line, equally and evenly, forming a chisel or beveled edge, thereby leaving the split end of the bristle on the brush — not ground off ; and the consequence is, that the brush is softer and more elastic than the other description of brushes. These brushes can be procured at the principal brush stores, and you should be careful in selecting thorn; for a *^ laid "brush is worth two of those which are "ground.'' A set from one inch up to three inches in width for finishing coats, and another set for American or rubbing varnish are needed ; for it will be found that a good job cannot be so certain, if the varnish brushes are used for every kind and class of work. Have a can made to suspend them in, as represented in the ac- companying engraving, -svith a tight division The Painters' Manual, 13 in it, one side being for tlie finishing brushes, which should be hung in Enghsh varnish, and the other for rubbing varnish brushes, which should be hung in American varnish — care being taken to keep them always clean, and never allowing a change to be made. FITCH-HAIR YAHNISH BRUSHES. I DO not wish it to be understood that but one variety of brush is required ; for fitch-hair brushes are indispensable. We do not always 14 The Painters' Manual. have large jobs, or put on heavy varnish, therefore for buggies, small panels, or parts of heavy work, as coaches, landaus, bretts, etc., it is necessary to use those small soft tools which lay the varnish so evenly. The best quality sell for $1.00 per inch, while a poor imitation — and one perfectly worthless — -can be had for sixty cents. Always purchase this kind of brush from a well-known dealer. In varnishing carriage parts, the kind de- scribed for painting, will be found excellent. These may be kept in the can with the rub- bing-varnish brushes. It is well to have always at hand an old brush to be used on touching up or repaired work. These brushes also, should be bound ; thai is, have an extra binding, extending over at least one-third the length of the hair, when new, or they will be- come " flabby " and not work so well. A de scription of '^ how to bind a brush " is given further on in these pages. The Painters' Manual. 15 STRIPma PENCILS. These can be found at any supply store, ready made, in quills of various sizes and qual- ity. But I prefer making them myself, if for fine lines, as they will be cheaper and work better. Camel-hair striping pencils are good enough for ordinary work, or broad Imes, but one should be particular to select those with dark-colored, straight hair about one and a quarter inches long. These you can cut to make fine liners, or put two together for broader Unes. Sable-hair striping pencils are considered best by some painters, but I use them only for fine Uners. The flat pencils are preferable, as you can draw a longer line before refilling the pencil with color, thereby saving time in striping. TO MAKE A FLAT STRIPING PENCIL. Take a piece of hickory and cut it in the shape shown in the engraving at C ; split the 16 The Painters' Manual. B end carefully, as at A. ; cut two notclies, shown at B ; then take from a large sable-hair pencil the desired quantity of hair, and insert the ends evenly, and thinly in the split. The best way is to stick a pin into the split to hold it open, and when the hair is put in, pull out the pin. The wood when released will spring to- gether, and a piece of thread tied around in the notches will hold all together firmly ; cut the extreme point carefully Y;ith a sharp knife, and the work is finished. These pencils are used by holding them edgewise to the work and allowing but one half the length of the hair to touch — a knack easily acquired. Ox-hair pencils have been introduced lately, and are found excellent for fine or medium lines, where heavy color is used. They are made from the hair which grov/s in the ear of an ox. They are not expensive, and I advise The Painters' Manual. 17 a trial of them. They can be found at almost any carriage-painter's supply store. ORNAMENTING PENCILS. ORNAMENTiNa pcucils are bound in tin or brass, with long cedar handles. The best are sable-hair, costing from ten to fifty cents, ac- cording to size. Some very fine ones are made expressly for painting ornaments, crests, monograms, etc., on carriages, and will serve many purposes on fine work. LETTERING PENCILS. The best lettering pencils are of sable-hair, and are in quills, the same as striping-pencils, but the hair is shorter. *•' Wagner's black sable pencils " will be found excellent and not apt to *' crinkle" in heavy lead colors. Camels'-hair lettering pencils are well enough for some work or for light-bodied colors, but 18 The Painters' Manual. I do not advise their use, as the sables are so far superior. I have used one of '' Wagner's " pencils seven months, constantly, every day, on soda and sarsaparilla wagons, milk and pedlar wagons. There is a lettering pencil now in market bound in tin, but I beheve they are no better than the quill pencil. Striping pencils should be well rinsed after use, and well greased with tallow, (from a two- cent candle,) then spread evenly on a piece of glass and kept in a box out of the dust. Let- tering and ornamenting pencils may be greased and laid Ccarefully away in a box, and when well rinsed in turpentine they will be ready for use. Another tool for striping, and one which deserves particular notice, is a " mathematical " pen. It is generally adjusted to a pair of dividers ; a beautiful stripe can be made by it on panels, or on any part where the dividers will work. The colors used with the pen must be mixed in beer, or vinegar to which a little sugar is added. Fill the pen The Painters' Manual. 19 with a short-liair camel brush. Do not dip the pen in the paint. A httle practice will enable you to master the art of using this tool, and no painter will be without one when he has proved its efficacy. There is a patent striping machine for panel work, which answers a very good purpose, which was 'invented by George Crossingham, Croton Falls, New York, but it is not yet in general use. PALETTES. For lettering or ornamenting, we use the usual artists' palette, which can be found almost anywhere in the paint stores. For striping, I use a palette made of zinc, that metal being very easily cleaned, and always presenting a smooth surface. A piece four or five inches long and two inches wide, is all that will be required ; and you must never 20 The Painters' Manual, lieat it to remove dried paint, but wipe it off after use, with a rag and turpentine. TUBE COLORS. Tube colors, for ornamenting and striping, are decidedly the best. I give below a Hst of those most frequently used. They wiU dry in twenty-four hours, but if a quicker drying be desired, a httle sugar of lead (which is to be bad also in tubes) may be added, which will not affect the colors, hke most other driers. A mixture of these colors can be made to secure any desired shade. LIST OF TUBE COLORS. Asphaltum, Carmine, Antwerp Blue, Vermilion, Blue Black, Light Eed, Bone Brown, Indian Eed, Bitumen, Venetian Eed, The Painters' Manual. 21 Brown Ochre, Burnt Eonian Oclire, Burnt Terraverde, Chrome Yellow, Chrome Green, China White, Chinese Vermilion, • Flake White, Cremnitz White, Snow-White, Indigo, Italian Pink, Kings Yellow, Naples Yellow, Olive Lake, Munich Lake, Yellow Ochre, Burnt Sienna, Eaw Sienna, Burnt Umber, Eaw Umber, Madder Lake, Ivory Black, Verdigris, . Vandyke Brown, Emerald Green, Ultramarine, Prussian Blue, Chinese Blue, Terraverde, Yellow Lake, Sugar of Lead, Drop Lake, ,and fifty other colors, which can be found in 'the catalogues of supply stores ; but the above are those principalhj desired. 22 The Painters' Manual. ORDINARY COLORS. First on the list of colors, is "White Lead, from the fact that it forms the base or foun- dation of all our work. There are but two brands which I can recommend with confi- dence. Jewett's (Am.) and Atlantic (Am.). These brands will be found of uniform quality, and as good lead goes farther than common or low-priced lead, it is cheaper in the end. I shall use the term " keg lead," when speak- iug of this color in these pages, to distinguish it from dry white lead, which is used often, and is an excellent article for many purposes where we do not desire oil. Keg lead is used pure for first coats or priming on all our work, and is mixed with raw linseed oil only. We mix the paint quite thin, as it is our desire to fill the grain of the* wood, rather than plaster a thick coating of paint on the surface. When white is used as a color — as on stages, express, or pedlers' The Painters' Manual. 23 wagons, — mix the keg lead with turpentine, adding a little rubbing varnish to bind the paint and assist in drying ; a little oil may be also added when great durability is aimed at. OTHER PRIMARY COLORS. Lampblack, Crimson Lake, Drop, or Ivory Black, Yellow Lake, Prussian Blue, Scarlet Lake, Paris, or French Green, Carmine, Ultramarine, Dutch Pink, Rose Pink, Turkey Umber, Eaw Chrome Green, and Burnt. Indian Red, Italian Sienna, Raw Emerald — dark Green, and Burnt. Red Lead, Trieste, Chrome Yellow, Chinese Blue, Engl. Vermilion, deep, Chinese Vermilion, light, Venetian Red, Orange yellow, English Filling, 24 The Painters' Manual. American Vermilion, Red Lead (Eng.) Munich Lake, Metallic Paint, Drop Lake, Yellow Ockre, riorentme Lake, Vandyke Brown, &c., &c., &c., &c., GRINDING BLACK. It is the usual i)lan to grind drop or ivory black, when mixed with Japan or rubbing varnish, but I frequently mix that color when I wish to hav^ it extra fine, as follows : Mash up the lumps on the ''stone," and mix with turpentine to the consistency of thick paste ; put it in the mill, add a very little Japan, and grind the mixture as fine as the mill will work. Then add a little rubbing varnish to bind the color well, and it will be found a very excellent v/orking color. My theory for this method of mixing black is, that turpentine being very volatile, is absorbed by every small grain of black, and The Painters' Manual. 