TT 
 
 3O5 
 H5 
 
 X9 
 
Professor J Henry Senger 
 
.HINTS FOR PAINTERS, 
 
 DECORATORS, 
 AND PAPER-HANGERS. 
 
 BEING 
 
 A SELECTION OF USEFUL RULES, DATA, MEMORANDA, METHODS, 
 
 AND SUGGESTIONS FOR HOUSE, SHIP AND FURNITURE PAINTING, 
 
 PAPER-HANGING, GILDING, COLOR MIXING, AND OTHER 
 
 MATTERS USEFUL AMD INSTRUCTIVE TO PAINTERS 
 
 AND DECORATORS. 
 
 Prepared with Special Reference to the Wants of Amateurs. 
 
 BY 
 
 AN OLD 
 
 NEW YORK: 
 THE INDUSTRIAL PUBLICATION COMPANY. 
 
 1882. 
 W 
 
 fe 
 
 
 
NOW READY. 
 
 Second and Enlarged, Haitian. 
 
 The Steel Square 
 
 AND ITS USES. 
 
 By 
 
 . T. 
 
 This is the only work on THE STEEL SQUARE AND ITS USES evr_ 
 published. It is Thorough, Exhaustive, Clear, and Easily Understood. 
 Confounding terms and scientific phrases have been religiously avoided 
 where possible, and everything in the book has been made so plain that 
 a boy twelve years of age, possessing ordinary intelligence, can under- 
 stand it from end to end. 
 
 The New Edition is Illustrated with over Seventy-five Wood-cuts, 
 showing how the Square may be used for solving almost every probK .. 
 in the whole Art of Carpentry. 
 
 The following synopsis of the contents of the work will jjivt- i 
 idea of irs character and scope. 
 
 History of the "Square." Descrip- 
 tion, with Explanation- of the Rules, Fig- 
 ures, Stales, and Divisions shown on good 
 Squares. 
 
 Brace Rules. Octagonal Scale, Board, 
 Plank and Scantling Rules, fully explained 
 and described. 
 
 How to lay out Rafters, Hips, Jack- 
 Raft, rs, Purlins, Bevel Works, etc., etc. 
 
 Backing for Hips, Lengths and Bevels 
 of Valley Ralteis. Laying out Stairs and 
 Strings. 
 
 How to describe Circles, Ellipses, 
 Parabolas and other figures, with the 
 Square. 
 
 How to obtain Bevels for Hoppers 
 and all kinds of Splayed Work and Spring 
 Mouldings, by the Square. 
 
 Bisecting Circles, Proportion of Cir- 
 cles, Division of Widths, Bisection of 
 
 Angles, Diminishing Stiles, Centering 
 Circles, etc., etc. 
 
 Theoietii:.al Rafters, Cuts for Mitre 
 Boxes, Measurement of Surfaces, including 
 Painting, Plastering, Shingling, 
 Flooring, Rough Boarding, Tinni 
 Roofing. 
 
 l<ules for describing Octagi ; 
 Polygons of every descript'on ai 
 to find their angles . 
 
 Rules for finding tl 
 and Hips > f lrregpl.tr Roofs, ( 
 Equal and Unequal Mitres, Trits- 
 Bevel Timber Work. 
 
 The Develop 
 
 Roofs; Veranda Rafter.-, Strai.,. 
 Curved; Hopper Cuts of all kind- 
 Corner-pieces, Splayed Work for Co'.h'..-. 
 Heads, etc., etc., and many other things 
 useful to the Operative Mechanic. 
 
 Handsomely Bound in Cloth \viili Oil! Title. 
 Price ONE DOLLAR, 
 
 INDUSTRIAL PUBLICATION COMPANY, 
 
HINTS FOR PAINTERS, 
 
 DECORATORS, 
 AND PAPER-HANGERS. 
 
 
 
 BEING 
 
 A SELECTION OF USEFUL RULES, DATA, MEMORANDA, METHODS, 
 
 AND SUGGESTIONS FOR HOUSE, SHIP AND FURNITURE PAINTING, 
 
 PAPER-HANGING, GILDIXG, COLOR MIXING, AND OTHER 
 
 MATTERS USEFUL AND INSTRUCTIVE TO PAINTERS 
 
 AND DECORATORS. 
 
 Prepared with Special Reference to the Wants of Amateur*. 
 
 BY 
 
 OLD HAND. 
 
 NEW YORK: 
 
 THE INDUSTRIAL PUBLICATION COMPANY. 
 1882. 
 
<& <* 
 
PEEFAOE. 
 
 THIS little work is intended to furnish the PRACTICAL HOUSE- 
 PAINTEK THE EVERY-DAY WORKMAN with information sufficient to 
 enable him to understand his business intelligently. One of its 
 objects is to deal with the nature, characteristics, qualities, and 
 defects of the materials employed by the class of artisans for whom 
 it is written; and to a limited extent this has been done with as 
 tittle theory as possible ; high-sounding technicalities have also 
 been avoided wherever the author has been able to make himself 
 understood without them. 
 
 It is thought the young painter may derive great profit and 
 advancement from a careful study of this book, as the hints, rules, 
 and recipes it contains are reliable, practical, and of every-day use. 
 
 The author has consulted many works on the subject, and is 
 indebted to many of them for much of the matter contained, among 
 which may be mentioned " Building Construction and Materials," 
 'House-Painter's Hand-Book," "Artists' and Tradesmen's Com- 
 panion," "Painter's Guide," " Chevreul's Oils and Paints," and 
 several other works of more or less note. -To this has been added 
 -.Many things discovered by the actual experience of the writer. 
 
 M43339 
 
UONT-EETS 
 
 PAGE 
 
 Preface, . . . . . . . . iii 
 
 Preliminary, ....... 7 
 
 Preparation of Sin-faces, . . . . . .7 
 
 Materials Used, ........ 8 
 
 Bases and Vehicles, . . . . . . . .10 
 
 White Lead, Genuine aiid Adulterated, . . . .10 
 
 Linseed and other Oils, . . . . . . .13 
 
 Driers, ......... 14 
 
 Coloring Paints, . . . . . . < . i5 
 
 Blacks and Blues, ....... 16 
 
 Yellows, ......... 17 
 
 Browns, '......... 18 
 
 Pinks and Reds, ........ 19 
 
 Lakes and Orange, . . . . . . . . 20 
 
 Green, .......... 21 
 
 L'roportion of Ingredients in Mixed Paints, . . . ' - ' 23 
 
 Table showing the composition of the different coats of white paint, 
 
 and the quantities required to cover 100 yards of new work, . 23 
 Operations, ........ 24 
 
 Preparing the Work, . . . . . . .25 
 
 Taste in Color, . . . . . . . .30 
 
 Graining General Remarks, . . . . . .32 
 
 Graining in Oak, Mahogany, Rosewood, Walnut, Maple, Satin-wood, 
 Granites, Marbles, etc., . . . . . .36 
 
 Rules for Mixing Compound Colors, . . . . .41 
 
 Miscellaneous Receipts, for Painting Iron, Stucco, Glass; Gilding, 
 Gilding on Glass, Gilding Fretwork, Painting on Gilded Panels, 
 Gilding on Wood, Gilding Letters, Gilder's Size, Staining Wood, 
 Staining Floors, Varnishing, Painting Brick-work and Masonry, 
 French Polish, Wood-filling, Rules for Painters to Observe. . 43 
 Paper-hanging, . . . . . . . .54 
 
 Operations, ........ 56 
 
 Cleaning Paper-hanging?, . . . . . . .57 
 
 Varnishing Paper, ....... 57 
 
 The Making of Paste, . . . . . . .58 
 
 Useful Hints and Table for Estimating Cost of Work and Materials, ;"><) 
 
HINTS FOR PAINTEES 
 
 .AKD PAPEE-H ANGERS. 
 
 THERE is a general belief abroad that anybody can execute 
 all that is required of a house-painter. This is a very popular 
 error; it is not so easy to prepare and apply a coat of paint 
 in a thorough workmanlike manner as some may imagine. 
 It is still less easy to paint in parti colors ; and very few can 
 produce a good piece of graining. 
 
 The painter should not only be acquainted with the 
 method of applying paint when it is provided for him, and 
 the brush placed in his hand, but he should know the com- 
 position of the colors ; the manner in which they are made, 
 and the colors which must harmonize with each other when 
 they are associated together. These observations beingf of a 
 practical nature and the result of experience, are commended 
 for his perusal and study. 
 
 Preparation. All surfaces painted should be first 
 thoroughly dry and free from dust. All heads of nails should 
 be punched or " set " below the surface of the wood, and 
 after the priming is dry, the holes formed by the heads, as 
 well as all cracks, defects, etc., should be filled up with putty 
 made of raw linseed oil and whiting. To prevent knots or 
 
8 HINTS FOR PAINTERS 
 
 " fat " spots from showing through, they should receive two 
 coats of shellac varnish, and when dry rubbed down with 
 sand-paper. The shellac should be applied with a small 
 brush. It dries soon and may be painted over as soon as 
 dry. Shellac prepared this way is called " knotting," and 
 can be purchased wherever painters' materials are kept for 
 sale f 
 
 Materials. The principal materials used for painting, 
 /.<?., white lead and oxide of zinc, are so well known that it is 
 . .unnecessary to ^ allude particularly to their manufacture at 
 ':pr.esent % vB^fV<? Ijsfng them they should be mixed with pure 
 . .r\Ylinseed oil. . Turpentine may be used in cold whether to 
 - tt]%Jt*d tke jfalnt:vtfrk easy, as the oil is apt to chill, which 
 Sickens it and makes it difficult to apply. In warm weather, 
 i owever, turpentine should not be used in priming any parts 
 where the sun shines upon. In cold weather it is always 
 necessary to use litharge or some other drier; or the work 
 will remain a long time before it hardens ; in summer, how- 
 ever, driers in most cases are unnecessary, for if the wood to 
 be painted is as well seasoned as it ought to be there is little 
 danger of the paint being washed off by rain, as it will mostly 
 be absorbed in the surface. 
 
 To make satisfactory worK it is imperative that all cans, 
 pots and brushes used in painting be perfectly clean at the 
 start, and kept so whenever the conditions will permit. A 
 marble slab and muller will be required to grind the finer 
 colors used. Sometimes a small cast-iron mill will be found 
 useful not only to grind colors; but to pass the tinted color 
 through, so that it may be thoroughly mixed. It is scarcely 
 necessary to say that it is presumed the workman will know 
 what brushes he will require according to the work he has in 
 hand. His large ground paint brush, called a "pound- 
 
AND PAPER-HANGERS. 9 
 
 brush ; " his half-size, for smaller work ; his fitch and sash 
 tools, duster, pallet, putty and hasp knives; oval and flat 
 varnish brushes, varnish-pot, step-ladders and long ladders, 
 mahl-stick, pallet-board, gilding-knife, camel and sable hair- 
 pencils, whitewash brushes, jack for window work, cushion, 
 tip-pole, etc., etc. 
 
 Large brushes, such as 6-0 size, should be bridled when 
 new by winding good twine around them about one-third up 
 the length of the bristles, and as the brush wears, this binding 
 can be unwound. Care should be taken to use the brushes 
 so that they will have a flat wedge-shaped point, straight on 
 the edge. This can be done by holding the brush always in 
 one position. If brushes are turned round and round in the 
 hand while in use, they wear round and stubby on the point 
 .ind soon become useless for fine or smooth work. 
 
 Brushes that are in use every day should be placed in water 
 half the depth of the bristles at night, taking care that brushes 
 containing different colors do not come in contact with one 
 another. If they are to be laid aside for any length of time, 
 however, they should be washed with warm water and soap 
 after being thoroughly cleansed with turpentine, and laid 
 away in a moist place. 
 
 As a general thing it is better to buy putty already made 
 at a regular paint store, where you may depend upon its being 
 made of good whiting and linseed oil than to make it. Putty 
 should not be used until the work has been primed, for new 
 paint holds the putty very firmly. 
 
 White lead is to be judged of by being well ground and 
 possessing the mellowness given to it by age. 
 
 It is well known amongst painters that the best article is 
 the most economical, as it works out with more ease, and 
 repays the difference of cost in its better appearance and 
 extra durability. Linseed oil is also better for having due 
 
IO HINTS FOR PAINTERS 
 
 age, for the same reasons as the white -lead, working with 
 softness and advantage after parting with the water, which is 
 generally combined with new oil. 
 
 In most cases driers are added to paints to cause them to 
 dry mo r e quickly, and a solvent is sometimes required to make 
 the paints work more freely. When the color required differs 
 from that of the main paint used, the desired tint is obtained 
 by adding a staining or coloring pigment. The materials 
 generally employed may, for convenience, be classed as 
 follows : 
 
 Bases. White lead, red lead, zinc white, oxide of iron. 
 Vehicles. Oils, spirits of turpentine. Solvents. Spirits of 
 turpentine. Driers. Litharge, acetate of lead, sulphate of 
 zinc and binoxide of manganese, red lead, etc. Coloring 
 Pigments. Ochres, lampblack^ umber, sienna, and many 
 metallic salts that will be hereinafter mentioned, 
 
 White lead may be- obtained either pure or mixed with 
 various substances, such as sulphate of baryta, sulphate of 
 lead, whiting, chalk, zinc white, etc. These substances do 
 not combine with oil as well as does white lead, nor do they 
 so well protect any surface to which they are applied. Sul- 
 phate of baryta, the most common adulterant, is a dense, 
 heavy, white substance, very like white lead in appearance. 
 It absorbs very little oil, and may frequently be detected by 
 the gritty feeling it produces when the paint is rubbed be- 
 tween the finger and thumb. 
 
 White Lead is sold either dry, in powder or lump, 
 or else ground in oil in a paste containing from 7 to 9 
 per cent, of linseed oil, and more or less adulterated, 
 unless specially marked " genuine." When slightly adulter- 
 ated with a very white sulphate of baryta, like that of 
 the Tyrol, the mixture is considered preferable for cer- 
 
AND PAPER-HANGERS. II 
 
 &in kinds of work, as the barytes communicates opacity to 
 the color and protects the lead from being speedily dark- 
 ened by sulphurous smoke or vapors. White lead improves 
 by keeping, and when of good quality, will go much further 
 and last much better than when employed fresh ; moreover, 
 paint made with new lead has a tendency to become yellow. 
 It should not be exposed to the air or it will turn grey. 
 
 Of all the bases used for paints, white lead is the most 
 commonly used, and for surfaces of wood it affords in most 
 cases the best protection, being dense, of good body, and 
 permanent. It has the disadvantage, however, of blazening 
 when exposed to sulphur acids, and of being injurious to 
 those who handle it. 
 
 Red lead is produced by raising massicot (the commercial 
 name for oxide of lead) to a high temperature, short of fusion, 
 during which it absorbs oxygen from the air and is converted 
 into red lead or minium, an oxide of lead. The color is last- 
 ing, and is unaffected by light when it is pure and used alone, 
 but any preparation containing lead or acids mixed with it 
 deprive it of color, and impure air makes it black. It may 
 be used for a drier, as it possesses many of the properties of 
 litharge; it is also often employed in painting wrought iron 
 work, to which it adheres with a tenacity not equalled by 
 any other paints ; it is sometimes objected to for this purpose, 
 on the ground that galvanic action is set up between the lead 
 and the iron. It is also frequently used for priming on wood 
 work, and is especially adapted for hard woods. It is fre- 
 quently adulterated with brick dust ; this may be detected by 
 heating the powder in a crucible, and treating it with dilute 
 nitric acid ; the lead will be dissolved but the brick dust will 
 remain. It is also adulterated with colcother, a sesquioxide 
 of iron. Sulphide of antimony, or antimony vermilion, is 
 sometimes used as a substitute for red lead. It is sold in a 
 
12 HINTS FOR PAINTERS 
 
 very fine powder, without taste or smell, and which is insolu- 
 ble in water, alcohol, or essential oils. It is but little acted 
 upon by acids, and is said to be unaffected by air or light. 
 It is adapted for mixing with white lead, and affords an in- 
 tensely bright color when ground in oil. 
 
 Oxide of zinc, or zinc white, is durable in water or oil ; it 
 dissolves in hydrochloric acid; it does not blacken in the 
 presence of sulphuretted hydrogen; and it is not injurious to 
 the men who make it, or to the painters who use it ; but on 
 the other hand, it does not combine with oil well, and is 
 wanting in body and covering power, and is difficult to work. 
 It is easily acted upon by the carbonic acid in rain water, 
 which dissolves the oxide, and it therefore is unfit for outside 
 work. The acids contained in unseasoned wood also have a 
 great effect upon it. When pure and used for inside work, 
 t retains its color well, and will stand washing for many years 
 without losing any of its freshness. When dry it becomes 
 very hard, and will take a fine polish. This paint is suitable 
 for any place that is subjected to vapors containing sulphur, 
 or in places where foul air is emanated from decaying animal 
 matter. In such positions, of course, zinc paints should not 
 be mixed with " patent " or other driers which contain lead. 
 The best driers to employ with it are sulphate of manganese 
 and sulphate of zinc. This white is recommended as being 
 preferable to white lead for painting on a dark ground. The 
 reason of this is that the soap formed by the combination of 
 the lead and oil in lead paints is semi-transparent, and the 
 dark ground shows through it. The want of density, how- 
 ever, in zinc paints, is a great drawback to their use, and the 
 purest zinc oxide is not always the best for paint on account 
 of its low specific gravity; and in this respect, the American 
 zinc whites, which are frequently very pure, do not generally 
 give as good satisfaction as the zinc whites made in Belgium. 
 
AND PAPER-HANGERS. 13 
 
 Vehicles. - Oils are divided into two classes fixed oils 
 and volatile oils. Fixed oils are extracted by pressure from 
 vegetable substances, they are of a fatty nature, do not 
 evaporate in drying, and will bear a temperature short of 500 
 Falir., without decomposing. They are subdivided into dry- 
 ing oils, which become thick upon exposure to air. Of these, 
 linseed oil is most commonly used as an ingredient for paint. 
 Its qualities when pure are excellent, and it may be con 
 sidered the best of all oils for use in paint, putty, and other 
 similar substances. It oxidizes and becomes thick upon ex- 
 posure to the air. This property is very much increased by 
 adding other substances to it and boiling them together. It 
 is superior in drying powers, tenacity, and body to any other 
 fixed oil. The best oil comes from the Black Sea and the 
 Baltic ; that from the East Indian seed is inferior, as the seed 
 is less carefully cleaned, and contains too much stearine. 
 Raw linseed oil is clear and light in color, works smoothly, 
 and is used for internal works, for delicate tints, and for grind 
 ing up colors. Boiled oil is much thicker, darker, and more 
 apt to clog. It is used for outside work, as its greater body 
 and rapidity in drying make it a quicker and more efficient 
 protection. 
 