25 consequently softens the same, so that it grinds to an " impalpable " liquid ; while color mixed ynth Japan or varnish is not softened, but a slimy material is produced, which merely covers the fine grains, and they are not dis- solved, as by turpentine. This plan is easily tried, and if you do not agree with me I very much mistake. Always bear in mind that colors must be mixed with Japan, varnish or oil, to bind the paint ; while turpentine is used chiefly as a vehicle to enable the color to be spread evenly and smoothly. In mixing ultramarine blue with oil, it will freque;itly be found to "crawl" or "run;" this can be obviated entirely by adding a few drops of water or spittle to the mixture, which causes it to take the form of a paste, and pre- vents any further "running" or "crawling." Ultramarine is, I believe, the only color so affected, and it is also the worst color to "run," notwithstanding it is one of the " trio " — red. 26 The Painters' Manual. white, and blue, — which are said to never "run." TO PREVENT VERMILION FROM FADING. English Vermilion should be mixed with rubbing varnish and oil, instead of Japan, as the latter has a tendency to injure the color. Light English Vermilion is used for striping and ornamenting or lettering ; the deep ver- milion having less body, will not cover good. Vermilion is well known to fade or turn a blackish brown ; this can be obviated, and the color preserved for a long time, by adding to the dry color before mixing, one- eighth part of flowers of sulphur, which can be obtained at any drug-store. The old masters used this secret in their paintings, and their colors are known to stand the wear of years. American Vermilion should never be ground, as the process would change it to an orange color ; while green, Indian red, chrome-yellow, The Painters^ Manual. 27 nnd all heavy body colors are better, if ground as fine as possible. Raw oil is preferable to boiled ; it being more volatile, penetrates the pores of wood better, and forms a harder and more durable surface for the succeeding coats. PREPARED COLORS. I WOULD here call the attention of the reader to the prepared colors of Masury and Whit on, Globe Lead Works, of New York. These colors are mixed in Japan or varnish, and ground very fine ; they dry very quickly and "dead." Having used the ivory black, pre- pared by the above firm, I can recommend it as superior to anything else of the kind I ever tried. These colors are prepared ex- pressly for carriage painters, and every color desired can be obtained at the principal stores, in cans or pails, ready for use. For painters who have no conveniences for grinding or mixing colors, they will prove of great value. 28 The Painters^ Manual. COMBINATION OF COLORS. The various shades a^d tints which can be produced bj mixing different colors are so numerous, that I will curtail my remarks on this subject, preferring to leave the reader to discover by experiment desired shades, as the knowledge thus obtained will be of greater use and value than any written rule. The '* strength " of colors, also, varies, so that no particular quantity of each can be safely advised. However, to aid the amateur, tho following suggestions may be of service. Lead color, Keg Lead and Lampblack. Fearl " (( Prussian Blue and Ked.. Salmon ** (( Blue, Yellow and Red. Drah ** tc Yellow Ochre and Black French Gray, a Black, Blue, and Red. Pea Green, It Chrome, or Paris Green. Slate color. n Black, Red and Blue. Cream ** a l^'ellow and Red. Straw ** It YeUow. Fawn '* tt Ochre and Vermilion. The Painters' Manual. 29 Peach-blossom, Keg Lead, & American Vermilion. Purple color, *' Blue and Eed. Rose '* *' Carmine or Lake. Silver Gray, " Blue and Black. The above are all mixed with keg lead for a base, and the colors added to suit the taste of the painter. Lidian Ked and Black or Blue. Venetian Ked and Lampblack. Bark green, Lampblack and Chrome Green. Orange, Ked and Yellow. Grass green, Green and Blue. Olive, Ked, Green, or Black, Yellow and Ked. Snuff-color^ Yellow, Sienna and Ked. Brown, it PART II. CAERIAGE PAINTINa. FOUNDATION. To illustrate clearly the method of painting a new carriage, we will take a buggy and carry it through its various stages from the smith- shop to the trimming-shop, and finish it for the repository ; and here I would remark that the process will be the same for heavy work, such as coaches, clarences, broughams, bretts, rockaways, etc., with the exception that on the latter class of work we must, to insure good work, put on, perhaps, more paint in the foun- dation, as the style and finish are superior and the work in general is expected to wear longer than light buggy work. The body, having been finished by the body- The Painters' Manual. 31 maker, is brought to the paint shop. We dust it thoroughly to remove all saw-dust and dirt, and proceed to coat it with priming. See page 34. Every nail-hole and crack is well filled, and the priming well rubbed into the grain of the wood. For this work a well- bound brush, or a brush partly worn, is best. Clean out all corners with a small stiff brush, leaving no patches of paint on any part of the job. The wheels, beds, bars, shafts, etc., of the carriage part being at hand, we give them a coat of the priming also, and they are then ready for the blacksmith. The body will re- quire more paint, and while the smith is 'dron- ing " the running part we will " fill up " the body. Three or four days having passed since we " primed " the body, we sandpaper it lightly to smooth the grain and remove any lumps of lead, with No. 2J sandpaper ; then put on a smooth, even coat of No. 1 lead (See Page 22), set aside to dry hard, and perhaps in two 32 The Painters^ Manual. days this coat will be hard enough to " putty up." (See Putty, page 35). When the putty is dry, sandpaper again ; dust well and apply paint No. 2 (page 65). Allow this to dry, then putty up all the small holes, cracks and imperfections, plastering over with soft putty every part where the grain is coiu^se or very open. After the body has stood long cjiough to dry, paint No. 3 is then next in order. A great deal depends on the paint being perfectly dry before another coat is put on, and therefore give all the time possible be- tween each coat. The third and fourth coat of lead having been put on, everything puttied up smooth, and all dry, we are ready for the ROUGH STUFF. Some painters use yellow ochre for a rough stuff; others, mineral or fire-proof paint, and others stiD, English filling (ground slate). I prefer the latter, mixed as follows : The Painters' Manual. 33 Take three parts of filling, two parts dry white lead, one part keg lead ; mix with Japan two parts, rubbing varnish one part ; dilute with turpentine ; and run these compo- nents through the mill to crush the lumps and thoroughly mix them. Three coats of this is now put on the princi- pal parts of the body, each coat being allowed time to dry hard. (For heavy work I advise more) ; then, to enable us to see, when rub- bing^ that the surface is level, we " stain " the whole with lampblack mixed in Japan and turpentine. Yellow ochre rough stuff, when looked at with a microscope, after being rubbed, pre- sents a porous appearance like the end of a piece of rattan, which shows th<3 cause of varnish "flattening" or striking in on many jobs ; yet, there are jobs done with this pigment used as a filling where no imperfec- tions can be found in the finish. English filling forms a slate-like surface, perfectly 34 The Painters^ Manual, solid, and years of use have proved it to be about the best filling. The body being now ready for ironing, we will look at the foundation coats, and see how they are mixed. PRIMlNa. Mix keg lead to the consistency of mill: — country milk — with pure raw oil. No. 1, OB First Coat of Lead. — Mix keg lead mth raw oil two parts, Japan one part, to make it proper for a thick coat, adding a very little turpentine to allow it to work easily. For carriage parts add a little lamp- black, but not for bodies. No. 2, OR Second Coat of Lead. — Mix keg lead with one part raw oil and two parts Japan, and a little turpentine, as before, adding lampblack for carriage part, but none for the bodv. »/ Nos. 3 and 4, OR Third and Fourth Coats. — The Painters^ Manual. 35 Mix beg lead into a thick paste mth turpen- tine, add a little oil, Japan and rubbing var- nish to bind the paint well ; add, for the carriage part, a little lampblack, and if handy, a little red lead, which will make it sandpaper nicely. HARD DRYING PUTTY. Mix dry white lead with Japan and rubbing varnish equal parts, to the proper consistency, beating it well with a mallet to thoroughly mash the lumps. Keep it, when not in use, in water, to prevent it from drying. If it be necessary to put on more paint to properly fill the grain of the carriage part, the Nos. 3 and 4 will answer all purposes. These lead colors should all be ground as fine as possible ; they will then fill up the wood better and go farther, besides necessitating less sandpapering. The buggy having now arrived from the 36 The Painters' Manual. smith-sliop, we will "strip the job," i. e., take off the body, remove the loops, dash, steps, and foot-rail, and prepare to rub the body OUT OF ROUGH STUFF. This is done by rubbing the surface with lump pumice stone and water. Here I would call the reader's attention to a prejDared stone for rubbing made into cakes of convenient size and shape, and of various degrees of " grit.'' I have used it and find it an excel- lent article. The maker's name is forgotten, but it can be found at the principal stores. The pumice stone having been cut with an old saw and filed level, or into various shapes, we proceed with the rubbing, keeping the surface well wet with water, as the stone cuts faster and is less liable to scratch, when plenty of water is used. Take care not to rub more than is sufficient to take off all the stain ; wash off clean vdth The Painters' Manual. 37 cold watsr, and dry thorouglilj. It is very probable that small dents or scratches will be found in the surface, and to make sure of a perfect foundation for the color, we will pre- pare some FACING LEAD. Mix dry white lead with tvv'^o parts Japan, one part rubbing varnish, and thin with tur- pentine, adding a little lampblack to make a clean-looking lead color. Grind as fine as possible, rub the body off lightly vvith No. 1 sandpaper, dust well, and apply the facing lead with a camels'-hair brush, laying the paint on evenly and quickly. When dry, which will be in five or si:x hours, go carefully over with soft putty and fill all scratches or imperfections perfectly. Allow all to harden ; then with the finest pieces of pumice stone gently rub or "face it down ;" wash off; clean out the corners, and the body is ready for coloring. 38 The Painters' Manual, The irons of the body, such as steps, loops, &c., are also ready for color, having been pre- viously leaded. THE CARRIAGE OR RUNNING PARTS. Take No. 2 J sandpaper and cut down every part of the carriage, until there appears to be nothing but the new wood and iron left, taking care not to cut the corners of the spokes, bars, etc. By this means you remove every particle of blacksmith smoke, dirt and grease, and will provide against trouble in future o^^erations. The lead color No. 1 is now put on, using the oval brushes and *Hool ;" the latter being used to wipe around nuts, between spokes and springs. Allow time for drying, and then putty up all the large holes ; sandpaper and .apply No. 2 (page 65). Eepeat this process until the third and fourth coats are hard and dry ; then with partly worn sandpaper pre- pare it for the color. The Painters' Manual. 