 Volatile Oils are generally obtained by distillation, and 
 have an odor resembling that of the plant from which they 
 are obtained. They are, as a rule, colorless at first, but upon 
 exposure to air and light they become darker, thicker, and 
 eventually are converted into a kind of resin. Spirits of tur- 
 pentine is the best variety of this class for mixing with ordin- 
 ary paints. Naptha and benzine are sometimes used instead 
 of turpentine, but not often, and their use is not recommended 
 when the latter can be obtained. Good spirits of turpentine 
 is lighter in weight and more inflammable than bad. It is 
 
14 '; HINTS FOR PAINTERS 
 
 colorless and has a pleasant pungent smell, whereas the smell 
 of inferior qualities is disagreeable. It is used as a solvene 
 for resins and other substances in making varnishes ; also in 
 paint to make it work more smoothly. It is useful also in 
 flatting coats, but will not stand exposure to the weather. 
 
 Driers. Driers are substances added to paint in order 
 to cause the oils to thicken and solidify more rapidly. The 
 action of these substances is not thoroughly understood. 
 Chevreuil has shown that the drying of linseed oil is caused 
 by the absorption of oxygen ; and there can be no doubt that 
 for the most part driers act as carriers of oxygen to the oil, a 
 very small quantity producing considerable effects. 
 
 The best driers are those which contain a large proportion 
 of oxygen, such as litharge, acetate of lead, red lead, sulphate 
 of zinc, verdigris, etc. They are sometimes used to improve 
 the drying qualities of the oil with which the paint is mixed, 
 or they may themselves be ground up with a small quantity 
 of oil, and added to the paint just before it is used. 
 
 Litharge or oxide of lead is the drier most commonly used, 
 and is produced in extracting lead from its ores. It can be 
 produced on a small scale by scraping off the dross which 
 forms on molten lead exposed to a current of air. Massicot 
 is a superior kind of litharge, being produced by heating lead 
 to an extent insufficient to fuse the oxide. Sugar of lead, or, 
 as it is more frequently called, acetate of lead, ground in oil, 
 and copperas and white vitriol (sulphate of zinc), are also 
 used as driers, especially for light tints. Oxide of manganese 
 is quicker in its effects, but is of a very dark color, and seldom 
 used except for deep tints. Japanners' gold size and verdi- 
 gris (acetate of copper) are also much used for dark colors. 
 Care must be taken not to apply too much of the size, or it 
 will make the paint brittle. Red lead (oxide of lead) is often 
 
AND PAPER-HANGERS. 1 5 
 
 used as a drier when its color will not interfere with the tint 
 required. It is not so rapid in its action as litharge or 
 massicot. Sulphate of manganese is the best drier for zinc 
 white, about 6 or 8 ounces only being used for 100 Ibs., of 
 ground zinc white paint. The manganese should be mixed 
 with a small quantity of the paint first, and then added to the 
 bulk. If great care be not taken in mixing the drier the work 
 will be spotted. Sulphate of zinc is also a good drier for zinc 
 paint. 
 
 Patent driers contain oxidizing agents, such as litharge or 
 acetate of lead ground and mixed in oil, and therefore in a 
 convenient form for immediate use. There is great danger, 
 however, in using such driers, unless they are of the best 
 quality from a reliable maker. Some of the inferior descrip- 
 tions depend for their drying qualities upon lime. 
 
 The following points should be observed in using driers : 
 
 i st. Not to use them unnecessarily with pigmei \s which 
 dry well in oil color. 
 
 2d. Not to employ them in excess, which would only re- 
 tard the drying. 
 
 3d. Not to add them to the color until about to be used. 
 
 4th. Not to use more than one drier to the same color. 
 
 5th. To avoid the use of patent driers, unless known to be 
 of good quality. 
 
 6th. To avoid the use of driers in the finishing coat of light 
 colors, as they are liable to injure the color. 
 
 Coloring Pigments. It will be impossible in a small 
 work of this sort to give anything like a complete list of the 
 pigments used to produce the colors and tints used by the 
 house painter and decorator. A few of the most useful may, 
 however, be mentioned. It is not proposed to give a detailed 
 description of them, but merely to distinguish those that are 
 
1 6 HINTS FOR PAINTERS 
 
 injurious from the others. Many of these, such as the ochres, 
 umbers, etc., are from natural earths ; others are artificially 
 made. They may generally be purchased either in the form 
 of dry powder or ground in oil. 
 
 Blacks. Lampblack is the soet produced by burning oil, 
 resin, small coal, resinous woods, coal tar or tallow. It is in 
 the state of very fine powder ; works smoothly ; is of a dense 
 black color and durable, but dries very slowly in oil. 
 
 Vegetable black is a better kind of lampblack made from 
 oil. It is very light, free from grit, and of a good color. It 
 should be used with boiled oil, driers, and a little varnish. 
 Raw linseed oil or spirits of turpentine keeps it from drying. 
 
 Ivory-black is obtained by calcining waste ivory in close 
 vessels and then grinding. It is intensely black when pro- 
 perly burned. Bone-black is inferior to ivory -black, and pre- 
 pared in a similar manner from bones. Blue-black and 
 Frankfort black of the best quality are made from vine twigs ; 
 inferior qualities from other woods charred and reduced tc 
 powder. In Europe some other blacks are used, but we 
 seldom meet with them in this country. 
 
 Blues. Prussian blue is made by mixing prussiate of 
 potash with a salt of iron. The prussiate of potash is obtained 
 by calcining and digesting old leather, blood, hoofs, or other 
 animal matter with carbonate of potash and iron filings. 
 This color is much used, especially for dark blues, making 
 purples, and intensifying black. It dries well with oil. 
 Slight differences in the manufacture cause considerable vari- 
 ation in tint and color, which leads to the material being 
 known by different names such as Antwerp blue, Berlin 
 blue, Haerlem blue, Chinese blue, etc. Indigo is produced 
 by steeping certain plants in water^ and allowing them to 
 ferment. It is a transparent color; works well in oil or 
 
AND PAPER-HANGERS. 1 7 
 
 water, but is not durable, especially when mixed with white 
 lead. 
 
 Ultramarine was originally made by grinding the valuable 
 mineral Lapis lazuli. Genuine ultramarine so made is very 
 expensive, but artificial French and German ultramarines are 
 made of better color, and cheaply, by fusing and washing 
 and reheating a mixture of soda, silica, alum, and sulphur. 
 This blue is chiefly used for coloring wall papers. 
 
 Cobalt blue is an oxide of cobalt made by roasting cobalt 
 ore. It makes a beautiful color, and works well in water or 
 oil. 
 
 Smalt, Saxon blue and Royal blue are colored by oxides 
 of cobalt. 
 
 There are a few other blues, such as Celestial or Brunswick 
 blue, damp blue and verditer, that are chemical compounds, 
 compounds of alum, copper, lime, and other substances ; but 
 they are so seldom used in this country that it is unnecessary 
 to describe them in detail. 
 
 Yellows. Chrome yellows are chromates of lead, pro- 
 duced by mixing dilute solutions of acetate or nitrate of lead 
 and bichromate of potash. This makes a medium tint known 
 as " middle chrome." The addition of sulphate of lead makes 
 this paler, when it is known as " lemon chrome," whereas the 
 addition of caustic lime makes it " orange chrome " of a 
 darker color. The chromes mix well with oil and with white 
 lead either in oil or water. They stand the sun well, but like 
 other lead salts, become dark in bad air. Chrome yellow is 
 frequently adulterated with gypsum. 
 
 Naples yellow is a salt of lead and antimony, supposed to 
 have been originally made from a natural volcanic product at 
 Naples. It is not so brilliant as chrome, but has the same 
 characteristics. King's yellow is made from arsenic, and is 
 
1 8 HINTS FOR PAINTERS 
 
 therefore a dangerous color to handle, or use for internal 
 work. It is not durable, and it injures several other colors 
 when mixed with them. Chinese yellow, arsenic yellow, and 
 yellow orpiment are other names for this yellow. 
 
 Yellow ochre is a natural clay colored by oxide of iron, 
 and found abundantly in many parts of the world. It is not 
 very brilliant, but is well suited for distemper work, as it is 
 not affected by light or air. It does not lose its color when 
 mixed with lime washes as many other colors do. There 
 are several varieties of ochres, all having the same character- 
 istics differing only in color which varies from a golden to a 
 dark brown. 
 
 Terra De Sienna, or raw Sienna, is a clay, stained with 
 oxides of iron and manganese, and of a dull yellow color. It 
 is durable both in oil and water, and is useful in all work, 
 especially in graining. 
 
 Browns. Browns generally owe their color to oxide of 
 iron. Raw umber is a clay similar to ochre colored by oxide 
 of iron. The best comes from Turkey ; it is very durable 
 both in water and in oil; does not injure other colors when 
 mixed with them. 
 
 Burnt Umber is the last mentioned material burnt to 
 give it a darker color. It is useful as a drier, and in mixing 
 with white lead to make a stone color. 
 
 Vandyke Brown. This color is an earthy dark brown 
 mineral ; it is durable both in oil and water, and is frequently 
 employed in graining. 
 
 Purple Brown is of a reddish-brown color. It should 
 be used with boiled oil and a little varnish and driers for 
 outside work. 
 
 Burnt Sienna is produced by burning raw sienna, it 
 is the best color for shading gold. 
 
AND PAPER-HANGERS. 19 
 
 Brown Pink is a vegetable color often of a greenish hue. 
 It works well in water and oil, but dries badly, and will not 
 keep its color when mixed with white lead. Spanish brown 
 and brown ochre are clays colored naturally by various oxides. 
 
 Reds. Carmine, made from the cochineal insect, is the 
 most brilliant red color known. It is, however, too expensive 
 for ordinary house painting, and is not durable. It is some- 
 times used for inside decoration. 
 
 Red Lead. This color has already been described on 
 page ii. 
 
 Vermilion. This is a sulphide of mercury in a natural 
 state as cinnabar. The best comes from China. Artificial 
 vermilion is also made both in China and in this country 
 from a mixture of sulphur and mercury. Genuine vermilion 
 is very durable, but when mixed with red lead, as it is some- 
 times, it will not stand the weather. It can be tested by 
 heating in a test tube ; if genuine it will entirely volatilize. 
 German vermilion is the tersulphide of antimony, and is of 
 an orange-red color. 
 
 Indian Red. This color is a ground hematite ore 
 brought from Bengal ; it is sometimes made artificially by cal- 
 cining sulphate of iron. The tints vary, but a rosy hue is con- 
 sidered the best. It may be used with turpentine and a little 
 fftrnish to produce a dull surface, drying rapidly, or with boiled 
 oil and a little driers, in which case a glossy surface will be 
 produced, drying more slowly. 
 
 Chinese Red and Persian red are chromates of lead, 
 produced by boiling white lead with a solution of bichromate 
 of potash. The tint of Persian red is obtained by the em- 
 ployment of sulphuric acid. 
 
 Venetian Red is obtained by heating sulphate of iron 
 produced as a waste product at tin and copper works. It 
 
20 HINTS FOR PAlNTEka 
 
 is often adulterated by mixing sulphate of lime with it during 
 the manufacture. When pure, it is often called " bright red." 
 Special tints of purple and brown are frequently required, 
 which greatly enhance the value of the material. These 
 tints should be obtained in the process of manufacture, and 
 not produced by mixing together a variety of different shades 
 of color. When the tint desired is attempted to be obtained 
 by this lattei course it is never so good, and the materials 
 produced are known in the trade as ' faced colors,' and are 
 of inferior value. 
 
 Rose Pink. This is made of a sort of chalk or whiting 
 stained v,ith a. tincture of Brazil wood. It fades very quickly, 
 but it is used for paperhangings, common distemper, and foi 
 staining cheap furniture. 
 
 Lakes. These are made by precipitating colored vege- 
 table tinctures by means of alum and carbonate of potash. 
 The alumina combines with the organic coloring matter and 
 separates it from the solution. The tincture used varies in 
 the different descriptions of lake.' The best, made from 
 cochineal or madder, is used for internal work. Drop 
 lake is made by dropping : mixture of Brazil wood through 
 a funnel on to a slab. The drops are dried and mixed into 
 a paste with gum water. It is sometimes called " Brazil wood 
 lake." Scarlet lake is made from cochineal ; so also are^ 
 Florentine lake, Hamburg lake, Chinese lake, Roman lake, 
 Venetian lake and Carminated lake. 
 
 Orange. Chrome orange is a chromate of lead, brighter 
 than vermillion, but less durable. Orange ochre is a bright 
 yellow ochre burnt to give it warmth of tint ; it dries and 
 works well in water or oil, and is very durable. It is known 
 also as Spanish ochre. Orange red is produced by a further 
 oxidation than is required for red lead. It is a brighte r and 
 better color. 
 
AND PAPER-HANGERS. 21 
 
 Greens. These, of course, may be made by mixing blue 
 and yellow together, but such mixtures are less durable than 
 those produced direct from copper, arsenic, etc. The latter 
 are, however, objectionable for use in distemper or on wall 
 papers, as they are very injurious to health. Brunswick 
 green of the best kind is made by treating copper with 
 sal-ammoniac. Chalk, lead and alum are sometimes added. 
 It has rather a bluish tinge ; dries well in oil, is durable, and 
 not poisonous. Common Brunswick green is made by mix- 
 ing chromate of lead and Prussian blue with sulphate of 
 baryta. It is not as durable as real Brunswick green. 
 Mineral green is made from bi-basic carbonate of copper ; it 
 weathers well. Verdigris is acetate of copper. It furnishes 
 a bluish-green color, durable in oil or varnish, but not in 
 water ; it dries rapidly, but requires great care in using owing 
 to its poisonous qualities. Green verditer is a carbonate of 
 copper and lime; is not very durable. Prussian green is 
 made by mixing different substances with Prussian blue. 
 There are a number of other greens made from copper, but 
 they all possess in a greater or lesser degree, the same quali- 
 ties as the foregoing. Emerald or Paris green is made of 
 verdigris mixed with a solution of arsenious acid. It is of a 
 very brilliant color, but is very poisonous ; is difficult to grind, 
 and dries badly in oil. It should be purchased ready ground 
 in oil, as in that case the poisonous particles do not fly about, 
 and the difficulty of grinding is avoided. Scheele's green and 
 Vienna green are also arseniates of copper, and highly poison- 
 ous. Chrome green should be made from the oxide of 
 chromium, and is very durable. An inferior chrome green 
 is made, however, by mixing chromate of lead and Prussian 
 blue, as above mentioned, and is called Brunswick green. The 
 chrome should be free from acid or the color will fade ; it may 
 be tested by placing it for several days in strong sun-light. 
 
22 HINTS FOR PAINTERS 
 
 Proportions of Ingredients in Mixed Paint. 
 
 The composition of paints should be governed by the nature 
 of the material to be painted. Thus the paints respectively 
 best adapted for painting wood and iron differ considerably. 
 The kind of surface to be covered, /. e., porous surface re- 
 quires more oil than one that is impervious. The nature and 
 appearance of the work to be done. Delicate tints require 
 colorless oil ; a flatted surface must be painted without oil, 
 which gives gloss to a shining surface. Again, paint used for 
 surfaces intended to be varnished must contain a minimum 
 of oil. The climate and the degree of exposure to which the 
 work will be subjected; thus, for outside work boiled oil is 
 used, because it weathers better than raw oil. Turps is 
 avoided as much as possible, because it evaporates and does 
 not last ; if, however, the work is to be exposed to the sun, 
 turps are necessary to prevent the paint from blistering. The 
 skill of the painter also affects the composition ; a good work- 
 man can lay on even coats with a smaller quantity of oil and 
 turps than a man who is unskilful ; extra turps, especially, 
 are often added to save labor. The quality of the materials 
 makes an important difference in the proportions used. 
 Thus more oil and turps will combine with pure than with 
 impure white lead ; thick oil must be used in greater quantity 
 than thin oil. When paint is purchased ready ground in oil, 
 a soft paste will require less turps and oil for thinning than 
 a thick paste. Lastly, the different coats of paint vary in 
 their composition; the first coat laid on to new work requires 
 a good deal of oil to soak into the material ; on old work the 
 first coat requires turpentine to make it adhere; the inter- 
 mediate coats contain a proportion of turpentine to make 
 them work smoothly, and to the final coats the coloring 
 materials are added, the remainder of the ingredients being 
 
AND PAPER-HANGERS. 
 
 varied as already described, according as the surface is to be 
 glossy or flatted. * 
 
 The exact proportion of the ingredients best to be used in 
 mixing paints varies according to their quality, the nature of 
 the work required, the climate, and other considerations. 
 The composition of the paint for the different coats also varies 
 considerably. The proportions given in the following table, 
 must, therefore, only be taken as an approximate guide when 
 the materials are of good quality. 
 
 Table showing the composition of the different coats of white 
 paijit, and tJte quantities required to copier i oo yards of newly 
 
 worked pine. 
 
 
 
 
 ft 
 
 A 
 
 g 
 
 | 
 
 
 
 
 1 
 
 9 
 
 ^ fi 
 
 1 i 
 
 1 
 
 1 
 
 KEMABKS. 
 
 
 o 
 
 H 
 
 i 
 
 "! 
 
 O H 
 
 11 02 
 
 i 
 
 
 
 
 Inside work, 
 
 
 
 
 
 
 
 
 4 coats not flatted. 
 
 Ibs. 
 
 Ibs. 
 
 pts. 
 
 
 
 Ibs. 
 
 
 Priming 
 2d Coat 
 
 | 
 
 16 
 15 
 
 6 
 
 
 
 11 
 
 I 
 
 Sometimes more red lead is 
 used and less drier. 
 
 3d Coat, 
 4th Coat 
 
 
 
 13 
 13 
 
 4 
 
 
 
 i 
 
 i 
 
 *Sometimes just enough red 
 lead is used to give a flesh- 
 colored tint. 
 
 Inside work, 4 
 
 
 
 
 
 
 
 
 coats andflatting. 
 
 
 
 
 
 
 
 
 Priming , 
 
 l\ 
 
 16 
 
 6 
 
 
 i 
 
 1-8 
 
 
 2d Coat, . 
 
 
 12 
 
 4 
 
 
 if 
 
 1-10 
 
 
 3d Coat 
 
 
 12 
 
 4 
 
 
 o 1 
 
 1-10 
 
 
 4th Coat 
 
 
 12 
 
 4 
 
 
 o 
 
 1-10 
 
 
 Flatting 
 
 
 
 9 
 
 
 
 
 
 3.} 
 
 1-10 
 
 
 Outside work 
 
 
 
 
 
 
 
 When the finished color is 
 
 4 coats not flatted. 
 
 
 
 
 
 
 
 not to be pure white, it is 
 better to have nearly all the 
 
 Priming 
 
 2 
 
 18?, 
 
 2 
 
 2 
 
 
 1-8 
 
 oil boiled oil. All boiled oil 
 
 2d Coat 
 3d Coat, 
 
 
 i ~- 
 lo 
 
 15 
 
 2 
 2 
 
 2 
 2 
 
 | 
 
 1-10 
 1-10 
 
 does not work well. For 
 pur: white a larger propor- 
 tion of raw oil is necessary, 
 
 4th Coat 
 
 
 
 15 
 
 3 
 
 2 1 
 
 Q 
 
 1-10 
 
 because boiled oil is too 
 
 
 
 
 
 1 
 
 
 
 dnrk. 
 