39 COLORING CARRIAGE PART. Let us suppose carmine to be the color desired. "We mix a preparation or ground color for vermilion, i. e., keg-lead and American vermilion to a light pink color, with Japan, varnish and turpentine, grinding very fine and laying on with a camels'-hair brush. When dry we put on deep English vermilion, and when that coat of " dead color " is dry, add sufficient rubbing varnish to make coloring varnish, and apply a heavy coat. This, when dry, is to be rubbed with pulverized pumice stone and water, using a thick woolen cloth for a rubber. Wash off, dry well with a " shammy,'' and if it is to be striped black, we will stripe it before putting on the car- mine. The striping being finished (a double fine line of black), mix French carmine. No. 40, Avith English hard drying varnish, and grind as fine as possible. Then add more varnish. 40 The Painters' Manual. that the color be not too strong ; and apply -with a fitch-hair brush. The English varnish will require at least forty-eight hours to dry, unless a little gold size has been added, and as we have already gone ahead a little too fast, we will look at the body. This we will sup- pose to have had a good coat of preparation, ?. e. lampblack, a good coat of ivory black, and a coat of black coloring varnish. Black coloring varnish can be made by adding '^ dead color " to rubbing varnish, but a far superior article can be obtained from Messrs. Smith, Baldwin and Company, of New York. This firm furnishes a black coloring vaiTiish, made with English ivory black, and their rubbing varnish ; it dries quickly, sets conveniently, and is by far the best article in the market. Use a fitch-hair brush to put on the coloring varnish. The body and carriage part are now in coloring varnish, and the car- riage part is glazed with carmine. We will now give the body two coats of rubbing var- The Painters' Manual. 41 nish, rubbing with fine pumice stone between each coat, and the trimmer can then put in the seat linings, etc. VARNISHING. The varnish-room should be well cleaned, walls dusted, floor well wet, and if the weather is cold, a temperature of seventy-five or eighty degrees maintained by a clean tight stove, or what is better, steam-pipes. The carriage part and body having now been nicely rubbed down and well cleaned, we begin with the carriage part. Eaising all the wheels from the floor by two boxes or barrels placed under the axles, we prepare the varnish and brushes. American finishing varnish ^s good enough for this part, and with our oval varnish brush and flat " tool " we take our position in front of the wheel with our left hand on the rim to turn it ; with the " tool " we spread the varnish heavily between the spokes, and up the front 42 The Painters' Manual, as far as the V shape of spolies extend ; then with the large brush we lay on an abundance of varnish on the side of the spoke nearest our left hand, then opposite, and then reach over and cover the back. Now wiping out all the varnish in the brush on the edge of the cup, we repeat the opera- tion with the dried brush, laying off the varnish smoothly and removing the bubbles. Next we varnish the hub, and wipe with the "tool'' around the "butt" of the spokes; then varnish the inside of the rim between the spokes, finishing the back and front sides last. "We keep the wheel turning for a moment or two until the varnish flows evenly, and proceed with the other wheels in the same manner, finishing the springs, axles, etc., lastly. The body i^ next looked after. Taking our body finishing brushes (the fitch hair brushes are best for the buggy), and for finishing bodies I prefer Noble & Hoare's hard-drying varnish and Harland's wearing body-varnish. The Painters' Manual. 43 mixed in equal parts, we begin with tlie inside — for which we should have a pair of brushes and a cup expressly. In laying on a heavy coat, we level it off nicely, leaving the brush marks faintly perceptible up and down the panels, always leaving the work before it begins to set. The outside we next look after, and flow the varnish on very heavily, but as evenly as possible. We lay off from end to end, then across from bottom to top, and repeat ; wiping out the brush on the cup, and leave the panel with the last movement up and down. We clean out under the mouldings with a small brush, and bear in mind that a heavy flow must be wiped upward, never down. Having been all over the body, with a piece of whale- bone — which should be at hand, one end being sharpened to . a poiut — vv^e go over the work, picking out any hairs, dust, etc., and then close up or darken the room and leave the job to drv. 44 The Painters' Manual. In cleaning a body preparatory to varnisli- ing, I find it an excellent plan to use, after dusting with the dusting-brush, a piece of silk (an old sun curtain for instance,) dampened with sweet oil. With this I gently wipe the job over, but not enough to grease the surface, and it removes every little particle of dust or lint left by the shammy and duster. YARNISHES. There is no class of people more pestered with peddlers, if I may so term them, than carriage-makers are with varnish agents. Every few days an agent of this sort makes his appearance, and sometimes proves an intole- rable bore. I do not frown upon the enter- prise and go-a-head-a-tive-ness of the agent or his employers, for such a spirit is well enough ; but I have frequently had occasion to object to the perseverance of such men in seeking the foreman, after a denial from the " boss," and The Painters^ Manual. 45 trying sometimes by bribery, to get him to assist with his influence in introducing the vaunted varnish. Some bosses, to get rid of the agent, order varnish '^for trial," and the workman then has to run the risk of spoiling his job ; for being unacquainted with the var- nish — and all varnishes manufactured by dif- ferent makers have their respective peculiar- ities — he goes at the work with more or less nervousness and hesitancy, and is almost cer- tain to turn out a poor job. Always *'let well enough alone," if you have good varnish and know 'low to use it ; let the new man, with his new varnish, negotiate with some new shop, where new work is done, by new hands. I do not wish to be understood as taking a stand against improvement, but as a general thing, there are too many changes with regard to varnish made in many shops. Neither would I speak disparagingly of varnish manu- facturers, but would give all a fair show. Let 46 The Painters' Manual. those, however, who prefer one maker's goods patronize him. "Each one to his taste." I echo the sentiments of a score of painters, and should not be judged harshly therefor. I have a preference for varnishes, and will 'without fear or favor state that in the twenty years' experience which I have had, I have never used varnish on which I could place so much reliance as that made by Smith, Bald- win & Co. This is no advertisement para- graph, but the honest conviction of the author, and should there be those in the fraternity dissatisfied with the varnish which they have been using, I ask them to prove for themselves my words. There are different opinions existing as re- gards the necessary qualities of varnishes — some preferring a quick-setting varnish, and others, a slow-setting one to enable them to "lay off" well ; consequently each must try for himself. The rubbing varnish made by the house just mentioned dries hard and quickly. The Painters^ Manual, leaving an excellent surface to rub on ; while their finishing varnish has a brilliant gloss, and can be laid on aa easily as one could desire. Messrs S. B. & Co.'s coloring varnish I have already mentioned, though, I repeat, that I have never seen its equal. In re-varnishing old work it is net well to put English on the old surface, it being apt to "crawl" or "pit," therefore I invariably use the above American varnish first, and finish with "Wearing English. A newly finished job should always be washed with clear cold water, and dried witb a clean shammy, before allowing it to leave the paint shop ; this hardens the surface and pre- vents the dust from sticking to it. If varnish is found to "crawl," wipe the surface with a damp shammy. Never dilute varnish with turpentine, as it kills the gloss. If too thick, warm it by the stove or place the cup on a warm iron. 48 The Painters' Manual. POLISHING. PoLisHixa on carriages is now among the things of the past ; but to describe the metho'd will not be amiss, perhaps. Finish your job as smoothly and cleanly as possible with American finishing yarnish, and let it stand at least ten days ; then rub down with pumice-stone the same as if a rubbing coat ; clean off, and rub again with rotten stone ground fine, until the marks of the pum- ice-stone are all obliterated ; next rub with rotten stone and oil until a gloss appears. Then substitute Spanish* whiting for the rotten stone ; this should be washed, i, e. : Mix the whiting in a pail of water, until like milk : let it settle a moment to get the stones, dirt or lumps out ; pour off the milky liquid into a clean pan, and let it settle thoroughly : poiu- off the clear water and dry the sediment ; it will be an impalpable powder, and mixed with the sweet oil will produce a good polish on the The Painters' Manual. 49 panel. Clean all off with soft silk, and you have a glossy surface, superior to varnish in point of wear — but not in looks. Fancy boxes may be polished in this way, and are better than varnished surfaces. Fur- niture, pianos and fancy articles are generally polished, and there are preparations to be had at furniture stores for re-polishing, which an- swer a very good purpose. PAINTING COACHES, ETC. The modus operandi of painting heavy jobs differs but little in the foundation coats from light work : therefore I will not enter into de- tails with regard to it. The workman must be more particular with this work, but one who can paint a buggy well should be able to get up a good job on heavy work. Confidence in your abilities is one half the battle. The panels of such work are generally painted in colors, while the pillars, top-strip, quarters, 50 The Painters' Manual. deck, etc., are always black. Umber colors, lakes, greens, and blues are some of the best colors used on this work. To prepare the body for any of these colors, we should use a ground color in the iplace of lampblack on black work. The following are a few of the grounds mosb approved. Lake. — Indian red and vermilion mixed to a dark brown, though some prefer a black ground for lake. Lake should never be mixed to dry ^ dead,' but with a subdued appearance, by putting in varnish enough. The best way is to try it on a board before laying on. If ^' deal," it loses one-half its brilliancy, and will be apt to be cloudy. Ultramarine. — Mix a medium blue with keg lead and Prussian blue. Vermilion. — A light pink color is generally used as a ground for vermilion, but if a pure white ground is gotten up from the beginning, This Painters' Manual. 51 you will find the color to cover well, and lose none of its pristine beauty. Don't forget to put flower of sulphur into your vermilion, as spoken of on ^d age 26, to preserve the color. Geeex. — Green and all heavy-bodied colors will cover well on the lead color without any ground color. TO PAINT PANELS CARMINE. To make a good job with carmine, W'e should get up an English vermilion ground, into coloring varnish, vrell rubbed down with pumice stone ; for we cannot rub a great deal after the job is glazed. Some painters mix their carmine glazing with rubbing varnish and oil, but you will find such jobs frequently '^ spotted ;" the best v/ay is to mix in English varnish, adding a little gold size for a dryer ; this flows evenly and does not cloud or spot if properly put on. "When a job is glazed, rub it carefully and apply a coat of American finish- 52 The Painters' Manual. ing and rubbing, mixed in equal parts. This can be rubbed for finishing coats, whereas if rubbing varnish be put on over the glazing it might crack, — but the mixture will stand the wear of years. Ultramarine blue panels can be made the same way, the ground being gotten up vnih Prussian blue. A beautiful wine color or lake may be made by glazing Indian red or brown with carmine. A brilliant green may be produced by a light pea green glazed mth verdigris or with Paris green. Striping may be glazed in the saDie manner, but of course on dead striping color. Some painters put on glazing the same as, and in the place of coloring varnish. I think this a very poor plan, as you have no chance to rub the surface imtil there is so much varnish over it, that the color is injured. The workman by experiment can discover many splendid variations of shades and tints The Painters' Manual. 53 by the glazing process, and his labors v/ill be better rewarded by knowledge acquired in that manner than if I were to extend this article to greater length with more precepts. STRIPING. "When tube colors are used for striping, there will be no trouble experienced in mixing, as they only require thinning with turpentine, and the addition of a little sugar of lead. We must use our own taste in striping ; though governed a little by prevailing styles. It would be folly for me to dictate any particular style. The manner in which strip- ing is done can be learned in three minutes by looking at a workman while at work, but long experience is required to perform the operation well ; suffice it then for me to say, get good tools and colors and practice on a wheel or board painted for the purpose, 54 The Painters' Manual. until you can master the art, for only practice, patience and perseverance can accomplish it. When striping on solid color, the ends of the stripes or any imperfections can be "cut off" or improved with a little of the '' dead " color, but on a glazed or light color the "cutting off" would show, therefore, when thus employed on these colors we have a little oil ready, and before the stripes are dry, we draw a pencil filled wdth the oil across the ends. Then the strijoes will dry everywhere but in those places where the oil is, and then they can be washed off with soap and water after all the rest is dry — and thus leave the stripes with a square end. Bronze striping is fashionable, while glazed stripes are always considered beautiful. (See Bronzing and Gild- ing-) Striping with a mathematical or drawing pen will be found excellent on panels or sleighs. Scotch plaid work is now out of fashion, as The Painters^ Manual. 55 well as cane work, or raised cane. The latter " raised Cain " with many who did not know its secret, and although an extended article could be written on that kind of work alone, and would be considered interesting by some, its antiquity will not warrant more than this brief notice. ORNAMENTING. This art requires practice, and the orna- menter should be able to draw well. However there will be found in these pages rules for copying, by which a medium workman may execute fine ornamental work, with but little knowledge of drawing. Monograms being more fashionable and by far more appropriate for this country than Coats of Arms, I will endeavor to aid the workman in executing these "tangled up" letters. The letters of monograms are not confined to any particular style or size, yet 56 The Painters' Manual. there is a peculiarity about them not found in other places. I show on another page letters suitable for monograms ; the workman, to twist them up, will copy them (as shown hereafter), and laying the two or three letters, as desired, against the window, can "lay them out " to suit his taste. It may be necessary to make some letters larger, as seen in the monogram of the author The Painters' Manual. 57 on the frontispiece. This, a little practice will render easy. The form of monograms may be sometimes made to represent the vocation or business of the owner, as shown in the accompanying engraving. The initials are T. M., made with a broken anchor and a rope, while the flukes, or broken parts of the anchor, form the ground. This monogram may represent Thomas Moore, a sea captain, or sailor. Such ornaments are generally expensive, if the services of an artist are called into requisi- tion. The "prominent letter" is generally the one covering the greatest part of the outside space, or, to define it more clearly, in a monogram composed of H. D. C, the C, which should be the "prominent letter," is made largest and almost encircles the whole monogram. *(•■) ' 68 The Painters' Manual. The Painters' Manual. 69 GILDING. This beautiful art requires our special attention, for it appears to many to be a very troublesome operation to execute "well. But it is easily done, as my remarks will show, and a little experience prove. It is best wlien gilding on carriage or wagon work, where the gold will be protected with varnish, to procure "gold size" ready prepared — English gold size being the best. If not to be had, you can make a substitute by using English varnish and Japan in equal parts. If the gilding is for striping, you should mix a little chrome yellow . with it, to be able to see the lines better ; but in lettering no coloring is re- quired. Havrfig your job rubbed down smoothly, take a piece of muslin and tie up in it a little whitening to form a "pounce bag f with this you pounce or dust over every part of the work where the gold leaf is to be put, to prevent the leaf from sticking to the 60 The Painters' Manual. surface not covered by the size. Another method is to wash the job over with starch water ; while still another plan is — where dust or starch is not apiolicable on account of newly varnished work near by, — to cut a potato in half, and with the raw surface rub the place desired, leaving the juice of the potato on; this soon dries and forms a thin film, to which the gold will not adhere. Any one of the above methods will be found to answer the purpose, and the coating will wash off clean when the gilding is dry. The surface prepared, take the size and put on the stripes, ornaments, or whatnot, and allow it to diy just enough to enable you to pass your finger over it without it sticking ; but if when the finger is placed directly upon it, it is " tacky," it is ready to receive the gold. For signs, or work which is not to be covered with varnish, we should use oil size, which is made with old boiled oil. The best is that taken from a paint cup in which the The Painters^ Manual. 61 paint has settled and left the oil on top. Pour this off carefully and grind into it a little chrome yellow. TO LAY GOLD LEAF. If for scrolls, letters, or large work, take the book of gold leaf in the left hand, and with the forefinger of the right hand lift the first paper leaf, leaving the gold on the opposite leaf smooth ; then holding the book close to the work, with the front pointed downward toward the bottom of the letters or scroll and lightly touch it, rolling the book up and leaving the gold on the letters. Repeat this operation until all the size is covered. Touch any missed spot "svith the finger tipped vrith the superfluous gold, and wipe all off nicely with a bunch of cotton. For striping it is better to use a 'Hip," (which can be found at any supply store). Place the book on a piece of board covered 62 The Painters' Manual. mth clotli, and raising the paper, cut the leaf the desired size with a table-knife, the edge of which is j)erfectly straight and smooth. Then draw the tip across your face or head, to slightly grease it, and lay it on the cut gold ; you can then lift and carry it to the size. Thus you can proceed until the striping is com- pleted. Some painters cut the book of gold leaf in strips, and lay the leaf directly from the strips : practice with either method, and you will find it easy enough. Gold may be shaded with transparent colors, such as asphaltum, ultramarine, lake, car- mine, verdigris, Paris green, etc., to suit the taste of the painter. BRONZING. Gold Bronze i^ used on carriage parts for striping ; and many fine fancy jobs can be done with this powder. The Painters' Manual. 63 The size used for bronze is the same as that described for gold leaf. To put on the bronze, — take a piece of plush or velvet, and make a small "pounce" bag, by tying up a ball of cotton. This will take up the bronze, which is gently rubbed over the size. The best quality of bronze is but little inferior to gold leaf, and for striping is better, as it does not consume so much time, and at the same time it is cheaper than gold leaf. To make fancy work with bronze, cut out any desired pattern in paper, and laying it over a nearly dry varnished surface, rub the bronze on through the holes of the pattern. The fronts of the spokes and the ribs of express wagons may be nicely ornamented in this manner. Copper and silver bronze can also be used in this way, and when the three are mixed up in ornaments they look well. 64 The Painters' Manual, TO PAINT A BUSINESS WAGON. In painting a business wagon we do not in all cases rough-stuff the bodies, as it would be too expensive and troublesome ; therefore we must get up the surface with lead and sand- paper. We use the same j)aint as used on carriages, sandpapering, puttying, etc., between each coat. Facing lead will be found excellent for the last coat of lead, as it cuts smoothly und easily with No. 1| sandpaper. The colors of business wagons are generally decided by the owner, but I will add hereto a few of the colors w^hich look well together. No. 1. Body. — Chrome green : frame or ribs, black, striped with white or cream color. KuxNiiv^a Geae. — Cream color, striped with red, blue or dark green or black, and red fine line. The Painters^ Manual. 