24 HINTS FOR PAINTERS 
 
 For every 100 square yards, besides the materials enumer- 
 ated in the foregoing, 2^ Ibs. of white lead and 5 Ibs of 
 putty will be required for stopping. 
 
 The area which a given quantity of paint will cover de- 
 pends upon the nature of the surface to which it is applied, 
 the proportion of the ingredients and the state of the weather. 
 When the work is required to dry quickly, more turpentine 
 is added to all the coats. 
 
 In repainting old work, two coats are generally required, 
 the old painting being considered as priming. Sometimes 
 another coat may be deemed necessary. 
 
 For outside old work exposed to the sun, both coats should 
 contain one pint of turpentine and four pints of boiled oil, 
 the remaining ingredients being as stated in the foregoing 
 table. The extra turpentine is used to prevent blistering. 
 
 hi cold weather more turpentine should be used to make 
 the paint flow freely. 
 
 Operations. All priming should be rubbed out as far 
 as possible, for if it is flowed out loosely or laid on thick it 
 will be apt to blister and run. In priming over spots, how- 
 ever, where patching is being done, it may sometimes be 
 necessary to leave the coat thick or heavy, for new work can 
 never be re-touched and look well, after the work is second 
 coated or finished ; for such re-touching would show and 
 spoil the whole work. In priming the paint should flow 
 easily, and the brush should be pressed on to the wood so 
 that the paint will be forced into the pores. In all cases it 
 is a great saving of time to cover as large a surface as con- 
 venient before smoothing or finishing off. All work on the 
 same surface should be finished at- the one application, if 
 possible, for " laps " which form the junctions of work done 
 at different times should be avoided wherever they can, as 
 
AND PAPER-HANGERS. 25 
 
 tney are sure to disfigure the work where they exist, Of 
 course, it is sometimes impossible to avoid laps, but where 
 they must occur, care should be taken to make the connection 
 with as little " lap " as possible or it will be certain to show 
 through the work when finished. The defect, if occurring 
 during the second coating, will show much worse than in the 
 priming coat. 
 
 In painting, like everything else, a system must be followed 
 to make much headway. Experience, perhaps, is the only 
 effective teacher in this matter ; and any rules laid down by 
 us will have but little effect, if the operator does not, or can 
 not systematize. The workman who follows a system will 
 do nearly twice as much work with less labor, than the man 
 who works only by the rule of thumb. In painting blinds, 
 lattices, railings, cut brackets or other similar work, some 
 method of operation should be adopted. A little observation 
 Dn the part of the operator, will soon teach him the best 
 methods to adopt in doing any particular kind of work. 
 
 Preparing the Work. In preparing work for paint- 
 ing, too much care cannot be exercised, as succeeding coats 
 and the final result depend very much on the proper con- 
 dition of the work when the priming coat is applied. First, 
 all the rough places in the wood should be rubbed down 
 with a block covered with sandpaper ; and the mouldings 
 and beads should be well cleaned out with sandpaper. Then 
 (and this is a matter of prime importance) every knot, how- 
 ever small, every indication of sap on the wood, or discolor- 
 ation of any kind, and every appearance of pitch or gum, 
 should be carefully varnished over with white shellac varnish, 
 if the work is to be finished in white or light tints or with 
 varnish made from unbleached or common shellac, if the 
 work is to be finished in dark shades. The common shellac, 
 
26 HINTS FOR PAINTERS 
 
 in the latter case, answers equally well with the bleached 
 article, and at less cost. This should not, under any circum- 
 stances, be neglected, as it is impossible, in the nature of 
 things, otherwise to make good work. 
 
 When work is to be finished with two coats, the putty used 
 for stopping the nail-heads and other indentations should be 
 made of white lead, worked up with common whiting to the 
 proper consistency, and the filling should be done after the 
 first coat shall have become well dried. When more than 
 two coats are to be applied, the filling should be done 
 between the first and second coats, with ordinary pure linseed- 
 oil putty. 
 
 It should be adopted as a rule, never to apply pure white 
 as a priming coat ; no matter whether the work is to be 
 finished with one or four coats, the result will always be more 
 satisfactory if the first coat be stained. A little finely-ground 
 lampblack answers as well for this as anything. 
 
 The only way to produce solid, uniform work, is by mak- 
 ing every succeeding coat lighter in tint than the one which 
 preceded it. This is especially the case with walls, and other 
 extended flat surfaces. No matter what the finish is to be, 
 the first coat should always be darker than the one which 
 succeeds it; and the darker the shade of the finishing coat, 
 the more important it is that this rule should be observed. 
 If the work is to be finished with black, prime with black. 
 If with green, let that be the color of all the preceding coats. 
 If with blue, let that color be the ground work. What can 
 be more stupid than applying to work which is to be finished 
 in imitation of black walnut a priming coat of white? All 
 work should be primed especially with regard to the finishing 
 color. 
 
 There is not half enough of dark colors used in priming 
 applications. , Venetian red, finely ground in boiled oil, 
 
AND PAPER-HANGERS. 27 
 
 deeply stained with black and used very thin, in order to 
 stain the wood as much as possible is the best first coat for 
 work which is to be finished in imitation of black walnut or 
 other dark wood. The succeeding coats should be as dark 
 as may be with a view to the proper shade of ground-work 
 for the graining. In such case, if (as must happen in the 
 ordinary course of events) the work becomes bruised or 
 " chipped " by an accidental knock from a chair leg or other 
 article of house furniture the general appearance of it is 
 little impaired thereby. Quite the contrary, however, is the 
 case if the underneath coats are white. Then, an accident 
 of the kind before mentioned, shows a white spot, which 
 staringly proclaims the work to be a delusion and a sham. 
 Dark colors, too, as the Venetian red before mentioned, 
 make better foundations than white lead or zinc. They dry 
 harder and " rub " better, -and, what is most important, cost 
 less. 
 
 This matter having been duly considered, let us now pro- 
 ceed to the coats succeeding the first. Before applying a 
 second coat, the first should be carefully rubbed, and all the 
 nail-heads and other indentations carefully stopped with 
 pure linseed-oil putty using for flat surfaces a square- 
 bladed putty-knife. Puttying with the fingers should never 
 be tolerated (good work is now the subject under consider- 
 ation). This done, the whole should be carefully examined 
 to ascertain if the oil in the former coat shall have revealed 
 any resinous or pitchy spots, not previously covered with 
 the shellac. These preliminaries being attended to, the work 
 may be considered ready for a second coat. The directions 
 as to rubbing with sandpaper are to be observed in all the 
 succeeding coats. As a rule, on interior work, paint should 
 never be applied to a surface which has not been previously 
 rubbed. 
 
28 HINTS FOR PAINTERS 
 
 Sandpaper for fresh work and pumice-stone for old work. 
 Always distrust the education of a painter in his trade who 
 goes to work without a lump of pumice-stone, a sheet of 
 sandpaper, a putty-knife, and a rag to wipe off the spatters 
 sparks, as the Irish not inaptly call them. Apropos of 
 spatters ! Every painter has seen (the result too of un- 
 pardonable negligence) plates of glass so covered with 
 spatters, that to remove them would require more time than 
 would serve to paint the woodwork of a " full-trimmed " 
 window. 
 
 In priming work which is to be finished in oak, finely- 
 ground French ochre is recommended. The objection to 
 this pigment, that it does not work smoothly and easily under 
 the brush, has arisen from its coarseness. Finely ground 
 in boiled oil, it works as smoothly as white lead, and makes 
 an excellent foundation for the succeeding coats. 
 
 For walls the first coat should be as dark in shade and as 
 thin as practicable, the object being to stain the plaster as 
 much as possible. Indeed, if the whole mass of plaster could 
 be stained through and through, it would be desirable to so 
 stain it. 
 
 The. use of glue in wall painting is of doubtful propriety. 
 It should never, under any circumstance, be put on until 
 after the second coat, and then rubbed on with a rag, very 
 lightly. In first-class work, however, its use is not recom- 
 mended. 
 
 Plaster mixed with weak glue-size which prevents its 
 setting too rapidly is the best material for stopping walls 
 preparatory to painting, and each coat of paint should be 
 carefully rubbed with worn sand-paper, before the succeed- 
 ing coat is put on, For preparing walls a small pocket- 
 trowel will be found a most serviceable tool, or a trowel- 
 shaped putty-knife, which article has come into general use. 
 
AND PAPER-HANGERS. 29 
 
 The preparation of ceilings for whitewashing (or kalsomin- 
 ing as this operation is sometimes pretentiously called) is an 
 operation requiring some skill and knowledge of " how to do 
 it." A dirty ceiling, which has been subjected to successive 
 coats of whitewash, whether of lime, or of whiting and glue- 
 size, cannot be made solidly and smoothly white by additional 
 whitewashing. The mass has become spongy, and sucks up 
 the water so quickly that the material cannot be evenly dis- 
 tributed. In such case the only way is to begin anew, to go 
 at once " down to hard pan " by removing all the previous 
 applications by washing and scraping. This is best effected 
 with a broad-bladed square-pointed putty-knife, keeping the 
 ceiling wet meanwhile. Plaster (hard-finish) is not of uni- 
 form density, and some spots are much more absorbent than 
 others. To remedy this a mixture of soft soap and alum, 
 dissolved in water, should be applied with a broad kalsomine 
 brush. 
 
 It is not assumed that mere verbal instructions can teach 
 the art of whitening or tinting walls and ceilings in water- 
 colors. To produce good results, great skill in preparing the 
 materials and dexterity in manipulation are required; and 
 such work should be intrusted only to competent hands. A 
 mass of unsuitable material may be cheaply put upon a ceil- 
 ing ; but when the same shall require repainting, the cost of 
 labor will be greater in removing the previous coating, than 
 will be the whole cost of repainting. These remarks, too, 
 apply equally to all kinds of painting ; and reference is 
 made to the whitening and tinting of ceilings only, because 
 of the general impression that, this kind of work may be per- 
 formed by anybody. 
 
 The materials and tools used in painting are too costly to 
 
 wasted and worn by incompetent handling. " Painting 
 just to keep the gardener or hostler out of idleness," will 
 
3 HINTS FOR PAINTERS 
 
 prove in most cases a left-handed economy. Sucn experi- 
 ments are prudent only when the services of skilled workman 
 cannot be obtained. 
 
 Taste in Color. In rooms to be lived in, simple white 
 for color of walls and paint, as well as any extremely dark 
 treatment, should be avoided. The walls of rooms should be 
 such backgrounds as will best suit the complexions and 
 dresses of the larger number of people. Delicate white in- 
 tensifies by contrast any unpleasantness or want of perfection ; 
 extreme dark would make people look white and ghastly. 
 Neutral colors will be found the best generally some grey 
 or cool color that will contrast with warmth of complexions. 
 On no agcount let an absolutely pure color be used for 
 general surfaces. Nature provides no such color in pigments. 
 Her yellows are greenish or reddish, and so on. Nor does 
 she use it to any extent in inanimate nature. So much so 
 that you will find that if you have much difficulty in describ- 
 ing a color, you may be certain it is good ; the more difficulty 
 the more beauty. Nature trusts mainly to gradations of tone, 
 using vivid color in small quantities only, as in the touches 
 on bright flowers and butterflies. This teaching of nature 
 will be found seconded in the pictures of the greatest artists, 
 and in following such teaching, it is necessary to consider the 
 object to which (in domestic work, say)- the rooms are to be 
 devoted. A drawing-room, it is agreed, should be light, 
 festive and gay ; dining-room at once more sober, and with 
 more depth and warmth, as befits its uses. You must also 
 consider the light and shade ; openings, and the positions of 
 them ; for these may (or may not) effect for you contrast of 
 tone, and may even touch the question of the good sense of 
 your whole scheme of decoration. 
 
 In a lecture delivered before the British Architectural As- 
 
AND PAPER-HANGERS. 31 
 
 sociation, on this subject, the lecturer suggested that in the 
 treatment of a drawing-room the walls should be a light 
 neutral grey, fawn color, or pale green (not dark, but not 
 white). Dados are suitable for all rooms, even drawing- 
 rooms. They may be made of wood, painted as the room 
 doors, or of stamped leather, or of the French paper imitations 
 of stamped leather. A frieze does not interfere with the 
 heads of sitters, and adds much interest if it has its sentiment 
 or story. If flowers form part of your decorations, have no 
 relief, no imitation of nature's light and shade. A wall must 
 be a wall ; if, neglecting this, you introduce illusions to the 
 eye, the sense of solidity will not be suggested. The Japanese 
 decorate on correct principles, with truth to the idea derived 
 from nature, and truth in art, adaptation of representation to 
 materials and method. As regards the woodwork there 
 should be no graining anywhere ; its aspect, however well 
 executed, is repulsive. Real woods are always beautiful. 
 Plain painting may be darker or lighter than the general wall 
 surfaces ; both will look well. The doors may have stencilled 
 decorations in angles of panels ; birds or butterflies, or plants, 
 or any beautiful natural objects will supply motives. The 
 ceilings should rarely be wholly white, except of halls or 
 where the light is defective. Papered ceilings look well. 
 The use of gold is generally satisfactory ; it reflects a warm 
 tone on everything below. Put a good amount of color on a 
 ceiling not, however, making it so dark as to bring it too 
 close to the eye. The carpet must be either lighter or darker 
 than the walls. This is following out the artist's rule, to 
 make either background or foreground run into the figure. 
 If this is not done in painting, a woman in white satin, for 
 instance, against a dark floor and dark walls, will look like a 
 cut-out figure stuck on, and the same sort of result would 
 occur in rooms. As in ordinary life dresses are dark in color, 
 
32 HINTS FOR PAINTERS 
 
 where a light wall tone has been recommended, the carpet 
 will have to be darker than the walls. Not too vivid in 
 color, however, and of course, no flowers, ferns, birds' nests, 
 and such like fearful things. Furniture and hangings should 
 not be too much alike in color ; have, say, the carpet one 
 tone, the coverings of the furniture another, and the curtains 
 and other hangings a third. Have summer and winter hang- 
 ings and furniture coverings ; those for the former light and 
 cheerful, the others with more warmth, and suggestive of com- 
 fort and home life. A table-cloth, occasional chair, or a 
 rug, may supply a bit of effective contrast with prevailing 
 hues of hangings, etc., and a spot of vivid color in a vase or 
 some small hanging will complete the formal decoration of 
 the room. 
 
 Graining. The art of imitating the grain <jf the more 
 expensive woods has been brought to a great degree of per- 
 fection, but of late years so many unskilled workmen have 
 undertaken to imitate the natural grain of wood with such 
 imperfect results, that this beautiful branch of painting has 
 fallen into partial disuse. A few remarks, therefore, to the 
 uninitiated may not be inappropriate in this work. Mahog- 
 any, satinwood, rosewood, mottled and walnut roots, maple, 
 and some others, are frequently imitated ; and it is seldom 
 that a house is finished without some graining being intro- 
 duced. The imitation of the above-mentioned woods are 
 best performed in ground distemper (water colors) which are 
 always preferable and more economical purchased ready pre- 
 pared. Oak, chestnut, ash and similar long-grained woods, 
 are best executed in oil-color, particularly for outdoor work. 
 For drawing rooms, delicate party colors are preferable, as 
 they harmonize better with the neutral tints on the walls or 
 delicate tinted papers. The process of graining is very 
 
AND PAPER-HANGERS. 33 
 
 simple. To be an accomplished grainer, practice and an 
 artistic taste is very necessary. Too frequently the imitation 
 is overdone, the shading too deep and obtrusive, and the 
 work made too glaring with figure and varnish, has an un- 
 natural appearance ; a grainer should always avoid attempt- 
 ing to over-do nature. The following is an approved 
 method : The surface on new wood should be prepared with 
 three coats of oil paints for the ground color, and regulated 
 in shade by the color of the wood to be imitated, making due 
 allowance for the graining tint that is to cover it. The 
 ground colors should always be perfectly dry before the grain- 
 ing is commenced. The painter then preparing small quanti- 
 ties of the colors he requires, applies it thinly and evenly over 
 the surface and proceeds to wipe out with his thumb and a 
 piece of white cotton cloth the figure of the grain. Some 
 grainers use rubber instead. We cannot here explain all the 
 different processes for the imitation of the grain of wood. 
 Many painters have a method of their own, which from long 
 practice produce excellent results. In some cases, graining 
 in distemper may be adopted with great success for indoor 
 work, and if the colors are put on thin, so that the varnish 
 will penetrate through into the ground color, this kind of 
 graining is as durable as oil-color, and is susceptible of being 
 made far more beautiful, and soft looking in the imitation of 
 mottled woods. For blending distemper colors, a badger's 
 hair blender should be frequently used to soften down and 
 blend the tints where necessary ; but for blending oil-color, 
 in order to produce an elongation of the gram, we have found 
 a flat varnish brush, kept moderately damp and clean, pre- 
 ferable to the badger's hair. When the work is dry, the 
 shades necessary for some woods should be laid on in dis- 
 temper-color (some u. c thin oil-colors) and then covered with 
 
34 HINTS FOR PAINTERS 
 
 two coats of good oil varnish. Common varnish should 
 never be used on outside work. 
 
 Oak Graining. In oak graining the color is made in 
 the following manner : Procure some finely-ground burnt 
 umber and raw sienna (or Vandyke brown and raw sienna if 
 a dark oak be required), and thin with equal parts of linseed 
 oil and turpentine. Add a large quantity of patent dryer to 
 make it stand the comb. The color is now ready for use. 
 The graining color is brushed over the work in the ordinary 
 way with a pound brush, care being taken not to put too 
 much color on, else it is liable to look dirty. A dry dusting 
 brush is now used to stipple with, which, if properly done, 
 will distribute the color evenly. It is now ready for comb- 
 ing. First take a medium or coarse-cut gutta-percha comb, 
 and draw it down one side of the panel, then use a finer one 
 to complete it. This comb will leave the marks of the grain 
 in clear unbroken lines from top to bottom of the panel. We 
 now take a fine steel comb and go over the whole of the pre- 
 vious combing ; but in drawing this comb down, we either 
 move it in a slanting or diagonal direction across the pre- 
 vious combing, or draw it down with a quick and short wavy 
 motion and curl. Both the former and latter motions will 
 break up the long lines left by the gutta-percha comb into 
 short bits, which, of course, represent the pores or grams of 
 the real wood. Next take out the lights of figuring or vein- 
 ing. This is effected by means of a piece of washleather, 
 held tightly over the thumb nail. Every time a few lights 
 are wiped out the leather should be moved slightly, so that 
 the same part of the leather will not be used twice, thus en- 
 suring clean work. There are various methods of doing this, 
 but they require much more practice. When the figures are 
 all wiped out they will require to be Softened. By softening 
 
AND I'Al'ER-HANGERS. 35 
 
 we mean the imitation of those half shades seen upon and 
 about the figures in the real wood. These are imitated by 
 doubling a piece of washleather into a small roll, and with 
 the side of this the grain is partly wiped away or softened. 
 Care should be taken not to wipe off the whole of the grain. 
 If the operator has a piece of the real wood to look at oc- 
 casionally he will be materially assisted. As soon as the oil 
 color is dry it should be over-grained. This is effected in 
 water color. Next go over the work with a bit of sponge 
 and soap to prevent it " cissing." Before laying on the over- 
 graining, wash out the sponge and wipe the work. It is now 
 ready to receive the color. Grind up finely a little vandyke 
 brown in water, and dilute it with table-beer and water. It 
 is then ready. Take a flat hog-hair brush, 3 in. to 4 in. wide, 
 dip it in the color and draw it over the work, in most case*" 
 in the direction of the combing, but occasionally crossing. 
 The hair of the brush, being thinly placed, will separate into 
 patches, and hence the color will be deposited in streaks, re- 
 sembling the natural gradations which the wood presents. If 
 you have not a brush of this kind a sponge may be used to 
 put in the streak and to soften off Then dry varnish in the 
 usual way. 
 