65 No. 2. Body. — Yellow : frame black, striped with white or blue. EuNNiNa Geak. — Light vermilion^ striped with black and white. No. 3. Body. — Carmine glaze over Indian red. EuNNiNG Gear. — Vermilion. No. 4. Body. — Deep vermilion. EuNNiNa Gear. — Light vermilion. SLEIGHS, There is so much variety in the styles and colors of this class of work, that I dare not say much in regard to it. The foundation is the same as for buggies. Glazed colors are the most frequently used. Ornamental work, 66 The Painters' Manual. such as scrolls, birds, vines and flowers, are in good taste, and if v.ell done, add to the price. Gold striping worked up with fine lines of colors are in great demand — and it seems almost impossible to get on too much fancy work. The sleigh is presumed to form a part and parcel of the joy and mirth of a sleigh-ride. The following lines being apro- pos here, I venture to add them : *'The snow, the snow, tlie fleecy snow, And the bells so full of glee, Bring out the bay and the dapple gray, And a sleighing go with me. For it's jingle, jingle, jing ; Let the sleigh-bells ring. ** As swiftly we glide along ; Our hearts keep time To the merry chime, While our voices swell the song." The Painters' Manual, 67 TO REMOVE OLD PAINT. There are various metliods employed for removing old paint, and I will endeavor to describe them. First there is the hot-iron process. This is done by taking a heavy piece of iron and heating it in a stove or forge, and then holding it close to the work. The paint will blister or soften, and can be scraped off with a putty knife or chisel. A better plan is the furnace process. The furnace is made of sheet-iron and heavy wire ; its gen- eral form is shown in the accompanying en- graving. The triangular shape allows it to be held closely to the work on cither side. Being 68 The Painters^ Manual. filled with ignited charcoal, and a good fii-e kept up bj holding it in a draft, frequently, one can with this "burn off" a body very quickly and well. There is also a patent lamp used for the purpose. I have used one, and found it an excellent tool. It is designed to burn alcohol, and makes at the same time alcoholic gas, which is directed upon the flame by a pipe, while the flame is blown out in a long tongue of fire. This lamp is self-acting, and the work- man merely holds the lamp in his left-hand, directing the tongue of fiame upon the de- sired spot, scraping the paint off as he goes along with the right hand. Still another process is the potash plan. Dissolve one pound of potash in three pints of water over the fire, then add yellow ochre or some common dry paint until it is as thick as rough stuff. Smear this over the panel with an old brush, and in a little while you can scrape off the paint like old cheese. Some The Painters^ Manual. 69 years ago I was induced to use a preparation (Ostrander's) to take tlie place of potash — but it was a failure. After the paint is taken off by tlie potash process, wash the w^ood well with soap and water to remove any residual potash, dry off and sandpaper, and then give a coat of clean raw oil. "With the furnace or hot iron process, sand- paper smoothly and apply a coat of the usual priming, and proceed as if on new work. Carriage parts must be scraped, and for this purpose I use a tool, as shoT^Ti in the engraving. It is made of steel (an old file for instance), the square centre part being ground, and the four square edges are excel- lent to scrape the spokes, while the ends will be found useful on the carriage part. It is only where an extra job is wanted that it will be necessary to scrape off the caniage jDart, 70 The Painters' Manual. for we can generally fill them up with lead and get a good substantial surface. RE-VARNISHING. Old jobs should be rubbed well with pumice stone and water, the bare wood being covered with lead color (No. 1). All spots not hare can be touched up with dead color ; then put on a coat of rubbing varnish. If there be spots yet not colored properly, they can be fixed for the next or finishing coat. It is generally the cheapest plan to color the carriage part over and stripe anew, as it is a long, tedious job to touch it up, and never looks well. AN EASY WAY TO CLEAN THE MiLL. "When the paint is all out of the mill, it is best to clean the same, before the grinding surfaces become gummed up with dried color. The easiest way is to have a box of sawdust. The Painters' Mancjal. 71 in which the parts of the mill may be placed and rubbed clean. TO BIND A BRUSH. BRUSHES, -when new, should be bound at least one-third the length of the hair, to preserve them and render them better for use. Some loainters bind a strong cord round and round to the proper distance, and secure each end to the handle. But a better way is, to take a piece of strong muslin and wrap one thickness around the hair, then tie a cord firmly around the same as low as you desire the binding to come: then fold the muslin back toward the handle, and fasten it by tacking the margin around che border of the origmal binding. This method makes a very neat binding especially for varnish brushes. 72 The Painters' Manual. BLEACHING OIL. Pour about as much linseed oil into a shal- low earthen vessel as will stand one inch in depth ; then pour in six inches of water, cover with a fine cloth, and let the whole stand in the sun for a few weeks until the liquid becomes thick, when it should be poured in a phial and submitted to a gentle heat, after which the clear is to be poured off and strained through a flannel cloth. ABOUT OILS. The longer oil is kept, it is always the better both in regard to its drying and tran- sparent qualities. To make good nut oil, the skins of ripe walnuts should be peeled off, as it contains an acid whicli turns it brown. Poppy oil is made from the ripe seed of poppies. It is the best drying oil. The oil of spike, or lavender, is ol)tained by distilling The Painters' Manual. 73 spike with water ; it is yeiy volatile and fine for working vdih the pencil,, or for enamelling. To make a fiiie drying oil for extra fine paint- ing, take of poppy oil or nut oil one pint, of gum sandarac two ounces, of white vitriol and sugar of lead^ each one ounce. Boil the whole till the solid ingredients are dissolved, and the mixture is the color of linseed oil. This oil will dry fast, and a portion of pliro turpentine added makes a fine oil for use where the purest white tint is required. It may be mixed with other oils as a diying, where common drying oil woidd be injurious to the color. Eaw lioseed oil for carriage work is best, as being more volatile than boiled oil, it strikes into the wood, and forms a hard, resinous fiUinof. TO TRANSFER A PICTURE. Pictures are frequently transferred to painted surfaces or wood, and may be seen on 74 The Painters' Manual. stages, fancy boxes, etc. To transfer a picture, prepare a white ground well rubbed down with pumice stone and water. Then apply a thin coat of very light-colored varnish. (Eng- lish hard drying is good.) When this is not quite dry — ^" tacky," like gold size — dampen the picture on the back with clean water, and lay it between some newspapers to remove any water that might be on the face of the picture ; then lay rt carefully on the varnished surface, pressing it down with a damp cloth, or the finger, until there are no bubbles or air under- neath ; if there should be bubbles not easily pressed out, prick them with a pin to let the air escape. Then stand the work aside to dry, •and when hard, dampen the paper, and it can be rolled oflf by the finger in small rolls, until the picture is left quite perfect on the paint. A-fter fhis has dried well, a coat of clear liGfht varnish wrill finish the operation. The same process is used to transfer pictures to glass, and when colored on the back they look The Painters' Manual. 75 beautifully. Almost any one can do this kind of ornamentation nicely. Try it on a small scale. Another method is to use Grecian varnish — Canada balsam and turpentine — but Copal varnish is better where you desire durability ; and, besides, every carriage painter has the material always at hand. VARNISH FOR MAPS AND PICTURES. A GOOD varnish for maps and pictures is made of Canada balsam and rectified oil of turpentine in equal parts, mixed. Set the bottle containing the mixture in warm water and agitate until the solution is perfect ; then set in a warm place a week to settle, and when settled pour off the clear varnish for use. 76 The Painters^ Manual. ANOTHER, Take two ounces of gum mastic and one ounce of gum sandarac, reduce them to a powder, then put them in a flask or bottle and add a pint of alcohol ; shake the whole together till the gums have dissolved, strain the solution through a fine flannel, and put it in a clean bottle, corked tight, till w^anted for use. This varnish will dry in one minute, and on fancy boxes, pictures, etc., will form a good water-proof coating. TO PRESERVE PENCIL DRAWINGS. "Wash lead-pencil drawmgs, such as patterns, etc., wdth gun cotton in ether, (collodion,) and you will firmly fix them so that rubber will not rub them out. TO COPY AN ORNAMENT FROM PAPER. Place the paper containing the ornament against a window pane, and then laying a sheet The Painters* Manual. 77 of thin paper over it you can copy it exactly with a lead pencil. COPYING PAPER. Mix six parts by weight of turpentine, one part of rosin, and one part of boiled nut oil, and apply to the paper with a sponge. A small quantity of plumbago (black lead) added to the mixture makes a very good paper to lay under an ornament which you wish to transfer. TRACING PAPER. Take thin tissue paper and apply a coat of varnish, and when dry you can trace any ornament you wish with a pencil upon it. When an ornament has been traced upon this paper, rub over the back some dry color, and then by laying it on the place you desire to paint, you can follow the lines with a pencil, and you will find the counterpart on the *J8 The Painters' Manual. panel ; then liglitly scratch these lines v/ith pin, and wipe off the dry color. TO PRESERVE ORNAMENTS. Ornaments on work to be repainted may bo saved, if the paint is not to be burnt off, by taking a little glue and whiting, while warm, and applying a thin coat with an ornamenting pencil. This will soon dry, when another coat should be put on, and you can then paint over the ornament, being careful not to touch the spot with sandpaper or pumice stone and water until the job is ready to rub down in coloring varnish, when the glue can be soaked off clean. There will be found a slight depression from the surface, but this can be remedied by giving the ornament a thick coat of rubbing varnish with the pencil ; and when the succeeding coats of varnish are rubbed down it will be found level. The Painters' Manual. 79 LETTERING, There is a vast difference between the lettering of wagons and that of signs ; there- fore it becomes my duty to lay before the readers of this book the peculiarities attending this beautiful and useful art. The principle aimed at in wagon lettering is plain, or ornamentally arranged letters, which may be seen and easily read while the wagon is in motion ; while signs are expected to be read while the reader is moving. A solid bodied letter therefore is necessary for wagon work, as that can be seen and read at a greater distance than a Roman letter, or one having fine lines. There are several varieties of letters used in wagon lettering, but the principal styles, and those most frequently used, will be shown in these pages. There is a difference in outline from printers' type, and consequently it is not always best to follow after or copy print, when 80 The Painters' Manual, making letters. The names of tlie principal styles of letters are : Octagon Full Block, Eound Full Block, Octagon Half Block, Round Half Block, Antique Block, Eoman, Italic, Italian Back CJ The Painters' Manual, 81 slope, Front slope, Capitals and Lower-case The latter names are taken from the printers, and mean the capitals or large letters, and the lower case, or the small ones of same style. The first style shown is Octagon Full Block, which is a beautiful letter on almost any kind of work, and it can be greatly extended if desired to fill a certain space. When shaded nicely this style presents a bold front, and can be read distinctly at a considerable distance. The letter S shown on page 82 represents a Uoch shade, which may be executed very easily by glazing the dark shade ; as, for instance, 82 The Painters' Manual. the letter having been shaded with vermil- ion, the dark shaded part is glazed with car- mine, and the light part left vermilion. Another very good way by which you can make three shades, or what is termed " Double shade blocked" is to shade the letter with light blue, block shade with medium blue, and then double shade with ultramarine blue. The next letter in order is the Eound fall block ; these are similar to the Octagon, with the exception that the corners are rounded. The Painters^ Manual. 83 OCTAGON HAIiF BLOCK. This is a very easy letter to draw and paint, and when shaded nicely, has a very neat appear- ance. It may be condensed or extended to suit the taste of the letterer, and where speed is desired in lettering, this style will be found 84 The Painters' Manual. to answer well. I show three styles of shade- ing herewith. SINGLE SHADE. DOUBLE SHADE. The Painters' Manual. 85 BLOCK SHADE. This style of letter, when in gold, and '^ edged all around " — as hereafter described, — will be found excellent for the fronts of trucks, panels of express wagons, and as a feature of variety on top-sides. Such letters may be ornamented when desired, as shown in the engraving, the letter being made with a light color, say, light blue, and then the dark blue put on, as already mentioned. This makes a splendid line of letters, and is very fashionable. The style of letters used is generally decided 86 The Painters' Manual, by the length of space, and the number of letters desired in that space. No two lines of the same style should be placed together, if possible to prevent it, but an alternate use of one style will not look out of place, if a difference be made in shading. Sometimes it is necessary to use a certain style of letter, even if that style has to be condensed or extended to fill the space ; but this must be determined by the workman, and experience will teach the requisite good taste. To lay out a line of letters, decide upon the size, then draw a line for the top and another for the bottom ; then with a pair of dividers The Painters' Manual. 87 set to a chosen size, run over the length of space to see if you will have room enough to put in the desired number of letters ; if not, set the dividers again and measure the space again. Bear in mind that the space between letters is not always the same, for where such letters as A. F. J. L. T. V. W. Y. are used, the space between them and the other letters is but one-half that which is left between letters like H. D. B., etc. An L. placed next to a v., with the same space as given to H. B., would look very badly, owing to the open character of the L. The letter I. should have considerable space, that it be not confused with the other letters. The arrangement of letters can be well studied by paying close attention to the work of some good letterer ; and as it is a difficult task to describe fully the " laying out " without numerous diagrams, I will " rest here,** on that point, as a lawyer would say. The Antique block letter will be found 88 The Painters' Manual. very useful as well as the Italian, botii of which are used extensively on milk-wagons in our city. ANTIQUE BLOCK LETTEB. "Wagon lettering is invariably shaded on the right side, a rule w^hich custom has created among first-class wagon letterers, leaving sign work to be shaded on the left side, as you will notice is more frequently done. Gold lettering on any ground color should always be shaded and "edged," the latter The Painters^ Manual. 89 g ITALIAN BLOCK LETTER. being a fine white or cream-colored line on the edge of the letter, opposite the shade ; or it may be- put all around the letter and still be in good taste. Gold letters on a red ground are generally shaded with black and double shaded with carmine or asphaltum. edged with white. Gold on a white ground is edged with black. 90 The Painters' Manual, SCROLLS. This work requires the good taste and perfect outline of a drauglitsman. But an insight into this art may be gained by copying the work of others, by processes described in this book. When a copy has been made on the copy- ing paper, take a piece of stout wrapping- paper, and laying it on a smooth board, place the copy over it, and fasten all down to the board with a few tacks or pins ; then with a pin prick the outlines with small holes through the copy and wrapping-paper. Having done this, lift all from the board, and by placing the wrapping-paper copy on the panel, and dusting on fine whiting with a pounce-bag, you will transfer the copy to the panel. Next proceed to fill in the outlines with gold size ; lay on the gold, and then clean all off nicely for shading. This is done with asphaltum, but a veiy The Painters' Manual. 91 fine effect can be made by glazing some parts with carmine or blue. Copy the shading of the original as near as possible ; put in the Hghts or white fine lines, and with a little practice and the use of pattern, you will soon gain a Imowledge of scrolling sufficient to enable you to perform ordinary work. Scrolling in colors can be learned in the same way, but it is a more difficult art, as it requkes good taste in the application of colors — harmony of colors being the greatest desideratum in good scrolling. STENCILING. Stencilinq is an art by which the painter can execute ornamental work quickly, and when thoroughly understood it will often be called into requisition in the wagon paint shop. The articles required in making a stencil, 92 The Painters' Manual. are a sheet of well-sized writLng paper, a lead pencil, and a sharp penknife. Fold the paper, allowing the edge of the ^A^* The Painters' Manual. 93 fold to form tlie centre of the pattern ; then draw any design you wish, leaving bars to hold the parts together, as seen in the engraving herewith ; then lay the paper upon a piece of glass and cut out the figures with the penknife. Fac simile copies of these engravings may be made by copying, (as already described,) and they will be found useful on the panels, springs, bars and spokes of a wagon. Figs. 1 and 2 are illustrations of neat and simple patterns in stenciling, and such as may be used for the ends of small panels, or parts of the figures on springs, etc. The tool used for this work is a camels'-hair brush or pencil, with hair not over one-half an inch long, bound with quill and wire on a roimd wooden handle. Price at supply stores, rates from 25 cents to $1.00. The small sizes are preferable. The color may be mixed in Japan and turpentine, as for striping, but color mixed 94 The Painters^ Manual. with vinegar and sugar will be found best. The paint must be quite thick, and a small quantity only must be taken oil the brush, and then well rubbed out on a dry place before applying it to the work. Laying the stencil on the panel as desired, hold it down firmly, and rub over with the brush carefully until the cut portions of the figure are well coated. Then lift off the stencil and the work is completed. Many of my readers may have noticed the beautiful work executed by fresco painters, and wondered how it was done so correctly ; and now with the ideas here shown, the ordinary painter may compete with that class of work- men in the ornamentation of his special line, combining beauty, economy and dispatch. The Painters' Manual 95 TO TRANSFER ORNAMENTS FOR CARRIAGES, WAGONS, ETC. This beautiful art is now practiced by many painters, who are either in a hurry with their work, or for economy's sake. Pictures expressly designed for carriages are now sold at the leading periodical stores, and the amateur painter is enabled thereby to • finish a job of carriage painting in fine style. These pictures may be stuck on, and the dampened paper carefully removed, leaving the picture intact upon the panel, requiring no touching with the pencil. The proper way to put on decalcomine pictures is to varnish the picture carefully with the prepared varnish (which can be obtained with the pictures,) with an ornamenting pencil, being sure not to get the varnish on the white paper. In a few minutes the picture will be ready to lay on the panel, and the paper can be removed by wetting it, as already described ; 96 The Painters^ Manual, and when thoroughly ch-y it should be var- nished hke an oil painting. Be particular to purchase none of these transfer pictures, except those covered vvith gold leaf on the back, for they will show plainly on any colored surface, while the plain pictures are used only on white or light grounds. They may be procui^ed at any stationery store, and the cost is trifling. STAINING WOOD. Take