 Spirit Graining for Oak. 2 Ibs. whiting, ^ Ib. gold 
 size, thinned down with spirits of turpentine, then tinge your 
 whiting with vandyke brown and raw sienna ground fine. 
 Strike out your light with a pitch or piece of rubber dipped 
 in turpentine, tinged with a little color to show the lights. If 
 your lights do not appear clear, add a little more turpentine. 
 Turpentine varnish is a good substitute for the above men- 
 tioned. This kind of graining must be brushed over with 
 beer with a clean brush before varnishing. Strong beer must 
 be used for glazing up top graining and shading. 
 
36 HINTS FOR PAINTERS 
 
 Old Oak in Distemper. To make an exceedingly 
 rich color for the imitation of old oak, the ground is a com- 
 position of stone ochre or orange chrome and burnt sienna ; 
 the graining is burnt umber or vandyke brown, to darken it 
 a little. The above colors may be used for oil as well. 
 
 Pollard Oak. Ground color, a mixture of chrome 
 yellow, vermilion and white lead, to bring it to a rich light 
 buff. The graining colors are vandyke brown and small 
 portions of raw and burnt sienna and lake, ground in beer or 
 vinegar. Fill a large brush with color and spread it over the 
 surface to be grained, and soften with a badger hair brush. 
 'Take a moistened sponge and dapple round and round in 
 kind of knobs, then soften very lightly, after which draw a 
 softener from one set of knobs to the other while wet, to form 
 a multiplicity of grain, and finish the knobs with a hair pencil, 
 in some places in thicker clusters than others. When dry, 
 put the top grain on in a variety of directions, and varnish 
 with turpentine and gold size ; then glaze up with vandyke 
 and strong beer. Finish with copal varnish. This is for 
 distemper only. 
 
 Mottled Mahogany. The ground is prepared with 
 the best Venetian red, red lead, and a small proportion of 
 white lead. The graining colors are burnt sienna, ground in 
 beer, with a small portion of vandyke brown. Cover the sur- 
 face to be grained, soften with a badger hair brush, and while 
 wet take a damp sponge and go over the lights a second 
 time v in order to give a variety of shade ; then blend the 
 whole of the work with the badger softener. Put the top 
 grain on with the same color. When dry, varnish. For dis- 
 temper only. 
 
 Rosewood. Mix vermilion and a small quantity of 
 white lead for the ground. Take rose-pink, tinged with a 
 
AND PAPER-HANGERS. 37 
 
 little lamp-black or van dyke brown, and grind very fine in 
 oil, then take a flat graining brush, with the hairs cut away 
 at unequal distances, and cut down the grain as if wending 
 round a knob. When nearly dry, take a graining comb that 
 is used for oak, and draw down the grain. This will give it 
 the appearance of nature. Then varnish. This makes an 
 excellent and durable imitation. I 
 
 Another for Rosewood. This ground is prepared 
 with vermilion and small quantities of white lead and crimson 
 lake. When the ground is dry, and made very smooth, take 
 vandyke brown, ground in oil, and with a very soft tool 
 -spread the color over the surface in different directions, form- ' 
 ing a kind of knots. Before the work is dry take a piece of 
 leather, and with great freedom strike out the light veins-; 
 having previously prepared the darkest tint of vandyke 'brown 
 or gum asphaltum, immediately take the flat graining brush 
 with few hairs in it, called a top grainer, and draw the grain 
 over the work and soften. When varnished, the imitation 
 will be excellent. 
 
 Curled Maple in Oil. Prepare a rich ground by mix- 
 ing chrome yellow, white lead and burnt sienna. For the 
 graining color, grind equal parts of raw sienna and umbet 
 with a little burnt copperas and turpentine, and mix it with a 
 small quantity of grainer's cream, thin the color with oil ; 
 then fill a tool and spread the surface even and rub out the 
 lights with sharp edge of a piece of buff leather, wiping it 
 frequently to keep it clean ; soften the edges of the work very 
 lightly, and when dry, put on the top grain with burnt umber 
 and raw sienna ground in beer with the white of an egg beat 
 into it. Varnish. 
 
 Curled Maple in Distemper. Prepare a light yel- 
 low for the ground, by mixing chrome yellow and white lead, 
 
38 HINTS FOR PAINTERS 
 
 tinged with Venetian red. The graining color is a mixture of 
 equal portions of raw sienna and Vandyke brown, ground in 
 beer. Spread the surface to be grained in an even manner; 
 then with a piece of cork "rub across the work to and fro, to 
 form the grains which run across the wood; soften, and when 
 dry lightly top grain with the same color. Varnish. 
 
 Bird's Eye Maple in Oil. The ground is a light 
 buff", prepared w r ith white lead, chrome yellow and a little 
 vermilion or English Venetian, to take off the rawness of the 
 yellow. The graining color is equal parts of raw umber and 
 sienna, ground in oil to the proper consistency. Spread the 
 surface of the work with this color, and having some of the 
 same prepared a little thicker, immediately take a sash tool 
 or sponge and put on the dark shades, and soften with a 
 badger hair brush ; before the color is dry put on the eyes by 
 dabbing the dotting machine on the work, or by striking the 
 colors short and sharp with the tips of the fingers, then blend 
 slightly the eyes in one direction only. When dry, put on the 
 grain with the camels hair pencil on the prominent parts to 
 imitate the small hearts of the wood. The same graining 
 colors to be ground in here for distemper. 
 
 Walnut in Oil. The ground is formed with ochre, 
 Indian red, umber, and white. The graining coat is similar 
 to that described under the oak heading, and is prepared 
 with vandyke brown ; and for the darker shades, fine ivory- 
 black ; the wiping out and blending to resemble that in 
 mahogany; the fine dark veins of ivory-black to be lightly 
 and wavily drawn over the work after it is blended. It is 
 then ready for the varnish. 
 
 Satin-wood in Distemper. This ground is prepared 
 with white lead, stone ochre and small quantities of chrome 
 yellow and burnt sienna. The graining color is one- third of 
 
AND PAPER-HANGERS. 39 
 
 raw sienna and whiting, ground in pale ale, very thin ; then 
 spread the color over the surface to be grained. While wet 
 soften, and have ready a wet roller or mottling brush, in order 
 to take out the lights ; blend the whole with the badger hair 
 brush, and with the same color put on the top grain. Var- 
 nish. 
 
 To Imitate Granite in Oil. For the ground color, 
 stain your white lead to a light lead color, with lamp-black 
 and a little rose-pink. Throw en black spots with a coarse 
 brush or graniting machine. A pair red also, and fill up with 
 white before the ground is dry. 
 
 Another for the Same. A black ground; when half 
 dry throw in vermilion, a deep yellow, and white spots. 
 
 Marble. F 'or White Marble, get up a pure white ground, 
 then hold a lighted tallow candle near the surface, and allow 
 the^ smoke to form the shades and various tints desired. This 
 will make a very handsome imitation. Black Marble. 
 Imitation is made by streaking a black surface with colors, 
 using a feather and pencil. Another plan is to get up a 
 smooth black surface ; then take the colors, green, yellow, 
 red, white, etc., ground thick in gold size, and streak the sur- 
 face with a stick or hair pencil. Allow it to dry, and apply a 
 heavy coat of lamp-black and yellow ochre mixed, mixed 
 rough stuff. When all is hard, rub down to a level surface 
 with lump pumice-stone, varnish and a beautiful variegated 
 marble will be the result. 
 
 Red Marble. For the ground put on a white tinged 
 with lake or vermilion ; then apply deep red patches, filling 
 up the intermediate spaces with brown and white mixed in 
 oil ; then blend them together; if in quick drying colors, use 
 about half turpentine and gold size. When dry, varnish: 
 
40 HINTS FOR PAINTERS 
 
 and while the varnish is wet, put in a multitude of fine white 
 threads, crossing the whole work in all directions, as the wet 
 varnish brings the pencil to a fine point. 
 
 Jasper Marble. Put on a white ground lightly tinged 
 with blue ; then put on patches of rich reds or rose-pink, 
 leaving spaces of the white ground ; then partly cover these 
 spaces with various browns to form fossils, in places running' 
 veins ; then put in a few spots of white in the centre of some 
 of the red patches, and leaving, in places, masses nearly white. 
 When dry use the clearest varnish. 
 
 Blue and Gold Marble. For the ground color put on 
 a light blue ; then take blue, with a small piece of white lead 
 and some dark common blue, and dab on the ground in 
 patches, leaving portions of the ground to shine between ; 
 then blend the edges together with a dusted or a softener ; 
 afterwards draw on some white veins in every direction, leav- 
 ing large open spaces to be filled up with a pale yellov^ or 
 gold paint ; finish with some fine white running threads, and 
 a coat of varnish at last. 
 
 Black and Gold Marble. This description of marble 
 is very chaste, arid is in great demand. The ground is a 
 deep black, or a dead color, in gold size, drop black and tur- 
 pentine; second coat, black japan. Commence veining; 
 mix white and yellow ochre with a small quantity of vermilion 
 to give a gold tinge ; dip the pencil in this color, and dab on 
 the ground with great freedom some large patches, from 
 which small threads must be drawn in several directions. 
 
 In the deepest part of the black a white vein is sometimes 
 seen running with a number of small veins attached to it, but 
 care must be taken that these threads are connected with and 
 run, in some degree, in the same direction with the thicker 
 veins. If durability is not an object, and the work required 
 
AND PAPER-HANGERS. 41 
 
 "in a short time, it may be executed very quickly in distemper 
 colors, and when varnished, it will look well. 
 
 Compound Colors. The following tints can be formed 
 by mixing the colors as below. The shades can be made to 
 suit any taste by the exercise of a little judgment in propor- 
 tioning the colors : 
 
 Cream. White lead, yellow and red. 
 
 Drab. White, Prussian blue and vermilion. 
 
 Pawn. White, stone ochre and vermilion. 
 
 Flesh. Lake, white lead, and a little vermilion. 
 
 Grey, Pearl White lead, Prussian blue, and a very little 
 black. 
 
 Grey, Flaxseed. White lead, Prussian blue, and a little 
 lake. 
 
 Gold. Massicot, or Naples yellow, with a small quantity 
 of Realgar and Spanish white. 
 
 Green Light willow.- White, mixed with verdigris. 
 
 Green, Grass. Yellow pink with verdigris. 
 
 Green, Pea. White lead and chrome or Paris green. 
 
 Green, Dark. Black and chrome green. 
 
 Green, Olive. Prussian blue and French yellow ; mix to 
 the tints required. This is a cheap and handsome color for 
 outside work, such as doors, carts, wagons, railway cars, etc. 
 
 Jonquil. Yellow, pink and white lead. This color is only 
 for distemper. 
 
 Lead. Prussian bme and white, with a light shade of 
 white. 
 
 Olive. For distemper, use indigo and yellow pin' mixed 
 with whiting or white lead powder. 
 
 Olive. Red, green, or black and yellow. 
 
 Pearl. White lead, Prussian blue and red. 
 
 Purple. Dark red mixed with violet. 
 
4 2 HINTS FOR PAINTERS 
 
 Purple. White, Prussian blue and vermilion. 
 
 Red, Dark. English Venetian, red lead and litharge. 
 
 Red, Light. Venetian red, and red lead in equal parts. 
 
 Red, Deep. Vermilion, with a very small quantity of red 
 lead. 
 
 Stone. White, with a little spruce ochre. 
 
 Straw. White lead and yellow. 
 
 Snuff. Yellow, sienna and red. 
 
 Slate. White lead, black, red and blue. 
 
 Steel. Ceruse, Prussian blue, fine lac and vermilion. 
 
 Salmon. White lead, yellow and red. 
 
 Walnut. Tree color ; two-thirds white lead and one-third 
 red ochre, yellow ochre and umber, mixed according to the 
 shade sought. If veining is required, use different shades of 
 the same mixture. (See article on graining). 
 
 Yellow, Light. French yellow and white lead. A little 
 red lead may be used. 
 
 Another. French yellow, white and red lead. 
 
 Another. A mixture of a small portion of Prussian blue, 
 French yellow, white lead and Turkey umber and burnt 
 vitriol, or litharge, will produce different shades of yellow, 
 according to the preponderance of one of the above colors. 
 
 Yellow. Bright for floors, white lead, French yellow, 
 chrome yellow a little, some red lead and litharge ; mix with 
 equal parts of boiled oil and turpentine and use it thin. 
 
 Yellow^ Dark. French yellow and a little red. 
 
 Yellow, Lemon. Yellow pink, with Naples yellow. For 
 distemper only. 
 
AND PAPER-HANGERS. 43 
 
 MISCELLANEOUS RECEIPTS. 
 
 For Iron. A good paint for preserving iron exposed to 
 the weather, is made as follows : 
 
 Pulverized oxides of iron, such as yellow and red iron 
 ochres, or brown hematite iron ores, finely ground, and simply 
 mixed with linseed oil and a dryer. 
 
 White lead applied directly to iron is thought to have a 
 corrosive effect. It may be applied over more durable 
 colors. 
 
 Red lead, when pure, is very durable. An instance is re- 
 corded of iron painted with it having been under water for 
 nearly 50 years, and had not been affected by rust. 
 
 Sheet iron, before being used for roofs or other outside 
 purposes, should be heated and dipped into hot linseed oil, 
 which will penetrate into it. Tinned iron in roofs has been 
 found to corrode quicker than in former years, owing to the 
 more general use of coal. 
 
 Paint for Rusty Iron. Black Japan varnish, mixed 
 with turpentine, to make it thinner if necessary, is one of the 
 best preventatives ; but the iron must be dry when you put 
 it on. If you can warm the iron when painting it, so much 
 the better. If not sufficiently opaque, you may put in dry 
 finely pulverized paint, such as lamp-black. Red lead, with lin- 
 seed oil is also a good paint for rusted iron ; so are the mineral 
 reddish-browns which consist of oxide of iron ; they become 
 very hard, and are used for the iron-work of the elevated 
 railroads in this city. 
 
44 rtlNTS FOR PAINTERS 
 
 To Paint on .ytucco. Great care is required in paint- 
 ing upon stucco, for the work must not only be thoroughly 
 dry, but free from any liability of dampness ; that is to say, 
 the walls themselves must be dry. It is, consequently, usual 
 to allow the stucco to remain for several months before it is 
 painted ; and this is especially necessary when it covers over 
 <i large surface, as in the walls of churches, chapels and 
 theatres. If the paint be applied too soon, the work will have 
 a blotched appearance, and be probably filled with small 
 vesicles, formed during the evaporation of the water. When 
 the work is dry, it may be prepared by covering it with a coat 
 of linseed oil, boiled with dryer. This must be laid on very 
 carefully, or the face will be irregular. The color may then 
 be applied, and four coats will not be too much, the work 
 being new. Persons are generally so anxious to have their 
 buildings finished, that they disregard the future appearance 
 of the work, and within a few weeks after the application of 
 the stucco, cover it with paint. But it would, in all cases, be 
 sufficient to wash the surface with distemper, as it would give 
 a finished appearance to the building, and make it less neces- 
 sary to hurry the work. When the work is sufficiently dry to 
 receive the oil-colors the distemper color should be removed 
 by washing, and when the stucco is dry apply the oil-color. 
 The tints may be regulated by mingling different colors, as in 
 all other kinds of painting. 
 
 Plastered walls should not be painted until they are 
 thoroughly dry, and all settling in a new house has taken 
 place. If painted too soon they will blister. 
 
 Unseasoned wood should never be painted, as it stops the 
 pores of the wood and the sap acidulates, causing dry rot. 
 Greasy surfaces must be washed with water mixed with 
 or soda, otherwise the paint will not adhere to it. 
 
AND PAPER-HANGERS. 45 
 
 Mixing Quick Drying Paint. Venetian blinds 
 should be painted to dry dead, then varnish ; but few take 
 this trouble. Mix the paint as under : White lead, boiled 
 oil, and the least drop of turps; mix sufficient of each to 
 form a creamy mixture ; then add about i oz. patent drier 
 to each i Ib. of paint. If you want the paint darker use 
 enough burnt umber to give the required tint. If you want 
 to varnish, omit the oil and use turps. 
 
 Transparent Paint for Glass. Take for blue pig- 
 ment, Prussian blue; for red, crimson lake; for yellow, 
 Indian yellow ; and for other shades, a mixture of the appro- 
 priate primary colors. Rub them in a size made as follows : 
 Venice turpentine, 2 parts;, spirits of turpentine, i part, and 
 apply with a brush. The colors are moderately fast unless 
 exposed too long to direct sunlight. A solution of the vari- 
 ous aniline dyes in shellac varnish has also been recom- 
 m^nded. 
 
 Gilding. Gold leaf is the only successful application. 
 First put on a coat of Japan gold size, and when that is 
 ; ' tacky," and nearly dry, lay on the gold-leaf and dab it with 
 a small tuft of cotton-wool. Where you buy the gold-leaf 
 you can buy a gilder's tool for applying it ; but in order to 
 get a smooth surface it must (when perfectly dry) be burnished 
 with an agate burnisher, which you will also get at the color- 
 shop, but you will not be able to burnish gold-leaf on the 
 bare wood. You can, if you like, varnish with pale copal 
 varnish. 
 
 Gilding on Glass. Glass letters are gilt the same way 
 as* you would a name on a glass door. You can easily get 
 a good burnish if you take a little trouble. Get some of the 
 best cotton wool at a chemist's, and well polish the gold with 
 it ; the gold must be thoroughly dry. Then go over it with 
 
46 HINTS FOR PAINTERS 
 
 your size boiling hot ; do not touch the same place twice with 
 the brush, or you will bring the gold up ; repeat the process 
 three or four times, being sure to have your gold dry each 
 time, the hotter the size the brighter will be the burnish ; be 
 careful, however, and not break tbe glass with the heat. 
 
 Gilding Fretwork, Etc. The first thing to be done 
 is to whiten the work. To do this scrape some whitening 
 very fine, place it in a pipkin with a lump of gilder's size, and 
 water sufficient to make it of the consistency of thick cream, 
 when heated over a fire ; then, with a camel-hair pencil, paint 
 it on the object several times, allowing each coat to dry be- 
 fore applying the next. When the several coatings have 
 raised it to the thickness of 1-16 in., set it aside for twelve or 
 more hours, to harden ; when hardened, smooth the surface 
 with very fine sandpaper first, and finally with a piece of 
 cork ; when using the cork frequently dip it in water, and, 
 when practicable, use it in a circular motion. Thus far suc- 
 cessful, the next thing is to lay on the gold. To gild, then, 
 dissolve some gilder's not common size in water, and heat, 
 and with a full brush lay it on the surface of the object. Cut 
 the gold leaf, on a pad of buff leather, with a clean cut of the 
 knife (much easier said than done ; perseverance, however, 
 with the cost of a book or two of gold mutilated, and a large 
 amount of patience exhausted, will overcome the difficulty), 
 to the size required ; take these up on a tip (a row of long 
 hairs placed between two bits of cardboard) the professional 
 way to do this is to strike the hair of the tip against the 
 gilder's own whiskers or hair and gently lay them on the 
 surface of the object, taking care that each succeeding piejce 
 slightly overlaps the preceding. When dry, a small piece of 
 fine sponge, dipped in a weak solution of size water, should 
 be gently passed over it to give a uniform appearanc* If 
 
AND PAPER-HANGERS. 47 
 
 the bright gold requires to be deadened, deep ormolu should 
 be used in a similar way after sizing. The yellow used for 
 the ungilt portions consists of gilder's yellow, dissolved in size 
 water, and is put on with a brush. 
 
 Painting on Gilded Panels. There is no prepar- 
 ation needed to paint in oils on a gilded panel. No mediums 
 are required, the ordinary oil colors being used unmixed. If 
 required to dry flat and to remain so, they are mixed with 
 turpentine and left unvarnished. If the shiny look of oils is 
 to be retained, they are slightly diluted with boiled oil, and 
 varnish with white hard varnish when dry. 
 
 Gilding on Wood. To gild in oil, the wood, after being 
 properly smoothed, is covered with a coat of gold size, made 
 of drying linseed oil mixed with yellow ochre; when this has 
 become so dry as to adhere to the fingers without soiling 
 them, the gold leaf is laid on with great care and dexterity, 
 and pressed down with cotton wool ; places that have been 
 missed are covered with small pieces of gold leaf, and when 
 the whole is dry, the ragged bits are rubbed off with cotton. 
 This is by far the easiest mode of gilding ; any other metallic 
 leaves may be applied in a similar manner. Pale leaf gold 
 has a greenish yellow color, and is an alloy of gold with silver. 
 Dutch gold leaf is only copper colored with the fumes of 
 zinc ; being much cheaper than gold leaf, is very useful when 
 large quantities of gilding are required in places where it can 
 be defended by the weather, as it changes color if exposed to 
 moisture, and it should be covered with varnish. Silver leaf 
 is prepared every way the same as gold leaf; but when ap- 
 plied, should be kept well with varnish, otherwise it is liable 
 to tarnish ; a transparent yellow varnish will give it the ap- 
 pearance of gold. 
 
48 HINTS FOR PAINTERS 
 
 Whenever gold is fixed by means of linseed oil, it will bear 
 washing off, which burnished gold will not. 
 
 To Gild Letters. When the sign is prepared as smooth 
 as possible, go over it with a sizing made by white of an egg 
 dissolved in about four times its weight of cold water ; add- 
 ing a small quantity of fuller's earth, this to prevent the gold 
 sticking to any part but letters. When dry, set out the letters 
 and commence writing, laying on the size as thinly as possi- 
 ble, with a sable pencil. Let it stand until you can hardly 
 feel a slight stickiness, then go to work with your gold leaf 
 knife and cushion, and gild the letters. Take a leaf upon the 
 point of your knife, after giving it a slight \ uff into the back 
 part of your cushion, and spread it on the front part of it as 
 straight as possible, give it another slight purl with your mouth 
 to flatten it out. Now cut it to the proper size, cutting with 
 the heel of your knife forwards. Now rub the tip of the 
 knife lightly on your hair ; take up the gold on the point, and 
 place it neatly on the letters; when they are all covered, get 
 some very fine cotton wool, and gently rub the gold until it 
 is smooth and bright. Then wash the sign with clean water 
 to take off the egg size. 
 
 Sign Writing in Colors, Etc. On an oak ground 
 ornamental letters, in ultra-marine blue, filled in with gold 
 and silver leaf, blocked up and shaded with burnt sienna. 
 Another. Gold letters on a white marble ground, blocked up 
 and shaded with a transparent brown or burnt sienna. On 
 glass. Gold letters shaded with burnt sienna. Another. 
 Gold letters shaded with black on a scarlet or chocolate ground. 
 On a rich blue ground shaded with black, look very well. On 
 a purple ground, pink letters shaded with white. Mix ultra- 
 marine and vermilion for a ground color, white letters shaded 
 
AND PAPER-HANGERS. 49 
 
 with grey. Vermilion ground, chrome yellow stained and 
 vermilion and lake, for the letters shaded with black. 
 
 A substitute for the above colors : Rose-pink and red lead ; 
 and for the letters stone yellow, white lead and Venetian red. 
 Mix your colors for writing in boiled oil, and use for dryer 
 gold size. Other good grounds for gold letters are, blues, 
 vermilion, lake and Saxon. When your sign is ready for 
 gilding, follow the directions under the head " To Gild Letters 
 011 Wood." 
 
 Gilder's Size. Drying or boiled linseed oil, thickened 
 with yellow ochre, or calcined red ochre, and carefully re- 
 duced to the utmost smoothness by grinding. It is thinned 
 with oil of turpentine. 
 
 Staining- Wood a Dull Black. The work required 
 to be stained should be colored with drop-black and size. 
 When this is thoroughly set it should be papered off and 
 colored again, and then be papered off again. The polish 
 should also be stained with drop black and a little indigo. 
 Next polish to a perfect surface, and let it set. After the 
 wood has absorbed all the polish possible, polish again, and 
 dull it with the finger dipped in fine emery; a fine metallic 
 surface will thus be obtained. 
 
 Staining Floors. The best and cheapest and only 
 permanent stain for floors is permanganate of potash. Buy 
 it by the # lb., and at a wholesale chemist's ; mix about 
 i^ oz. in a quart of water. Apply freely and quickly to a dry 
 floor with either cloth or brush, the latter if you care for stain- 
 ing your hand. Repeat the process for a very dark oak 
 color ; when dry^oil with burnt oil or beeswax and turpen- 
 tine ; you cannot wash this color out. Benson's stain is only 
 permanganate of potash. At first for a few moments the 
 color is bright magenta, but this at once changes to a dark 
 
$0 HINTS FOR PAINTERS 
 
 permanent brown. For fifty cents a whole house may be 
 stained. 
 
 Varnishing Wood. After smoothing wood with veneer 
 scraper, brush on thick coat of shellac varnish ; then use fine 
 sandpaper, "No. O. Do this three times for close grained 
 woods, such as black cherry, and four times for porous wood, 
 such as chestnut. Have two dishes. Into one put finely 
 ground pumice ; into the other raw or boiled oil. Apply a 
 mixture of these with a piece of hair-cloth or broad-cloth. 
 Don't rub too hard. Finish up with rotten stone, which will 
 remove pumice and oil. Above is a good dead varnish. 
 Another. Take encaustic wax, heat, and apply with a 
 cork ; rub in well, brush on thin coat shellac varnish, finish 
 with pumice and oil. 
 
 Solvent for Old Putty and Paint. Soft soap 
 mixed with a solution of potash or caustic soda, or pearlash 
 and slaked lime mixed with sufficient water to form a paste. 
 Either of these laid on with an old brush or rag, and left for 
 some hours, will render the putty or paint easily removable. 
 Another. Slack three pounds of stone quicklime in water, 
 then add one pound of pearlash, and make the whole 
 about the consistence of paint. Apply it to both sides of the 
 glass, and let it remain for twelve hours, when the putty will 
 be so softened that the glass may be easily taken out of the 
 frame. Another. Break the putty up in lumps the size of a 
 hen's egg, add a small portion of raw linseed oil, and water 
 sufficient to cover the putty, boil this in an iron vessel for 
 about ten minutes and stir it when hot. The oil will mix 
 with the putty, then pour the water off and it will be like 
 fresh made. For removing hard putty from a window sash 
 take a piece of square iron, make the same red hot, and run 
 
AND PAPER-HANGERS. 51 
 
 it along the putty till it gets soft. The putty will peel off 
 without injuring the wood work. 
 
 Wash for Outside Work. For woodwork slake half 
 a bushel of fresh lime, by pouring over it boiling water suffi- 
 cient to cover it 4 or 5 inches deep, stirring it until slacked ; 
 add 2 Ibs. of sulphate of zinc (white vitrol) dissolved in water. 
 Add water enough to bring all to the consistency of thick 
 whitewash ; it may be colored by adding powdered ether, In- 
 dian red, umber, etc. If lampblack is added to colors, it 
 should first be thoroughly dissolved in alcohol. The sulphate 
 of zinc causes the wash to become hard in a few weeks. 
 
 Another for Brick, Masonry, and Rough-east. 
 
 Slake half a bushel of lime as before ; then fill a barrel ^3 
 full of water, and add a bushel of hydraulic cement Add 
 3 Ibs. of sulphate of zinc previously dissolved in water. The 
 whole should be of the thickness of paint. The wash is im- 
 proved by stirring in a peck of white sand, just before using 
 it. It can be colored as before described. 
 
 French Polish. Coat with one or more coats of 
 shellac and rub down smooth ; make a rubber by rolling up 
 a piece of flannel about 3 or 4 inches wide until it is about 
 1^2 inches in diameter, and tie it round with cord. Lay the 
 end of the rubber on the mouth of a thin necked bottle and 
 apply the varnish to it, having previously shaken up the con- 
 tents in the bottle ; then enclose the end of the rubber with a 
 piece of soft linen doubled, and moisten the face of the linen 
 with a little raw linseed oil. 
 
 Pass the rubber with a quick, light and circular motion over 
 the surface until the varnish becomes dry, or nearly so, and 
 charge the rubber again with varnish until 3 coats have been 
 laid on, when a little oil may be applied to the rubber and 
 two more coats laid on. In the finishing coat wet the inside 
 
5^ HINTS FOR PAINTERS 
 
 of the cloth with a little alcohol, and rub quickly and lightly 
 over the whole surface. Lastly wet the linen cloth with a 
 little oil and alcohol without varnish, and rub as before until 
 dry. 
 
 The varnish is the usual preparation of shellac. See 
 cabinet maker's varnish. 
 
 Wood Pilling- Composition. Boiled linseed oil, i 
 qt.; turpentine, 3 qts.; corn starch, 5 Ibs.; Japan, i qt.; 
 calcined magnesia, 2 oz.; mix thoroughly. Another. 
 Whitening, 6 oz.; Japan, j pt; boiled lin-seed oil, 
 ^ pt.; turpentine, ^ pt.; corn starch, i oz.; mix well to- 
 gether and apply to the wood. Add coloring if required. 
 Another. Linseed oil, i qt.; spirits of turpentine, ^ pt.; 
 lime, the size of a base-ball, broken fine. Let the mixture 
 simmer on a stove, covered over, for two or three hours, then 
 strain through a coarse cloth. It is to remain on 24 hours, 
 then rub off with a wollen cloth and polish. 
 
 German Filling. Fill the pores with raw tallow and 
 plaster of Paris well amalgamated before a fire in cold 
 weather. Darken, if required, with any coloring to suit. 
 When well rubbed in give a coat of shellac and French polish 
 or varnish. 
 
 Polish for Walnut Wood. Mix with two parts of 
 good alcoholic shellac varnish, one part of boiled linseed oil, 
 shake well, and apply with a pad formed of woolen cloth. 
 Rub the furniture briskly with a little of the mixture until the 
 polish appears. \ 
 
 Rules the Painter Should Observe. Never eat 
 
 or sleep without washing the hands and face and rinsing the 
 mouth. Keep the buckets, brushes, etc., clean, so that they 
 may be handled without smearing the hands. Never sleep 
 
AND PAPER-HANGERS. 53 
 
 in a paint shop nor in a newly painted room. Never allow 
 paint to accumulate on the clothing or finger nails. Never 
 wash the hands in turpentine, as it relaxes the muscles and 
 injures the joints; any animal oil or even linseed oil is better. 
 Never drink water that has stood any length of time in a 
 paint shop or newly painted room. Never use spirituous 
 liquors as it unites with the mineral salts and tends to harden 
 them and causes inflammation of the parts where they con- 
 crete. Milk, sweet oil and the like should be used freely, as 
 they tend to soften the accumulated poisons and carry them 
 off. Vinegar and acid fruits used constantly, unite. 
 
54 rflNTS FOR PAINTERS 
 
 PAPER-HANGING. 
 
 The art of putting on, or " Hanging " paper is very simple, 
 and is easily learned ; but to make a tasteful choice of paper 
 for various situations, is not so easy, hence the following re- 
 marks, which may be of service to the workman or others on 
 whom the selection of paper may devolve. 
 
 Walls to a room should be regarded only in the light of a 
 frame-work to what the room contains, and should be decor- 
 ated so as to bring into prominence and not eclipse the other 
 parts of the chamber. Nothing destroys the effect of a room 
 so much as a handsome but staring wall paper, or a wall so 
 profusely ornamented as to strike upon the eye to the ex- 
 clusion of the rest of the decorations, thus bringing forward 
 what should be the background into the most conopicuous 
 place. A modern drawing room is always difficult to decor- 
 ate artistically, because of the taste of its builders Lr heavy 
 cornices, prominent mantelpieces, and rooms too lofty for 
 their size ; and as all these misnamed " embellishments " are 
 too costly to remove by tenants, the only plan to pursue is to 
 destroy their effect by exercising both taste and ingenuity. 
 First, with regard to the ceiling, the ornamental plaster boss 
 in its center should be removed, and the ceiling tinted a color 
 that harmonizes with the wall paper, as no harmonies can be 
 hoped for when what produces them is surmounted with the 
 glaring white of an ordinary ceiling. The tint used must be 
 one that softens into the wall paper, not one that contrasts ; 
 thus, if the tone of the room is that of a soft grey blue, the 
 ceiling should be a clear flesh pink ; or should a grey grel 
 
AND PAPER-HANGERS. 55 
 
 picked out with black be the chosen color, then it should be 
 colored a subdued lemon. 
 
 Some people cover their ceilings with a whole colored 
 paper, and border it with a stencilled pattern representing thf 
 thin garlands so familiar upon Queen Anne decorations, but 
 this is a more troublesome plan than the simple coloring, 
 which answers all the purpose. The walls, if they are lofty, 
 require a high dado. These high dados give a look of com- 
 fort and " home " that is absent from the modern high pitched 
 room papered with one uniform pattern. The dado is 
 divided 3 feet to 4 feet from the ceiling, and the coloring of 
 the lower portion must always be heavier than that used on 
 the upper or a top heavy look will be given to the room. 
 When many pictures are to be hung up the lower part of the 
 dado should be of a whole color, either a whole colored paper 
 or a painted wall, as pictures are only shown off upon such a 
 background. Where a whole tint is used for the lower part 
 of the dado, the upper portion should be decorated with a 
 frieze paper of a good bold pattern, but of subdued coloring 
 and of tint that harmonizes with the lower. Thus, the color 
 used about the frieze should be the same as that on the lower 
 part, but of a lighter shade, intermixed with some other colors 
 that form a harmonious link between the two shades. Con- 
 trasts must be carefully avoided, but pale pinks, blue and 
 ambers can be blended together above a subdued grey blue 
 ground. The two portions of the dado should be joined 
 together with a light wooden (black or brown) railing, or with 
 a line of paint. 
 
 The dado decoration can be altered by placing the pattern 
 paper upon the lower part and leaving the upper plain-colored 
 with or without a stencilled pattern upon it. This will suit a 
 room where not many pictures are required, or that is already 
 rather dark. Some part of the wall should always be in plain 
 
56 HINTS FOR PAINTERS 
 
 color, as the eye requires rest ; and no pattern, however sub 
 dued in hue, can give the relief to the mind that a bit of plain 
 coloring affords, and this scarcity of ornament in one part of 
 a room is amply repaid by the effect it gives to such parts as 
 are bright and should be bright. The true theory of effect is 
 to use but one or two bright colors in a room, and to sur- 
 round them by soft and subdued tints that throw up and do 
 not destroy their brilliancy ; a number of bright colors placed 
 together destroy each other, and leave no impression upon 
 the mind but glare and vulgarity. Having settled upon your 
 paper and ceiling, have the woodwork and cornice of the 
 room painted either a shade lighter or darker than the walls, 
 and shroud up the mantelpiece with curtains, etc., of satin 
 sheeting embroidered with crewels, and instead of the usual 
 looking glass over the fire-place, have a mirror surrounded 
 with brackets holding china; or have a black wooden 
 mantelpiece made with squares of looking glass set in. The 
 back-ground of your room being thus completed in a manner 
 really to be a back-ground, your furniture will look twice as 
 well as if it were stared out of countenance by the walls, and 
 one need hardly add that all your friends will delight in a 
 room that throws up and brings out their dresses an^ faces, 
 instead of killing them by its glaring tints. 
 
 Operations. To prepare the walls, make a size of glue 
 and water, then give the walls a coat of a very weak solution 
 of the same. To make a paste, take two pounds of fine 
 flour, put in a pail ; add cold water, and stir it up together in 
 a thick paste. Take a piece of alum about the size of a 
 small chestnut, pound it fine and throw it into the paste ; 
 mix well. Then provide about six quarts of boiling water 
 and mix while hot with the paste until the whole is brought 
 
AND PAPER-HANGERS. 57 
 
 to a proper consistency. This makes an excellent paste, and 
 fit for use when cold. 
 
 Cleaning 1 Paper-Hangings. A very good method to 
 clean paper-hangings is that used oftentimes in cleaning the 
 margins of prints. Cut into eight pieces a quartern loaf two 
 days old, and after having swept all the dust from the paper- 
 nangings, commence from the ceiling downward, and some- 
 what lightly rub the paper with a downward stroke with one 
 of the pieces of bread. Continue this round the room, and 
 then commence lower down in the same way till the whole 
 of the surface of the paper has been gone over. The bread 
 will from time to time get dirty, and it should be cut off as 
 often as required. Care should be exercised not to rub the 
 paper with a cross or horizontal stroke, only with the per- 
 pendicular movement of the hand or the paper may peel off 
 the walls from the joints. With careful manipulation, paper 
 will look almost as good as new. 
 