nitric acid and dilute with ten parts water, wash the wood with it, and a mahogany color will be obtained. To produce a rosewood finish, glaze the same with carmine or Munich lake. Asphaltum, thinned with tui'pentine, is another excellent mahogany color, on new wood. APPENDIX. The following pages I will devote to items of interest, and should there be anything left " out in the cold," I beg the reader's pardon. To keep striping pencils in good shape and ever ready for use, grease them with tallow from a candle, and spread the hair straight on apiece of glass, keeping the same in a box made for the purpose, so that they may be preserved from dust. Why do striping pencils curl up or '' crinkle " when used in white (keg-lead) color? Because the acid with which the lead is made acts on the hau% heatmg and contracting ihe fibre. To straighten them when thus crooked, I 98 The Painters' Manual. draw tlie pencil across or between a warm iron and the finger. Dry white lead mixed in Tarnish and turpentine is preferable for strip- ing, but tube colors are best. When it is desirable to glaze a job with carmine, why do you advise the workman to get up a coloring varnish surface, while some painteA are in the habit of putting on glazing the same as if it were coloring varnisk? Because I have then a chance to rub the job smooth, which I could not do so well over the glazing. Besides, the glazing being mixed with flowing varnish, will flow level and free from clouds, if put on a smooth surface. PAPER CUPS FOR STRIPING COLORS. Although I do not recommend the use of paper cups for holding striping colors, I am aware that many prefer them, as they are The Painters^ MxVNUal. 99 easily disposed of when no longer desired for use. The economical painter would have small tin cups to use for striping colors, as the paper cups cause a waste of sandpaper. BRONZE PAINT FOR IRON. Ivory black one ounce, chrome yellow one ounce, chrome green two pounds ; mix with raw linseed oil, adding a little Japan to dry it, and you have a very nice bronze green. If desired, gold bronze may be put on the prominent parts, as on the tips or edges of an iron railing, when the paint is not quite dry, using a piece of velvet or plush with which to rub on the bronze. TO BRONZE STATUARY. Plaster casts or castings may be bronzed as follows : Wash the plaster over with thin glue 100 The Painters' Manual. or starch water. "When dry apply the bronze mixture above described, adding to it a little gold bronze powder, or some Dutch metal, powdered on the stone. TO PAINT MAGIC LANTERN SLIDES. Transparent colors only are used for this work, such as lakes, sap-green, ultramarine, verdigris, gamboge, asphaltum, etc., mixed in oil and tempered with Hght-colored varnish, (white Demar). Draw on paper the design desired, and stick it to the glass with water or gum ; then mth a fine pencil put the outlines on the opposite side of the glass with the proper colors ; then fill up and shade with black or Vandyke brown, as you find best. YARNISH FOR VIOLINS. Heat together at a low temperature two quarts of alcohol, half a pint of turpentine- The Painters^ Manual. 101 Tarnish, and one pound of clean gum mastic. When the latter is thoroughly dissolved, strain through a fine cloth. ANOTHER. Dissolve gum-shellac in alcohol by a gentle heat, and strain for use. This varnish will dry in a few minutes, and is best on account of there being no oil in its composition, oil being detrimental to musical instruments like the violin. ANOTHER. Gum mastic dissolved in spirits of wine. TO STAIN VIOLINS. Take one pound of Brazil wood and boil it in a half-gallon of water, an hour; sti^ain the liquor and add one half an ounce of 102 The Painters' Manual. cochineal ; boil again gently, and it will be ready for use. This will produce a crimson tint. If you wish it darker, boil a small quantity of saffron in a quart of water, and apply it before putting on the crimson stain. If you desire a purple color, boil one pound of logwood in three quarts of water, then add four ounces of pearlash and two ounces of powdered indigo. LETTERING ON GLASS. Sign painting on glass is one of the beauti- ful branches of our art, and as there are but few who can make a good job, I will endeavor to explain the method which has always been found to answer the purpose admirably. The glass should first be thoroughly cleaned and dried, then lay out the lines for the letters with soap, a piece of hard scented soap being best, then proceed to paint the letters on the right side of the glass ^Yith lampblack mixed with oil — this is to form a guide for the work ; ri^ The Painters' Manual. 103 then on the inside, lay on a thin coat of size — made Avith the white of an egg and water; or isinglass dissolved in water — with a camels'- hair l)rush, covering over the whole line of letters. Then lay on the gold leaf with a tip, until every part of the letters is covered well. Allow the leaf to remain until the size is dry, and you will find that the letters on the front side can be easily seen and traced. This is done with quick drying black, to which is added a little varnish. Paint over every part of the letter directly on the gold and allow it to dry; then wipe off with soap and water the lampblack letters from the front side, and with clean cold water and a soft sponge, wash the superfluous gold leaf and size from the back, and you will have a perfect gold letter on the glass. Proceed now to shade the letters, which may be done in colors to suit the taste of the painter. Always shade to the edge of the gold, for by that means you have only one 104 The Painters^ Manual. edge to make straight. The shade may be left rough on its extreme edge, and when dry a neat straight edge can be obtained by merely scraping with a knife. ORNAMENTAL DESIGNS ON GLASS. In making scrolls, eagles, etc., on glass, some i)ainters put on the outlines and shades first, and then lay the gold leaf over all. Another good way is to scratch the shades into the gold leaf af fcer it is dry, and put the colors on the back of the gold. Silver leaf may be used in the same manner as gold, but it will not wear as well. A very pretty letter may be made by incorporating silver with gold. Take paper and cut any fancy design to fit the parts of the letter, stick it on to the size before laying the leaf, and then lay the leaf, allowing it to dry, and wash off as before ; then with a penknife raise the paper figure, and The Painters^ Manual. 105 the exact shape or form of the figure will be found cut out of the gold letter. Clean off nicely, apply more size, and lay silver leaf to cover the vacant spots. "Wash off when dry, and a very handsome ornamented letter will be the result. Colors may be used instead of silver, if de- sired, or a silver letter, edged or " cut up " with gold, will look well. PERMANENT WOOD FILLING. A PREPARATION designed to supercede the lead color filling of carriage bodies was some time ago put in the market and tried by almost every carriage-maker in the country ; but I have yet to learn of its efficacy, outside of the windy advertisements in its favor. I can point to several large cans which have been " weighed in the balance and found wanting," as far as usefulness is concerned, which are among the refuse of the paint shop. 106 The Painters' Manual. TO IMITATE TORTOISE-SHELL. Paint a ground of salmon color ; thefn, wlioii dry and smoothed off, coat it over with rose- pink, mixed in varnish and turpentine ; then with a flat piece of glass press on the surface, and remove the glass quickly, being careful not to slip it over the paints so as to disturb the curious figures which the pressure will form thereon, after the paint has dried and been varnished, and you will find that you have made a very good imitation of the tortoise- shell. KEEPING ENGLISH VARNISH. I PREFER to keep English or finishing varnish cans covered with a piece of silk, which should be tied over the mouth of the can, instead of a tight cork ; for the reason, that extra var- nishes work better, and are not so apt to '' crawl " or " pit,'' if allowed to be in a can from which the gases may escape. This plan The Painters' Manual. 107 is only used on cans that are in frequent use; for if air be allowed to get to the varnish for any great length of time, it will thicken the varnish and injure it. Great care should al- Vv^ays be taken with varnish cans, for the least dust will be found to show itself, when a large panel is varnished, and many would be at a loss to accoimt for it. Look out for your cans! VARNISH BRUSHES. Thebe will be but seldom any occasion to wash out a varnish brush in turpentine, where care is taken to clean the work before applying the varnish. It is injurious to the brush to put it in turpentine, therefore we should en- deavor to use oil in cleaning out, rather than turpentine. The best way to clean a finishing brush, if by accident it becomes dirty, is to use it on a clean panel in rubbing varnish and oil, 108 The Painters' Manual. wi2:)ing off tlie panel and repeating the operf tion until the brusli is clean. PAINTING ON CANVAS. Banner work, or painting on canvas and muslin, is a particular job, for the least mis- stroke vdll spoil the work. It is always best to lay out the letters very accurately with char- coal or crayon, and then saturate the cloth with water to render the painting easy. I find on large work that a stencil is very useful, I take a piece of tin, and laying the straight edge to the mark, brush over with a sash tool, and by that means make a very clean-edged letter. Stiff bristle pencils, called " fitches " by house- painters, are best for canvas work. OIL-CLOTH. When it is desired to paint canvas for flooi^s, the canvas should be saturated with glue water, The Painters' Manual. 109 or flour paste, and allowed to dry first. Then paint it with any color desired. To put in the figures, cut out designs in stiff paper and ste»- cil them on, in various colors. TO IMITATE MARBLE. In painting to imitate white marble, get up a smooth white ground, as shown in previous pages. Then hold a lighted candle near the surface and allow the smoke to form the various shades and tints desired. This will make a very handsome imitation, and cannot be equalled with the pencil. Black marble is made by streaking a black surface with colors, using a feather and pencil. Another plan is to get up a smooth black sur- face, then take the colors, yellow, green, red, white, &c., ground thick in gold size, and '^streak" the surface with a stick or pencil. Allow it to dry, and apply a heavy coat of lamp- black and yellow' ochre, mixed like rough stuff. 