 Varnishing Paper-hangings. When papers are 
 hung in places where there is much passing, they are subject 
 to greater wear than in an ordinary room, and varnishing is 
 resorted to, to make them more durable, as it prevents soil- 
 ing ; they may also be cleaned with a damp cloth, and are 
 not in wear so likely to be damaged by rubbing off the wall. 
 Halls, lobbies, staircases, and orifices are sometimes varnished 
 for durability, but as a rule the appearance is not improved. 
 The paper must be sized twice, the first being dry before the 
 next is applied, when the varnish is laid evenly on. It is 
 necessary to size the paper twice, as the first time may not 
 effectually cover it, when the varnish would stain the paper as 
 badly as if oil had been applied. The size necessary for siz- 
 ing the paper before varnishing should be clean and trans- 
 parent. Parchment cuttings boiled down in water and 
 
58 HINTS FOR PAINTERS 
 
 strained will make excellent size for this purpose. Before it 
 is cold it should be either strained through calico, or poured 
 off, leaving the bits at the bottom. A patent size is sold for 
 this purpose, but parchment size is the most reliable. U sc 
 clean brushes for size and varnish. 
 
 A Paste that will Keep Well. A correspondent 
 writes to a journal this formula for anon-poisonous paste that 
 will keep well in hot weaJier: Wheat flour, i ounce; pow- 
 dered alum, y 2 drachm; water, sufficient, or 8 ounces; oil of 
 clove, or wintergreen, 3 or 4 drops. Rub the flour and the 
 alum with the water to the consistency of milk; place this 
 over a moderate fire, and stir constantly, until the paste drops 
 from the wooden paddle in jelly-like flakes, and has the 
 appearance of glycerite of starch. While the mass is still hot, 
 add the essential oil, and pour the paste into an earthenware 
 pot or open jar. In the course of about an hour a crust 
 forms on the top ; pour gently on this an inch of water, more 
 or less. When some paste is wanted, decant the water, take 
 out the quantity needed, and put some water again on the 
 remainder, repeating the operation each time. Paste may be 
 kept in tbi* way for months, and will never be troubled with 
 flies. 
 
AND PAPER-HANGERS. 59 
 
 USEFUL HINTS FOR ESTIMATING COST 
 OF WORK AND MATERIALS. 
 
 ALL surface painting is measured by the superficial yard, 
 girting every part of the work covered, always making allow- 
 ance for the deep cuttings in mouldings, carved work, rail- 
 ings or other work that is difficult to get at. 
 
 Where work is very high and scaffolding or ladders have 
 to be employed, allowances must be made. 
 
 The following rules are generally adopted in this country 
 in the measurement of work. Surfaces under six inches in 
 width or girt are called 6 inches; from six to 12 inches, 12 
 inches; over 12 inches measured superficial. Openings are 
 deducted, but all jambs, reveals or casings are measured 
 girt. 
 
 Sashes are measured solid if more than two lights. Doors, 
 shutters and paneling are measured by the girt, running the 
 tape in all quirks, angles or corners. Sash doors measure 
 solid. Glazing in both windows and doors is always extra. 
 The tape should be run close in over the battens, on batten 
 doors, and if the stuff is beaded, add one inch in width for 
 each bead. 
 
 Venetian blinds are measured double. Dentels, brackets, 
 medallions, ornamented iron work, balusters, lattice work, 
 palings or turned work should all be measured double. 
 Changing colors on base boards, panels, cornices, or other 
 work, one-fourth extra measurement should be allowed for 
 each tint. 
 
60 HINTS FOR PAINTERS 
 
 Add five per cent, to regular. price for knotting, puttying, 
 cleaning and sand-papering. 
 
 For work done above the ground floor charge as follows : 
 Add five per cent, for each story of 12 feet or less, if interior 
 work; if exterior work, add one per cent for each foot of 
 height above the first 1 2 feet. 
 
 It is impossible to give prices for painting that will be 
 reliable in any one section of this country for more than a 
 month, as the cost of materials and labor is continually vary- 
 ing, but we offer the following hints, which may assist the 
 workman to make a fairly just estimate of work : 
 
 For plain colors on wood 
 
 First coat, per yard, - $ 
 
 2 coats, add " - 4-5 
 
 3 coats, " " - i% 
 Now, by this rule, if the first coat was i o cents, two coats 
 
 would be 1 8 cents, and three coats would be 25 cents. This 
 is a simple method and easily understood, and is adapted to 
 any sort of plain painting or graining. 
 
 Graining, with one or two coats of good varnish, is worth, 
 at this writing, from 65 cents to $2.00 per yard, and mar- 
 bling from $1.50 to $2.75 per yard. 
 
 Marbling mantels is worth from $5.00 to $20.00, accord- 
 ing to style of marble and beauty of finish. All of the above 
 prices are based on the understanding that the workman 
 furnishes all tools and materials. 
 
Established I87O, 
 
 STANDARD BOOKS 
 
 PUBLISHED AND FOR SALE BY THE 
 
 INDUSTRIAL PUBLICATION CO. 
 
 22 College Place, . . . New York. 
 
 These books will be sent, postpaid, to any address in any accessible part of the 
 world, on receipt of price. Full Descriptive Catalogues may be had free. New 
 Catalogues, ivith additions of new books, are issued from time to time, and will be 
 sent to any address on request. Address, 
 
 INDUSTRIAL, PUBLICATION CO., 23 College Place, New York. 
 
 THE STEEL SQUARE AND ITS USES. 
 
 Being a Description of the Square and Its Uses in Obtaining the 
 Lengths and Bevels of all kinds of Rafters, Hips, Groins, Braces, 
 Brackets, Purlins, Collar-Beams, and Jack-Rafters. Also, its 
 Application in Obtaining the Bevels and Cuts for Hoppers, Spring 
 Moldings, Octagons, Stairs, Diminished Stiles, &c. By FRED. T. 
 HODGSON, author of "Practical Carpentry," "The Builders' Guide," 
 &c. Third Edition, Revised and Greatly Enlarged. Illustrated 
 by Nearly One Hundred Fine Engravings. Cloth, gilt. . . $1 
 
 This is the only practical work on the steel square and its uses ever published. 
 It is thorough, accurate, clear, and easily understood. Confounding terms and 
 scientific phrases have been religiously avoided where possible ; and everything in 
 the book has been made so plain that a boy of twelve years of age, possessing 
 ordinary intelligence, can understand it from end to end. 
 
 This new edition, just issued, is illustrated by nearly one hundred handsome 
 engravings, showing how the square may be used for solving nearly every problem 
 in the whole art of carpentry. The carpenter who possesses this book need not 
 waste time and material " cutting and trying." He can lay out his work to a hair's 
 breadth, and "cut to the line." And, in these days, the workman who can not lay 
 out his work accurately at the first attempt stands no show. 
 
 The book is absolutely indispensable to every person who may have to use a 
 carpenter's square. Joiners, cabinet-makers, bricklayers, stonecutters, plasterers, 
 lumber-dealers, amateurs, and all who build a fence, tinker a gate, or make a 
 chicken-coop will find something in this little volume that will help and aid them 
 to do their work better and more intelligently than they could without a knowledge 
 of its contents. 
 
 Many difficult and troublesome mathematical problems can be solved by the use 
 of this tool, and the methods of solving them are shown in this book. It describes 
 how painting, plastering, and brickwork can be measured, and how many mechan- 
 ical difficulties can be overcome with great ease. It explains how ellipses, parabolas, 
 octagons, circles, and many other figures, may be described by the steel square. 
 
 It is safe to say that this dollar book will easily enable any intelligent mechanic 
 to save ten dollars jn time and material during the first three months that he has 
 it in use, 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 STEEL SQUARES AND THEIR USES. 
 
 Being a Description of the Various Steel Squares and Their Uses 
 in Solving a large number of Mechanical Problems in Constructive 
 Carpentry, Joinery, Sheet-metal Work, Cut-stone or Brick-work. 
 Also, showing how many Geometrical and other Problems inay be 
 solved by the use of the Steel Square. By FRED. T. HODGSON, 
 author of ''The Steel Square and Its Uses," "The Slide-Rule, and 
 Its Uses," "Practical Carpentry," "The Builders' Guide," &c. 
 Finely Illustrated. Cloth $1 
 
 This forms Part II of " The Steel Square and Its Uses," and is not in any sense 
 a substitute for the First Part, which still remains what it always has been a neces- 
 sity to every intelligent workman. Part II is an extension and enlargement of the 
 First Part, giving new problems, new methods, and new wrinkles for shortening 
 the labor and increasing the accuracy of the workman. It is illustrated in the 
 same handsome manner which characterizes the First Part, to which it forms a 
 companion volume. 
 
 With these two volumes in his possession the workman has at command the 
 entire practical mathematics of construction, and is prepared to lay out any piece of 
 work more easily, quickly, and accurately than it can be done by any other method. 
 
 PRACTICAL CARPENTRY. 
 
 Being a Guide to the Correct Working and Laying-out of all kinds 
 of Carpenters' and Joiners' Work, with the Solutions of the Various 
 Problems in Hip-Roofs, Gothic Work, Centering, Splayed Work, 
 Joints and Jointing, Hingeing, Dovetailing, Mitering, Timber- 
 Splicing, Hopper-work, Skylights, Raking Moldings, Circular 
 Work, &c. To which is prefixed a thorough treatise on "Car- 
 penters' Geometry." By FRED. T. HODGSON, author of "The 
 Steel Square and Its Uses," " The Slide-Rule, and How to Use It," 
 "The Builders' Guide," &c. Illustrated by over Three Hundred 
 
 Engravings. Cloth, gilt $1 
 
 This is the most thorough book of the kind ever published. It is thorough, 
 
 practical, and reliable ; and at the same time is written in a style so plain that any 
 
 workman or apprentice can easily understand it. 
 
 STAIR-BUILDING MADE EASY. 
 
 Being a Full and Clear Description of the Art of Building the 
 Bodies, Carriages, and Cases for all kinds of Stairs and Steps. 
 Together with Illustrations Showing the Manner of Laying Out 
 Stairs, forming Treads and Risers, building Cylinders, preparing 
 Strings; with Instructions for making Carriages for Common, 
 Platform, Dog-legged, and Winding Stairs. To which is added an 
 Illustrated Glossary of Terms used in Stair-Building, and Designs 
 for Newels, Balusters, Brackets, Stair-Moldings, and Sections of 
 Hand-Rails. By FRED. T. HODGSON, author of "The Steel Square 
 and Its Uses," &c. Illustrated by over One Hundred and Twenty 
 Engravings, many of them full-page size. Cloth, gilt. ... $1 
 This work takes hold at the very beginning of the subject, and carries the 
 student along by easy stages until the entire subject of stairbuilding has been un- 
 folded, so far as ordinary practice can ever require. This book, and the following 
 one on Hand-Railing, cover nearly the whole subject of Stair- Building. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 A NEW SYSTEM OF HAND-RAILING. 
 
 Or, How to Cut Hand-Railing for Circular and other Stairs, square 
 from the Plank, without the aid of a Falling Mould. By AN 
 OLD STAIRBUILDER. Edited and corrected by FRED. T. HODGSON, 
 author of "Stair-building Made Easy," &c. Cloth, gilt. . . $1 
 The system is new, novel, economic, and easily learned. Rules, instructions, 
 and working drawings for building rails for seven different kinds of stairs are given. 
 
 THE BUILDERS 1 GUIDE, and Estimators' Price-Book. 
 
 Being a Compilation of Current Prices of Lumber, Hardware, 
 Glass, Plumbers' Supplies, Paints, Slates, Stones, Limes, Cements, 
 Bricks, Tin, and other Building Materials. Also, Prices of Labor 
 and Cost of Performing the Several Kinds of Work Required in 
 Building; together with Prices of Doors, Frames, Sashes, Stairs, 
 Moldings, Newels, and other Machine-work. To which is ap- 
 pended a large number of Building Rules, Data, Tables, and 
 Useful Memoranda, with a Glossary of Architectural and Building 
 Terms. By FRED. T. HODGSON, author of "The Steel Square and 
 Its Uses," "The Slide-Rule, and How to Use It," "Practical Car- 
 pentry," &c. Cloth $2 
 
 CARPENTERS' and JOINERS' POCKET COMPANION 
 
 Containing Rules, Data, and Directions for Laying Out Work, and 
 for Calculating and Estimating. With Frontispiece showing the 
 parts of an Architectural Column; also containing many other 
 Illustrative Engravings. Compiled by THOMAS MOLONEY, Car- 
 penter and Joiner. Cloth 50 cents. 
 
 This is a compact and handy little volume, containing the most useful rules and 
 memoranda, practically tested by many years' experience in the shop, factory, and 
 building. Also, a treatise on the framing-square. It is by a thoroughly pr.-icticnl 
 man, and contains enough that is not easily found any whei'e else to make it worth 
 more than its price to every intelligent carpenter. 
 
 EASY LESSONS IN ARCHITECTURE. 
 
 Consisting of a Series of Questions and Answers explaining in 
 Si in [tie Language the Principles and Progress of Architecture 
 i'rom the Earliest Times. By THOMAS MITCHELL. Illustrated by 
 nearly One Hundred and Fifty Engravings. New Edition, with 
 
 American additions. Cloth 30 cents. 
 
 Architecture is not only a profession and an art, but an important branch of 
 every liberal education. No person can be said to be well educated who has not 
 some knowledge of its general pi'inciples and of the characteristics of the different 
 styles. The present work is probably the best architectural textbook for beginners 
 ever published. The numerous illustrative engravings make the subject very simple, 
 and prevent all misunderstanding. It tells all about the different styles, their pecu- 
 liar features, their origin, and the principles that underlie Iheir construction. 
 
 HINTS AND AIDS TO BUILDERS. 
 
 Gives hints and prices, tells how to measure, explains building 
 terms, and, in short, contains a fund of information for all who are 
 interested in building. Paper 25 cents. 
 
CATALOGUE OF INDUSTRIAL It 00 A' ft. 
 
 BUCK'S COTTAGE AND OTHER DESIGNS. 
 
 Buck's Designs in Architecture, showing a Variety of Designs, 
 together with a large amount of Miscellaneous Matter, making it 
 a very valuable book. Forty designs for fifty cents. 
 Just the book you want, if you are going to build a cheap and comfortable home. 
 It shows a great variety of cheap and medium-priced cottages, besides giving a 
 number of useful hints and suggestions on the various questions liable to arise in 
 building, such as selections of site, general arrangement of the plans, sanatary 
 questions, &c. Cottages costing from $300 to $5,000 are shown in considerable va- 
 riety, and nearly every taste can be satisfied. 
 
 The information on site, general arrangement of plan, sanatary matters, &c., is 
 worth a great denl moi-e than the cost of the book. 
 
 WATER-CLOSETS. A Historical, Mechanical, and Sanatary 
 Treatise. By GLENN BROWN, Architect; Associate American 
 Institute of Architects. Neatly bound in cloth, gilt title. . $1 
 This book contains over 250 engravings, drawn expressly for the work by Ihe 
 author. The drawings are so clear that the distinctive features of every device arc 
 easily seen at a glance, and the descriptions are particularly full and thorough. Every 
 known water-closet is fully described, and an account given of its qualities, advan- 
 tages, and defects. The paramount importance of this department of the construc- 
 tion of our houses renders all comment upon the value of such a work unnecessary. 
 
 PLASTER: HOW TO MAKE AND HOW TO USE. 
 
 Being a Complete Guide for the Plasterer in the Preparation and 
 Application of all kinds of Plaster. Stucco, Portland Cement, 
 Hydraulic Cements, Lime of Tiel, Rosendale and other Cements. 
 With Useful and Practical Information on the Chemistry,Qualities, 
 and Uses of the Various Kinds of Limes and Cements. Together 
 with Rules for Measuring, Computing, and Valuing Plaster and 
 Stucco Work. To which is appended an Illustrated Glossary of 
 Terms used in Plastering, &c. By FRED. T. HODGSON, author of 
 "The Builders' Guide, and Estimators' Price-Book," " Practical 
 
 Carpentry," &c. Cloth, gilt $] 
 
 This work is illustrated with numerous engravings in the text, and three plates, 
 giving some forty figures of ceilings, center-pieces, cornices, panels, and soffits. It 
 is an invaluable book for plasterers, bricklayers, masons, builders, architects, and 
 engineers. 
 
 HANDSAWS: THEIR USE, CARE, AND ABUSE. 
 
 How to Select and How to File Them. Being a Complete Guide 
 for Selecting, Using, and Filing all kinds of Handsaws, Backsaws, 
 Compass and Keyhole Saws; Web, Hack, and Butchers' Saws; 
 Showing the Shapes, Forms, Angles, Pitches, and Sizes of Saw- 
 ' teeth suitable for all kinds of Saws, and for all kinds of Wood. 
 Bone, Ivory, and Metal. Together with Hints and Suggestions 
 on the Choice of Files, Saw-sets, Filing-clamps, and other matters 
 pertaining to the Care and Management of all classes of Hand 
 and other Small Saws. By FRED. T. HODGSON, author of "The 
 Steel Square and Its Uses," ." The Slide-Rule, and How to Use It," 
 "The Builders' Guide," "Practical Carpentry," &c. Illustrated 
 
 by over Seventy-five Engravings. Cloth, gilt $1 
 
 This work is intended more particularly for operative carpenters, joiners, cab- 
 inet-makers, carriage-builders, and woodworkei's generally, amateurs or professionals. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 THE PRACTICAL UPHOLSTERER. 
 
 Giving Clear Directions for Skillfully Performing all kinds of 
 Upholsterers' Work in Leather, Silk, Plush, Reps, Cottons, Vel- 
 vets, and Carpetings. Also, for Stuffing, Embossing, Welting, 
 and Covering all kinds of Mattresses, &c. Rules for Measuring 
 Valances, Curtains, Tapestry, Window and Door Drapery, Curtain 
 Rods, Persian Beds, Mantel Drapery, Lambrequins, 'Cushions, 
 Floor-Cloths, Festoon Blinds and Curtain-Hangings, and all kinds 
 of Upholstery. Fully Illustrated with Engravings of Tools. 
 Sketches of Furniture, and numerous full-page Illustrations of 
 Original Decorative Designs. By A PRACTICAL UPHOLSTERER. 
 12mo, cloth $1 
 
 This work contains a number of original designs in drapery and upholstery, 
 with full explanatory text, and an immense number of working illustrations. It 
 gives a description of tools, appliances, and materials. It tells how to upholster 
 chairs, parlor furniture, bedroom furniture, &c. fit contains rules for cutting bed- 
 hangings, window-curtains, door-hangings, blinds, and for measuring and cutting 
 carpets. It gives arithmetical calculations for cutting carpets, curtains, &c., mantle- 
 board drapery, festoons, and, in short, everything pertaining to upholstery. 
 
 There is nothing published in this country that is so thorough and complete in 
 the instructions given for upholstering, as this book. It is invaluable alike to the 
 practical workman and the amateur. 
 
 CABINET-MAKING, UPHOLSTERING, FURNITURE. 
 
 Hints and Practical Information for Cabinet-makers, Upholsterers, 
 and Furniture-men Generally. Together with a Description of all 
 kinds of Finishing, with Full Directions Therefor; Varnishes, 
 Polishes, Stains for Wood, Dyes for Wood, Gilding and Silvering, 
 Recipes for the Factory, Lacquers, Metals, Marbles, &c.; Pictures, 
 Engravings, &c. Cloth, gilt $1 
 
 This book contains an immense amount of the most useful information for 
 those who are engaged in the manufacture, superintendence, or construction of 
 furniture or woodwork of any kind. It is one of the cheapest and best books ever 
 published, and contains over one thousand hints, suggestions, and methods; and 
 descriptions of tools, appliances, and materials. All the recipes, rules, and directions 
 have been carefully revised and corrected by practical men of great experience, so 
 that they will be found thoroughly trustworthy. It contains many of the recipes 
 recently sold at from $5 to $500. 
 
 fiTi WORKSHOP COMPANION-Part I. 
 
 A Collection of Useful and Reliable Recipes, Rules, Processes, 
 Methods, Wrinkles, and Practical Hints, for the Household and 
 
 the Shop Paper, 35 cents. Cloth, gilt title, 60 cents. 
 
 This is a book of 164 closely printed pages, forming a dictionary of practical 
 information for mechanics, amateurs, housekeepers, farmers, everybody. It is 
 not a mei-e collection of newspaper clippings, but a series of original treatises on 
 various subjects, such as alloys, cements, inks, steel, signal-lights, polishing mate- 
 rials, and the art of polishing wood, metals, &c,.; varnishing, gilding, silvering, bronz- 
 ;ng, lacquering, and the working of brass, ivory, alabaster, iron, steel, glass, &c. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 THE WORKSHOP COMPANION.-Part II. 
 
 A Collection of Useful and Reliable Recipes, Rules, Processes, 
 Methods, Wrinkles, and Practical Hints, for the Household and 
 
 the Shop Paper, 35 cents. Cloth, gilt title, CO cents. 
 
 This is an extension of the fh-st part, and contains subjects which have not been 
 discussed in the earlier volume. These two volumes contain an immense amount 
 of practical instruction on matters in regard to which information is constantly 
 desired by amateurs and practical men. 
 
 THE PRACTICAL ASSISTANT, AND WORKSHOP 
 
 COMPANION. A Treasury of Useful Information relating 
 to the Arts and Sciences of everyday life. Containing Useful 
 and Reliable Processes, Recipes, Wrinkles, Methods, Rules, Data, 
 Tables; and Hints for the Factory and the Household, the Shop 
 and the Farm. Edited by JOHN PHIN. Clotji, $1 
 
 This is Parts I and II of "The Workshop Companion," described above, hand- 
 somely bound together in cloth, with gilt title. 
 
 THE AMATEURS' HANDBOOK OF PRACTICAL 
 INFORMATION, for the Workshop and Laboratory. 
 
 Second Edition. Greatly Enlarged. Neatly bound. . . 15 cents. 
 
 This is a handy little book, containing just the information needed by amateurs 
 In the workshop and laboratory. Directions for making alloys, fusible metals, 
 cements, glues, &c.; and for soldering, brazing, lacquering, bronzing, staining and 
 polishing wood, tempering tools, cutting and working glass, varnishing, silvering, 
 gilding, preparing skins, &c. The new edition contains extended directions for 
 preparing polishing powders, freezing mixtures, colored lights for tableaux, solu- 
 tions for rendering ladies' dresses incombustible, &c. There has also been added 
 a very large number of new and valuable recipes. 
 
 The Workshop Companion, Part I, above described, contains all the matter 
 that is to be found in "The Amateurs' Handbook." 
 
 MECHANICAL DRAUGHTINO. 
 
 The Student's Illustrated Guide to Practical Draughting. A series 
 of Practical Instructions for Machinists, Mechanics, Apprentices, 
 and Students at Engineering Establishments and Technical In- 
 stitutes. By T. P. PEMBERTON, Draughtsman and Mechanical 
 Engineer. illustrated by numerous engravings. Cloth, gilt. $1 
 This is a simple but thorough book, by a draughtsman of twenty-five years' 
 experience. It is intended for beginners and self-taught students, as well as for 
 those who pursue the study under the direction of a teacher. 
 
 DRAWING INSTRUMENTS. 
 
 Being a Treatise on Draughting Instruments, with Rules for their 
 Use and Care; Explanations of Scales, Sectors, and Protractors. 
 Together with Memoranda for Draughtsmen; Hints on Purchasing 
 Instruments, Paper, Ink, Pencils, &c. Also, a Price-list of all Mate- 
 rials required by Draughtsmen. Illustrated with twenty-four Explan- 
 atory Illustrations. By FRED. T. HODGSON. Paper. ... 25 cents. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 THE SLIDE-RULE, AND HOW TO USE IT. 
 
 Being a Compilation of Explanations, Rules, and Instructions, 
 suitable for Mechanics and others interested in the Industrial 
 Arts. Compiled and arranged by FRED. T. HODGSON. 25 cents. 
 
 Rules are given for the measurement of all kinds of boards and planks, timber 
 in the round or square, glaziers' work and painting, brickwork, paviors' work, tiling 
 and slating, the measurement of vessels of various shapes, the wedge, inclined planes, 
 wheels and axles, levers, the weighing and measurement of metals and all solid 
 bodies, cylinders, cones, globes, octagon rules and formulae, th measurement of 
 circles, and a comparison of French and English measures, with much other informa- 
 tion useful to builders, carpenters, bricklayers, glaziers, paviors, slaters, machinists, 
 and other mechanics. 
 
 Possessed of this little book and a good slide-rule, mechanics might cany in 
 their pockets some hundreds of times the power of calculation that they now have 
 in their heads, and the use of the instrument is very easily acquired. 
 
 THE ENGINEER'S SLIDE-RULE, and Its Applications. 
 
 A Complete Investigation of the Principles upon which the Slide- 
 Rule is constructed; together with the Method of its Application 
 to all the Purposes of the Practical Mechanic. By WILLIAM 
 TONKES. Paper 25 cents. 
 
 THE LIGHTNING CALCULATOR. 
 
 Practical Hints on Lightning Calculating. To which are added 
 Rules, Tables, Data, Formulae, and Memoranda, for making rapidly 
 those everyday calculations that are required in business, mechan- 
 ics, and agriculture. Paper 20 cents. 
 
 A CENTURY OF INVENTIONS. 
 
 An exact reprint of the famous ''Century of Inventions", of the 
 Marquis of Worcester (first published in 1663). With an Intro- 
 duction, Notes, and a Life of the Author. With Portrait after a 
 Painting by Van Dyke. Edited by JOHN PHIN. Cloth. . . . $1 
 
 This is one of the most extraordinary books ever published. The famous 
 "Centuiy of Inventions" is of more than mere historical interest. It contains nu- 
 merous hints and suggestions of what might be accomplished, and will be found of 
 great interest and value to every one interested in mechanics. Many persons claim 
 that the Marquis of Worcester anticipated many of our most important modern 
 inventions and discoveries. Great care has been taken to reproduce exactly (so far 
 as modern type, &c., could do it) the edition published by the Marquis himself. It 
 has been entirely out of print for many years. 
 
 THE ELECTRICIAN'S POCKET COMPANION. 
 
 Electrical Rules, Tables, Tests, and Formulae. By ANDREW 
 JAMIESON, C.E., F.R.S.E. Fully illustrated. Cloth. ... 75 cents. 
 
 This is the most compact and thorough work in the market for the practical 
 electrician. It contains minute directions for all calculations, tests, &c., witli clear 
 engravings of the apparatus employed. The following list of contents will give an 
 idea of its scope: 
 
 Formulae of the Absolute Units, Practical, Electrical, and Mechanical. 
 
 Heat and Light Units. 
 
 Electro-chemical Equivalents, Electrolysis, Heat and Energy of Combustion. 
 
 Practical Methods of Electrical Measurements. 
 
 Electric Conductors: Copper, &o. Insulators: Guttapercha, &c. 
 
 Submarine Cables. Aerial Land-lines. 
 
 Electric Lighting, and Trans mission of Power. 
 
CATALOGUE OF IM)VSTIUAL BOOKS. 
 
 LECTURES IN A WORKSHOP.-By T. P. PEMBERTON, 
 formerly Associate Editor of The Tcchuoloyixt; author of "The 
 Student's Illustrated Guide to Practical Draughting." With an 
 Appendix containing the famous papers by Whitvvorth "On Plane 
 Metallic Surfaces of True Planes"; "On the Uniform System of 
 Screw-Threads"; "Address to the Institution of Mechanical En- 
 gineers, Glasgow"; "On Standard Decimal Measures of Length." 
 Cloth, gilt .................... $1 
 
 We have here'a sprightly, fascinating book, full of valuable hints, interesting 
 cdotes, and sharp sayings. It is not a compilation of dull sermons or dry math- 
 ematics, but a live, readable book. The papers by Whitworth, now firs't made 
 
 readily accessible to the American reader, form the basis of our modern systems of 
 accurate work. 
 
 THE NEW POCKET CYCLOPEDIA. 
 
 A Compendium of General Knowledge, Useful and Interesting 
 Facts, Valuable Statistics, and Practical Information. IGrno., 
 cloth ................... 50 cents. 
 
 This is a handy volume of 164 pages, printed in small but clear type on very fine 
 thin paper, so that the book may be readily carried in the pocket or trunk. It con- 
 tains all those facts and figures which are most commonly referred to in everyday 
 life, great care being taken to secure accuracy and clearness. It is not a collection 
 of "curious information" made up from newspaper clippings, but a thoroughly 
 arranged manual of the most useful general knowledge. 
 
 HOW TO BECOME A GOOD MECHANIC. 
 
 Intended as a Practical Guide to Self-taught Men: Telling What 
 
 to Study; What Books to Use; How to Begin; What Difficulties 
 
 will be met; How to Overcome Them. In a word, how to carry 
 
 on such a course of self-instruction as \vill enable the young 
 
 mechanic to rise from the bench to something higher. Paper, ]5c. 
 
 This is not a book of "goody-goody" advice, neither is it aii advertisement of 
 
 any special system, nor does it advocate any hobby. It gives plain practical advice 
 
 in regard to acquiring that knowledge which alone can enable a young man engaged 
 
 in any profession or occupation connected with the industrial arts to attain a po- 
 
 sition higher than that of a mere workman. 
 
 CEMENTS, GLUE, AND PASTE. 
 
 A Practical Treatise on the Preparation and Use of all kinds of 
 Cements, Glue, and Paste. By JOHN PHIN, author of "How to 
 Use the Microscope." Paper .......... 25 cents. 
 
 Every mechanic and householder will find this volume of almost every-day use. 
 
 .t contains nearly two hundred recipes for the preparation of cements for almost 
 
 .very conceivable purpose. 
 
 HINTS FOR PAINTERS, DECORATORS, AND 
 PAPER-HANGERS. 
 
 Being a Selection of Useful Rules, Data, Memoranda, Methods, 
 and Suggestions for House. Ship, and Furniture Painting; Paper- 
 Hanging, Gilding, Color-Mixing, and other matters useful and 
 instructive to painters and decorators. Prepared with special 
 reference to the wants of amateurs. By AN OLD HAND. 
 Paper ................... 25 cents. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 THE HARDWOOD FINISHER: 
 
 With Rules and Directions for finishing in Natural Colors, and in 
 Antique, Mahogany, Cherry, Birch, Walnut, Oak, Ash, Redwood, 
 Sycamore, Pine, and all other Domestic Woods. Finishing, Filling, 
 Staining, Varnishing, and Polishing. Also, Miscellaneous Rules 
 for Dyeing, Gilding, and Bronzing. Compiled and Edited by 
 FRED. T. HODGSON, late Editor of Tlte Builder and Woodworker, 
 and of The Cabinetmaker and Upholsterer. 32mo, cloth. . . $1 
 
 In this country the art of using wood for almost every pin-pose has gone far 
 beyond anything that has ever been attempted by any other people. The modern 
 houses of the Americans are finished with a richness and beauty in the woodwork 
 of which our fathers, not to speak of our grandfathers, had little idea. The car- 
 
 S enter, builder, or painter who does not fully understand the best methods of 
 nishiug the hard woods so as to preserve and increase their beauty is behind the 
 times. The object of this book is to aid him in acquiring the knowledge necessary 
 to this end; and the author has certainly succeeded in producing an exhaustive 
 treatise on the subject. 
 
 THE ENGINEER'S HANDY-BOOK: 
 
 Containing a series of Useful Calculations for Engineers, Tool- 
 makers, Millwrights, Draughtsmen, Foremen in Engineering Es- 
 tablishments, and for the better class of Mechanics and Artizans 
 generally. Also, Rules to determine the Proportion of Wheels for 
 Screw-cutting by a Lathe, &c. From the fifth London edition, 
 with American additions. 32mo, cloth 50 cents. 
 
 PLAIN DIRECTIONS FOR THE 
 
 CONSTRUCTION AND ERECTION of LIGHTNING- 
 RODS. By JOHN PHIN, C.E., author of "Chemical History of 
 the Six "Days of Creation," "How to Use the Microscope," &c. 
 Enlarged and fully illustrated. Third edition. 12mo, cloth, 
 gilt title ' 75 cents. 
 
 This is a well-known and standard work. It is simple and practical, intended 
 to convey just such information as will enable every property-owner to decide 
 whether or not his buildings are thoroughly protected. It is the only book on this 
 subject published in this country that has not been written in the interest of some 
 patent or some manufacturing concern. By following its directions any ordinarily 
 skillful mechanic can put up a rod that will afford perfect protection, and that will 
 not infringe on any patent. Every owner of a house or barn ought to procure a copy. 
 
 TRADE "SECRETS" AND PRIVATE RECIPES. 
 
 A Collection of Recipes, Processes, and Formulas that have been 
 offered for sale at prices varying from 25 cents to $500. With 
 Notes, Corrections, Additions, and Special Hints for Improve- 
 ments. Edited by JOHN PHIN, assisted by an experienced and 
 skillful pharmacist. Cloth, gilt title 60 cents. 
 
 This work was prepared by the author for the purpose of collecting and pre- 
 senting in a compact form all those recipes and so-called "trade secrets" which 
 have been so extensively advertised and offered for sale. It is by no means a 
 claptrap book, though it exposes many claptraps. It contains a large amount of 
 valuable information that can not be readily found elsewhere: and it gives not only 
 the formula?, &c., for manufacturing an immense variety of articles, but important 
 and trustworthy hints as to the best way of making money out of them. Even as a 
 book of recipes it is worth more than its price to any one who is interested in the 
 subject on which it treats. 
 
CATALOC.rK <)V IMU'STRIAL 7,'OOAX 
 A PRACTICAL GUIDE TO 
 
 SUCCESS IN THE USE OF RECIPES, 
 
 Formulae, &e., with Hints on Chemical and Mechanical Manipula- 
 tion. Intended as a supplement to all books of recipes. By 
 JOHN PHIN. 12rno, paper 25 cents. 
 
 While it is an undoubted fact that many of the recipes published in the ordinary 
 collections are erroneous, either from original blunders on the part of the authors 
 or from mistakes in copying, failure in the use of others frequently arises from 
 defective information and vicious methods on the part of those who attempt to put 
 them in practice. The object of the present book is to give such hints and cautions 
 as will enable the worker to secure success where success is possible ; and where 
 the products are intended for sale it gives special and valuable advice as to the best 
 methods of putting them 011 the market. 
 
 A MANUAL OF INSTRUCTION IN 
 
 THE ART OF WOOD ENGRAVING. 
 
 With a Description of the necessary Tools and Apparatus, and 
 Concise Directions for their Use ; Explanations of the Terms used 
 and the Methods employed for producing the various classes of 
 Wood Engravings. By S. E. FULLER. Fully illustrated with 
 engravings by the author, separate sheets of engravings for trans- 
 fer and practice being added. New edition, neatly bound. 50 cts. 
 A really thoi-ough and practical work, written for those who want to learn the 
 art without the aid of a teacher. 
 
 A GUIDE TO COLLODIO ETCH ING -By 
 
 Rev. BENJAMIN HARTLEY. Illustrated by the author. 12mo, 
 
 cloth $1.00 
 
 This volume gives complete and minute instructions for one of the most delight- 
 ful of amateur arts. It is fully illustrated by woodcuts of all the apparatus used 
 (which is very simple and easily made), and also by actual photo-prints of the 
 etchings themselves. 
 
 THE PRACTICAL POCKET COMPANION. 
 
 A Cyclopedia of the most useful Facts, Figures, and General 
 Information required by everybody in everyday life. Edited by 
 JOHN PHIN, author of "How to Use the Microscope," "The Work- 
 shop Companion," "Chemical History of the Six Days of Crea- 
 tion," &c. Numerous illustrations 10 cents. 
 
 CONTENTS. Abbreviations in Common Use Business Laws and Commercial 
 Rules Acceptances Agencies Bills of Exchange Checques Common Carriers 
 Coi-porations Law of Finding Indorsements Innkeepers Negotiable Instruments 
 Partnerships Promissoiy Notes Protests Receipts Concrete Walls for Houses 
 Copyrights Rules for Correspondence How to treat Accidents to the Eye Fac- 
 tors of Safety Best Methods of Extinguishing Fires Language of Flowers Sig- 
 nificance of Gems and Precious Stones Periods of Gestation and Incubation Leg.-il 
 Holidays Homestead Law Distinguishing Characteristics and Anxious Periods <>f 
 Infectious Diseases Prevention of Attacks of Insects Knots, and How to Tic 
 Them, with full page of illustrations General Rules Single Draw-knot Galley- 
 knot Square-knot, or Reefing-knot Weaver's-knot, or Sheet-bend-knot Half-hitch 
 Two Half-hitches Clove-hitch Timber-hitch Bowline-knot Fisherman's-knot 
 Whipping or Binding Tying Parcels Care of Leather Lightning-rods, general 
 rules for Best Materials Proper Size and Best Shapes of Rod Painting Points, 
 or Air-Terminals Ground Connections Arrangement and Mode of Attaching the 
 Rod to the House Value of Moneys of Foreign Nations Passports Patents Anti- 
 dotes for Poisons Postal Rules and Rates Railroad and Steamboat Signals Rules 
 for Spelling and the Use of Capitals Trade-marks Weather Indications, &c. 
 
CATALOGVB OF INDUSTRIAL BOOKS. 
 
 WHAT TO DO AND HOW TO DO IT IN CASE 
 
 OF ACCIDENT. A book for everybody. Cloth, gilt. 50 cts. 
 
 This is one of the most useful books ever published. It tells exactly what to 
 do in case of accidents, such as severe cuts, sprains, dislocations, broken bones, 
 burns with tire, scalds, burns with corrosive chemicals, sunstroke, suffocation by 
 foul air, hanging, drowning, frost-bite, fainting, stings, starvation, lightning, poisons, 
 accidents from machinery and from the falling of scaffolding, gunshot wounds, &c. 
 It ought to be in eveiy house, for young and old are liable to accident, and the 
 directions given in this book might be the means of saving many a valuable life. 
 