110 The Painters^ Manual. When all is hard, rub down to a level surface mth lump pumice-stone, varnish, and a beau- tiful variegated marble vidll be the result. OILING OR CLEANING OLD CARRIAGE TOPS. Enamel leather tops should be first v;'ashed with Castile soap and warm water, then oiled vdth neatsfoot oil, or sweet oil, and a coat of enamel varnish put on. The leather will look like new. Dashes may be cleaned in the same manner, but varnish color is not very beneficial to pa- tent leather. However, when very old and cracked, it may be colored to improve the ap- pearance. OLD SILVER PLAITING. Silvered work on carriages may be improved by the following mixture : The Painters' Manual. Ill Take one ounce of nitrate of silver, and dis- solve it in one quart of rain water. When thoroughly dissolved, throw in a few crystals of hyposulphite of soda, w^hich will form a brown precipitate, but which will be re-dis- solved if suflSycient hyposulphite has been em- ployed. A slight excess of this salt must be added. The solation thus formed may be rubbed over tlie parts to be silvered. A solution of gold, may be made in a simi- lar way. t/ This silvering solution is not like the com- mon silvering fluids w^hich evaporate in a few daj^s and leave the parts worse than before. VALUE OF THE SLUSH TUB. Tee '^ slush '' or scrapings of the cups in a paint shop are valuable, and should be saved. No better mixture can be had for leaky roofs. And if mixed with oil and run through the 112 The Paixters^ Manual, mill, it mates excellent paint for floors or bot- toms of bodies. TRANSPARENT PAINTING ON MUSLIN WIN- DOW-SHADES. This art is extensively practiced in painting screens and window shades. The muslin is stretched on a frame and secured by tacks, then sized wdth a mixture of fine flour-paste, white glue, and white bar-soap ; the soap renders the muslin pUable and soft. A thin coat is applied, which is nearly invisible when dry. A coat of pure linseed oil, diluted with spirits of turpentine, is then applied to the whole, or a part, as desired, laying it on quickly and smoothly to ensure an even transparent surface. The colors used are, ivory black, ultra- marine, Paris green, verdigris, umber, sienna, asphaltum, and all other transparent colors. The Painters' Manual. 113 An outline of the design is drawn with a small pencil with black or umber, after which the colors may be applied, more or less diluted, as more or less transparency is desired. In general, the brightest colors should be applied first and the darker shades over them. These colors must be laid evenly and smoothly v/ith soft brushes, and should anj^ part be made too dark, the best way is to scrape off with a stick before the color gets too dry. The best designs for shades consists of landscape views, and should always bo de- signed to accommodate the form and position of the ground on which they are drawn. Stencils will be found useful on this work, in making corners or stripes for borders. SMALTS. Smalts is a finely powdered glass, or other substance, v/ell known in supply stores, and 8 114 The Painters^ Manual. of various colors. It is used on signs princi- pally. The method of use is as follows. For a gold-lettered sign, lay out on a leac^ color or white surface the line of letters, ant roughly size the shape of each letter witt fat oil size. This must be allowed at least twelve hours to get tacky and ready for gild- ing. After the gold leaf is laid and perfectly dry, mix up (for blue smalts) Prussian blue and keg-lead with oil, adding a little dryer. Outline carefully around the letters, and fill up all the outside with the blue paint ; then with a small sieve siffc on the smalts — allowing the sign to lay horizontally. Cover every part with plenty of smalts, and allow it to remain in the same position until the paint is dry. Then carefully shake of the super- abundant smalts and the work is completed. The Painters' Manual. 115 FLOCKINGS. A FINE powder from cloth is also used ill the same manner, and makes a beautiful sign. Blue or light colored smalts may be shaded upon with black color, using a stiff bristle pencil. PEARL INLAYING, OR PAPIER MACHIE. A VERY handsome effect is given to orna- mental work by inlaying. Prepare the job with a heavy coat of black Japan ; then before it is dry, procure some flakes of pearl at the supply store, then lay them on the black surface, pressing them also into the paint until they are level with the surface ; then, with colors, form vines and flowers, allowing the pearl to form the body of the flower leaf, and shade all up nicely. 116 The Painters' Manual. LIST OF CARRIAGE MAKERS IN NEW YOriK CITY. To aid the painter, wlien in searcli of em- ployment, I add a list of carriage-makers, witli the firm conviction that my efforts in their behalf will be fully appreciated. Adams, Levi, 2293 Third Avenue. Ashe, Frank, 163 Crosby Street. Baldwin, T. E., 78G Broadway. Barton & Boyle, 6 Seventh Avenue. Bates, S. E., 1505 Broadway. Beardsley & Co., 110 W. Thirty-seventh. Becker, F., 207 Green. BeU, Arthur, 142 E. Forty-first. Benson, Bros., 155 E. Twenty-third. Brewster, J. B., & Co., 65 E. Twenty-fifth. Brewster & Co., 374 Broome. Brown & Goodwin, 1404 Broadway. Campbell & McPherson, 100 W. Thirty-third. Gary, George, 128 W. Forty-sixth. Corbett & Scharch, 126 W. Twenty-fifth. The Painters' Manual. 117 Demarest & Woodruff, 628 Broadway. Dubois, A. J., 202 Greene. Dusenbury & Nelson, Jr., 98 Laurens. Engle, Henry, 114 Elizabeth. Flandrau, A. S., 18 E. Eighteenth. Flandrau, Wm., 280 Ninth Avenue. Gedney, E. M., 1413 Broadway. Geiger, L., 198 Henry. German, Philip, 180 Chrystie. Glueck, Marcus, 23 Third. Gray, W. H., 27 Wooster. Henry, "Wm., 158 E. Fifty-seyenth. Hicks, I. E., 32 Barclay. Jager, 255 W. Thirty-first. Johnson & Van Tassell, 58 Liberty. Lawrence, Jno. K, 558 Broadway. Lippe, Jos., 85 Crosby. Lockwood, Isaac, 2343 Third Avenue. Loos & Williams, 155 W, Nineteenth. McCready, Jas., 437 W. Thirty-fifth. Miller, Phil., 337 W, Fifty-second. Miner, Stevens & Co., 113 E. Thirteenth. 118 The Painters' Manual. Mix, Eugene, 1402 Broadway. Mix, Isaac, 598 Broadway. Monk, Irvmg, 102 Laurens. Moore, Geo. J., 376 Bowery. Murphy, Edward, 225 Greene. Pitney, Jas. W., 460 Third Avenue. Pomeroy, Jos. H., Jr., 156 Twenty-seventh. Rose, W. H., 21 E. Twelfth. Smith, Edward, 28 E. Twenty-ninth. Smith, John I., 103 W. Fortieth. Smith, Jos. L., 28 E. Twenty-ninth. Stevenson, Thomas, 124 E. Thirty-second. Stevens, E. M., 148 E. Thirty-first. Sweeney, Edward, 237 E. Fortieth. Swift, Charles, & Son, 123 W. Thirtieth. Taylor, Josiah, 59 Cedai. Tilton, B. ^Y., 47 Broadway. Tuttle, John H., 205 Pearl. Voorhis, Jno. D., Broadway, cor. W. 58th. Waldron, J. Q., & Bro., 46 Beekman. Winans, W. H., 30 Clarke. Weiser, H., 77 Greene. rp The Painters^ Manual. 119 Witty, Calvin, 168 Crosby. Wood, F. E., 221 W.- Nineteenth. Wood, Bros. & Co., 710 Broadway. Bach, F., 73 W. Thirty-third. Bauer, John, 31 Sullivan. Becker, Frederic, 207 Greene. Briling, Kobert, 123 Broome. Buyer, Edward, 75 First Avenue. Coe, Jonas L., 119 W. Twenty-eighth. Conover & Co., J. A., 130 Horatio. Denny, J. T., 551 Seventh Avenue. Fagin & Kirk, 608 E. Sixteenth. Fay & Bro., 513 W. Twenty-seventh. Fielding Bros., 203 E. Forty-first. Friedgen, MatLhev/, 403 W. Twenty-seventh. Gelshon, Thomas, 13 Downing. Haith and Becker, 205 E. Twenty-thhrd. Hayman, Louis, 210 E. Twenty-fourth. Hunt, W., 1558 Third Avenue. Jeremiah, G. A., 461 Tenth Avenue. Kettered, Philip, 90 Thompson. Kelly, John, 205 E. Twenty-fifth. 120 The Painters^ Manual. Kennedy, E., 126 Seventh Avenue. KumiDf, Mieli., & Son, 308 E. Thirty-fifth. Monk & Green, 510 E. Twenty-fourth. Moore & Manee, 3 Macdougal. Prial, Edward, 18 Ninth Avenue. Eose, Walton, 164 W. Eighteenth. Schmidt, John, 43 Leonard. Sebastian & Saal, 768 Third Avenue. Trautman, P., 138 W. Twenty -ninth. Uhl, John, 505 W. Thirty-seventh. Van Zandt, J. L., 197 Wooster. Weimer & Mnhler, 31 Eidge. Westerfield, "WiUiam, 77 Prince. WnUams, James, 242 E. Fifty-sixth. Williams, W. H., 226 Spring. Wolframbe & EUereni, 749 Sixth. White, David, 243 E. Fifty-sixth. F. B. Gardner, Ornamental Painter, 339 E, Forty-eighth. The Painters' Manual. 121 MANUFACTUREr^S AND DEALERS IN VAR- NISHES IN NEW YORK. William A. Andoe, 181 Pearl. Bell Brothers & Co., 159 Front. Brooks & Fitzgerald, West street, cor. Twenty- fifth. Carey & Philips, 427 E. Twenty-fifth. William Tilden Blodget, 252 Pearl. Thomas B. Brooks, 73 Gold. John Juhus & Co., 207 Pearl. J. D. Gilmore, 260 Pearl. M. W. Griswold & Co., 249 Pearl. William Harland & Son, 57 Cedar. Hotopp & Co., 462 Canal. F. S. LearnM, 142 Maiden Lane. Smith, Baldwin & Co., 110 John & 425 E.^5. Woodbury & Co., 129 Maiden Lane. John W. Masury, 111 Fulton. A. G. Mandel & Co., 179 WilHam. Henry Louis, 378 Pearl. A. H. Louis & Co., 143 Maiden Lane. 122 The Painters' Manual, George L. Wood, 214 Pearl.. Edward Smith & Co., 161 William. Kissam & Gundaken, 221 Pearl. Valentine & Co., 88 Chamber. WAGES, To enable the workman to find the amount due him for work from one hour up to six days, I append the following tabular statement. METHOD OF USING THE TABLE. Place a finger of the left hand on the price per day, say $3.00, and a finger of the right hand, say 5 days. Then moving tlie right hand down and the left hand to the right, we strike the angle, and on that space we find $15.00 the exact amount for 5 days. If the amount be required for 4 hours extra time, at the same rate of wages, we examine the columns in the The Painters^ Manual. 123 table headed " Amount of AVages per hour/* and find at the angle §1.20 — which added to the 5 days wages make $16.20. This is a very easy method, when once understood. ^ « s.^Bp g o 8 o o g g ^ 8 ^ 8 uo O 8 8 o o t> xiS o t-^ ci d ci c4 CO h5 »o t^ 00 cd. 05 rH c^ o tH CI d CI K V r.!-» H« -l« -le^ ^ B.^TJP o L-5 o o o o o o o O O O o Q O o O o O o o o o o o O o O o kO O o O o O o ^ Q JllOJ -4 lO o t- CO 00 Ci CS o ■r-\ rH i-H CI c^ CO rH LO co' 7-i olC^ -kr^ Ph sXt?p o lO o V-O o t— Jjfj o\ o CI o t- lO o in o H o t- o CJ o CO L— •r-\ ec o CO t- o cq o pj aa^qx ?t> CO "^ »o o o o t-^ t- OO Ci CJ Oi s rH T-K. c^' rH i s^ep o o o o o o o O o lO o m O o O O o o o o o c^ o t- o t- o c^ vo o o o oaVi c^ t r-IO ;^ :^? ;^^ .-I0< lO CO c^ 1— 1 o Ci CO GO t- W5 wo lO CO CO o o fe ^.i t~ o rH CO o JO o t- 00 iH d CO o CO t- o /z o r-l r-H tH 1—1 1-H tH rH C^ CJ CI CI CI C1 CO VN \N \M \N H iCTjp o CI »-0 t~ o 00 CI CO o o c^ iO t- o '^ 2<^ o o t- 00 o o rH •t-\ HO -«*< o o t- t- CO o P O <1 r-J r-5 1H rH rH ■rA rH rH rH rA tA ci iCi^p :^? :.^s! ^t ^rC ^^ <^X •X' nM N't r< ^ o o v/ lO rH b- CO o CO O (-ft CS CJ lO 00 r-K t- CO rN CO CO '^ lO lO iO -o b- t- tr- CO 00 cs y-K sjnoq CI \Si 3jnoq sinoq uaAas sinoq s.inoq 8AIJ CO o SJTioq I sjnoq oaiqi <1 sjrioq OAVX § LO o CO CO o CI 8 NC< tr- io 8 d CO S ? 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