 COMMON SENSE IN THE POULTRY-YARD. 
 
 A Story of Failures and Successes, including a full account of 
 1,000 liens and what they did. With a complete description of the 
 houses, coops, fences, runs, methods of feeding, breeding, market- 
 ing, &c., and many new wrinkles and economical dodges. By 
 J. P. HAIG. With numerous illustrations. Cloth, gilt title. $1 
 This is a lively and entertaining work, which embodies the actual experience of 
 many years in the keeping of poultry in large and small numbers. It is the most 
 thoroughly practical work on poultry in the market, and contains an amount of 
 solid information which, to even the keeper of a dozen fowls, will make it worth 
 many times its cost. 
 
 A DICTIONARY OF PRACTICAL BEE-KEEPING. 
 
 With Notes and Practical Hints. By JOHN PHIN, author of 
 "How to Use the Microscope," &e. Numerous illustrations. 
 
 Cloth, gilt 50 cents. 
 
 This work discusses thoroughly nearly five hundi'ed subjects. Gives in con- 
 densed form an immense amount of valuable information under the different head- 
 ings. Under the heads Hee, Comb, Glucose, Honey, Race, Species, 8ugar, Wax. and 
 others, it brings together a lai-ge number of important facts and figures now scat- 
 tered through our bee literature and costly scientific works, and are not easily 
 found when wanted. Here they can be referred to at once under the proper head. 
 
 PLAIN DIRECTIONS FOR ACQUIRING 
 
 THE ART OF SHOOTING ON THE WING. 
 
 With Useful Hints concerning all that relates to Guns and Shoot- 
 ing, particularly in regard to the art of loading so as to kill. To 
 which has been added several valuable and hitherto secret recipes, 
 of great practical importance to the sportsman. By AN OLD GAME- 
 KEEPER. 12mo, cloth 75 cents. 
 
 This book contains a novel and most valuable feature found in no other work on 
 this subject. This is a series of graduated lessons by which the self-taught young 
 sportsman is enabled to advance step by step from such easy marks as a sheet of pa- 
 per nailed on a fence to the most difficult trap-shooting and the sharpest snap-shots. 
 
 THE PISTOL AS A WEAPON OF DEFENCE, 
 
 In the House and on the Road. 12mo, cloth. ... 50 cents 
 This work aims to instruct peaceable and law-abiding citizens in the best means 
 of protecting themselves from the attacks of the brutal and the lawless, and it is the 
 only practical book published on this subject. Its contents are as follows: 
 
 The Pistol as a Weapon of Defence The Carrying of Firearms Different kinds 
 of Pistols in Market How to Choose a Pistol Ammunition, different kinds : powder, 
 caps, bullets, copper cartridges, &c. Best form of Bullet How to Load Best 
 Charge for Pistols How to Regulate the Charge Care of the Pistol : how to clean 
 it How to Handle and Cany the Pistol How to Learn to Shoot Practical Use of 
 the Pistol How to Protect Yourself and Disable your Antagonist. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 CHEMICAL HISTORY of the SIX DAYS of CREATION 
 
 By JOHN PHIN, author of "How to Use the Microscope," &c. 
 12mo, cloth 75 cents. 
 
 In this volume an attempt is made to trace the evolution of our globe from the 
 primeval state of nebulous mist, "without form and void," and existing in "dark- 
 ness." or with an entire absence of the manifestation of the physical forces, to the 
 condition in which it was fitted to become the habitation of man. While the state- 
 ments and conclusions are rigidly scientific, it gives some exceedingly novel views 
 of a rather hackneyed subject. 
 
 THE SUN: A Familiar Description of his Phenomena. 
 
 By Eev. THOMAS WILLIAM WEBB, M.A., F.R.A.S., author of 
 "Celestial Objects for Common Telescopes." With numerous 
 illustrations. 12mo, cloth 40 cents. 
 
 This work gives, in a delightfully popular style, an account of the most recent 
 discoveries in regard to the sun. It is freely illustrated. 
 
 HOW TO USE THE MICROSCOPE. 
 
 A Book of Practical Hints on the Selection and Use of the 
 Microscope. Intended for beginners. By JOHN PHIN, editor of 
 The American Journal of Microscopy. Sixth edition. Greatly 
 enlarged, with over eighty engravings in the text, and eight full- 
 page engravings, printed on heavy tint paper. 12mo, cloth. $1.25 
 
 This work has been received with such general favor that it has passed through 
 five large editions in a few years. It gives a full account of the different kinds of 
 microscopes; of the various accessories, and of the best methods of using them; 
 of the best methods of collecting, preparing, and preserving objects, and preparing 
 slides and cabinets. Many of the illustrations, devices, and methods used, are 
 original with the author, although they have been freely copied and appropriated 
 without credit by several other writers. 
 
 A BOOK FOR 
 
 BEGINNERS WITH THE MICROSCOPE. 
 
 Being an abridgement of "How to Use the Microscope." By 
 JOHN PHIN. Fully illustrated, and neatly and strongly bound 
 in boards 30 cents. 
 
 This book was prepared for the use of those who, having no knowledge of the 
 use of the microscope, or, indeed, of any scientific apparatus, desire simple and 
 practical instruction in the best methods of managing the instrument and preparing 
 objects. 
 
 THE MICROSCOPE. By ANDREW Ross. Fully illustrated. 
 12mo, cloth, gilt title 75 cents. 
 
 This is the celebrated article contributed by Andrew Ross to "The Penny Cyclo- 
 pedia," and quoted so frequently by writers on the microscope. Carpenter and 
 Hogg, in the latest editions of their works on the microscope, and Brooke, in his 
 treatise on Natural Philosophy, all refer to this article as the best source for full 
 and clear information in regard to the principles upon which the modern :iHiromatio 
 microscope is consti'ucted. It should be in the library of every person to whom the 
 microscope is more than a toy. It is written in simple language, free from abstruse 
 technicalities. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 THE ANGULAR APERTURE OF MICROSCOPE 
 OBJECTIVES. 
 
 By Dr. GEORGE E. BLACKHAM. Eighteen full-page illustrations. 
 Printed on extra fine paper. 8vo, cloth $1.25 
 
 This is the elaborate paper on Angular Aperture read by Dr. Blackham before 
 the Microscopical Congress, held at Indianapolis. 
 
 SECTION-CUTTING FOR THE MICROSCOPE. 
 
 A Practical Guide to the Preparation and Mounting of Sections 
 for t)ie Microscope, special prominence being given to the subject 
 'of Animal Sections. By SYLVESTER MARSH, M.D. Reprinted 
 from the London edition. With illustrations. 12mo, cloth, gilt 
 
 title 75 cents. 
 
 This is undoubtedly the most thorough treatise extant upon section-cutting 
 in all its details. The American edition has been greatly enlarged by valuable 
 explanatory notes; and also by extended directions, illustrated with engravings, for 
 selecting and sharpening knives and razors. 
 
 THE MARVELS OF POND LIFE. 
 
 A Year's Microscopic Recreations among the Polyps, Infusoria, 
 Rotifers, Water-Bears, and Polyzoa. By HENRY J. SLACK, F.G.S., 
 F.R.M.S., &c. Seven full-page plates, and numerous wood en- 
 gravings in the text. Second edition. 12mo, cloth, gilt. . $1 
 
 DIATOMS. Practical Directions for Collecting, Pre- 
 serving, Transporting, Preparing, and Mounting Diatoms. By 
 Prof. A. MEAD EDWARDS, M.D., Prof. CHRISTOPHER JOHNSTON, 
 M.D., Prof. HAMILTON L. SMITH, LL.D. 12mo, cloth. 75 cents. 
 
 This volume contains the most complete series of directions for collecting, 
 preparing, and mounting diatoms, ever published. The directions given sire the 
 latest and best. 
 
 BACTERIA: FORMS AND MODES OF GROWTH. 
 
 A Series of Papers on the Exhibits at the Biological Laboratory 
 of the Health Exhibition, under the charge of WATSON CHEYNE. 
 Reprinted from the London Lancet. Illustrated with over thirty 
 engravings, showing the forms and modes of growth of the various 
 species, and the apparatus used in the different " cultures. "- 
 12mo, paper 25 cents. 
 
 TRICHIN>E SPIRALIS: How to Detect Them and 
 
 HOW to Avoid Them. A Popular Account of the Habits, 
 Modes of Propagation, and Means of Dissemination of Pork- 
 worms or Flesh-worms. By JOHN PHIN, author of "How to Use 
 the Microscope." Fully illustrated. Paper. , . , 25 cents, 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 HANDBOOK OF URINARY ANALYSIS, Chemical 
 
 and Microscopical. For the Use of Physicians, Medical 
 Students, and Clinical Assistants. By FRANK M. DEEMS, M.D., 
 Laboratory Instructor in the Medical Department of the Univer- 
 sity of New York; Member of the New York County Medical 
 Society; Member of the New York Microscopical Society, &c. 
 Second edition. Greatly enlarged, and fully illustrated. Cloth. $1 
 Tliis manual presents a plan for the systematic examination of liquid urine, 
 urinary deposits, and calculi. It is compiled with the intention of supplying a 
 roncise guide, which, from its small compass and tabulated arrangement, renders 
 it admirably adapted for use, both as a bedside reference-book and a work-table 
 companion. The author is well known as one who has had for several years a very 
 extended experience as a teacher of this important branch of physical diagnosis, and 
 lie has compiled a manual which will serve to lessen the difficulties in the way of 
 tht> beginner, and save valuable time to the practitioner. 
 
 THE MICROSCOPIST'S ANNUAL FOR 1879 
 
 Contains a list of all the microscopical societies in the country, with names of 
 officers, days of meeting, &c.; alphabetical and classified lists of all the manufac- 
 turers of microscopes and objectives, dissecting apparatus, microscopic objects, 
 materials for microscopists, &c., in Europe and America; postal rates, rules and 
 regulations, prepared expressly for microscopists. Weights and measures, with 
 tables and rules for the conversion of diffei'ent measures into each other; customs 
 duties and regulations in regard to instruments and books; value of the moneys of 
 all countries in United States dollars; value of the lines on Nobert's test-plates; 
 table of Moller's probe-platte, with the number of lines to inch on the several 
 diatoms, &c.; focal value of the objectives of those makers who number their 
 objectives (Hartnack. Nachet, &c.); focal value of the eyepieces of different makers; 
 magnifying power of eyepieces and objectives, &c. The whole forming an indis- 
 pensable companion for every working microscopist. Limp cloth, gilt. 25 cents. 
 
 A BOOK ABOUT BOOKS; or, Practical Notes on the 
 Selection, Use, and Care of Books. 
 
 Intended as a popular guide for bookbuyers, students, and all 
 lovers of good reading. Cloth 40 cents. 
 
 This is a readable, gossipy book, full of literary anecdotes, and containing also 
 a great deal of practical information, useful to every one that owns or expects to 
 own books. The directions for binding, repairing, preserving, and handling books, 
 should receive the careful attention of every one that desires to keep his books in 
 good condition ; but even if regarded as mere pleasant reading for a leisure hour, 
 there are few more readable and interesting books than this, with its gossip, chat, 
 and stories. It is illustrated with three full-page engravings, one being a reproduc- 
 tion of the first wood engraving of which there is any record; the second is an 
 exceedingly curious woodcut representing the birth of Eve; and the third is an 
 engraving of one of the curious "hornbooks" of the seventeenth century. 
 
 RHYMES OF SCIENCE: WISE AND OTHERWISE. 
 
 By OLIVER WENDELL HOLMES, BRET HARTE, INGOLDSBY, Prof. FORBES, Prof. 
 J. W. McQ. RANKINE, Hon. R. W. RAYMOND, and others. With illustrations. 
 Cloth, gilt title 50 cents. 
 
 THE YOUNG SCIENTIST. This journal was devoted to amateur 
 Science and Art, and was deservedly a favorite with young people. We have a 
 few bound volumes for sale. Price 75 cents each. 
 
 THE AMERICAN JOURNAL OF MICROSCOPY. 
 
 A few bound volumes for sale. Price $1 each. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 REMINISCENCES OF 
 SCOTTISH LIFE AND CHARACTER. 
 
 By E. B. RAMSAY, M.A., LL.D., F.R.S.E., late Dean of Edinburgh. 
 Third edition, from the author's latest edition. With portrait. 
 12mo, cloth $1.50 
 
 The Scotch have made such a deep mark in the literature, science, and mechan- 
 ics of the world, that whatever illustrates their peculiar modes and habits of thought 
 and action must be of intense interest to every thinking mind. 
 
 The above book consists of a series of anecdotes and descriptions which are 
 nm-qualled for racy vit and quiet humor, and as affording a deep insight into 
 hum-in nature. It is not a compilation of jokes by a hackney bookmaker, but a 
 work of broad views and philosophical" thought, by a man of learaing and ability. 
 It is intensely interesting to every thoughtful reader; but the Scotchman who fails 
 to read it misses one of the grardest treats afforded by any literature. 
 
 in Pre^ v A DICTIONARY OF RECENT WORDS 
 
 *N 
 
 PHYSICAL SCIENCE AND ELECTRICITY. 
 
 Giving their Meanings ; the Formula} and Value of the Units; 
 
 GKd numerous Practical Notes and Hints. 
 
 By JOHN PHIN, 
 
 Author of "Practical Treatise on the Construction and Erection of Lightning-Rods," 
 "The Chemical History of the Six Days of Creation." "How to Use the Micro- 
 scope," &c. 12mo, cloth 75 cents. 
 
 This is a handy book, intended to give, in the simplest language and with thor- 
 ough accuracy, the meaning of the new terms which have been introduced into 
 physical and electrical science, and which are not to be found in any dictionary 
 except the very late and expensive ones. It is intended for the use of the self- 
 taught man. 
 
 A LIVE PRACTICAL JOURNAL FOR WORKERS. 
 
 THE OPERATIVE BUILDER. 
 
 Edited by FRED. T. HODGSON, 
 
 Author of "The Steel Square and Its Uses," "Practical Carpentry," " Stairbuilding 
 Made Easy," &e. 
 
 This is a monthly journal devoted to the arts conne<*.tc'l r*ith tHs IruHing trade, 
 and especially to woodworking. 
 
 It will be published monthly. Price 50 cents per year. 
 *% Send for free specimen copy. Address 
 
 INDUSTRIAL PUBLICATION COMPANY. 
 NEW YORK. 
 
CATALOGUE OF INDUSTRIAL BOOKS. 
 
 IN PREPARATION. 
 
 THE UNIVERSAL CARPENTER AND JOINER. 
 
 By FRED. T. HODGSON, author of "The Steel Square and Its Uses," 
 "Practical Carpentry," " Stairbuilding Made Easy," "The Build- 
 er's Guide, and Estimator's Price-Book," &c. 
 
 To be handsomely illustrated, and published in four parts, as follows : 
 
 PART I CARPENTER'S GEOMETRY. 
 
 Part I will contain Carpenter's Geometry, presented in an easy form, 
 
 with examples of its practical applications in Carpentry and Joinery, 
 
 showing how to get and work difficult "cuts" and pitches. 
 
 PART II. THE ART AND SCIENCE OF CARPENTRY. 
 
 Part II will be an introduction to the Art and Science of Carpentry 
 
 proper, with working drawings of Roofs, Bridges, 
 
 Bevel and Skew Work. 
 
 PART III. AMERICAN JOINERY. 
 
 Part III will contain a practical treatise on American Joinery, with 
 
 descriptions and examples of some of the best work in existence. 
 
 This Part will be full of excellent material for the 
 
 Joiner and Finisher. 
 
 PART IV. JOINERY AND CARPENTRY. 
 
 Part IV will contain a large number of examples in mixed Joinery and 
 
 Carpentry, Rules for Working, Methods of Working, Tables, 
 
 Data for Estimating, Formula? for laying out work, and 
 
 Recipes useful to the Practical Workman. 
 
 It will be the aim of the author to make the above work the most complete 
 treatise on Carpentry and Joinery published to date. It will be issued in four 
 Parts, each part consisting of not less than 100 large royal octavo pages, printed on 
 fine paper, and strongly bound in stiff paper covers. The price will be one dollar 
 per Part; and when complete the whole will form one volume, the price of which, 
 handsomely bound in extra cloth, will be $">. 
 
 The First Part will be ready about the first of August, 1892, and the remaining 
 Parts at intervals of about three months. 
 
 To those sending advance orders for two Parts, accompanied with the cash, we 
 will send a binding-order, which will be accepted by us as payment in full for 
 binding the complete work in neat cloth, with gilt title. 
 
THE WORKSHOP COMPANION, 
 
 A. Collection of Useful and Reliable Recipes, 
 
 Rule*. Processes, Methods, Wrinkles, 
 
 and Practical Hints, 
 
 JFOJR THE HOUSEHOLD dLJ%*D THE SHOJP. 
 
 Abyssinian Gold: Accidents, General Rules; Alabaster, how to work, polish and 
 clean; Alcohol; Ai 1 vs. lor making, and 26 recipes; Amber, how to work, 
 
 polish and mend; Annealing and Hardening glass, copper, steel, etc.; Arsenical 
 So-'.p; Arsenical Powder; Beeswax, how to bleach; Blackboards, how to make; 
 Brass, how to work, polish, color, varnish, whiten, deposit by electricity, clean, etc., 
 etc.; Brazing and Soldering; Bronzing brass, wood, leather, etc.; Bums, how to 
 cure; Case-hardening ; Catgut, how prepared; Cements., general rules for using, and 
 56 recipes for yreparing; Copper, working, welding, depositing; Coral, artificial; 
 Cork, working; Crayons for Blackboards; Curling brass, iron, etc.; Liquid Cu- 
 ticle; Etching copper, steel, glass; Eye, accidents to; Fires, to prevent; Clothes on 
 Fire; Fireproof Dresses; Fly Papers; Freezing Mixtures, 6 recipes; Fumigating 
 Pastils; Gilding metal, leather, wood, etc.; Glass, cutting, drilling, turning in the 
 lathe, fitting stoppers, removing tight stoppers, powdering, packing, imitating ground 
 glass, washing glass vessels, etc. ; Grass, Dry, to stain ; Guns, to make shoot close, 
 to keep from rusting, to brown the barrels of, etc., etc. ; Handles, to fasten ; Inks, 
 rules for selecting and preserving, and 34 recipes for; Ink Eraser; Inlaying; Iron, 
 forging, welding, case-hardening, zincing, tinning, do. in the cold, brightening, etc, 
 etc. ; Ivory, to work, polish, bleach, etc. ; Javelle Water; jewelry and Gilded Ware, 
 care of, cleaning, coloring, etc. ; Lacquer, how to make and apply; Laundry Gloss; 
 Skeleton Leaves; Lights, signal and colored, also for tableaux, photography, etc., 25 
 recipes; Lubricators, selection of, 4 recipes for; Marble, working, polishing, clean- 
 ing; Metals, polishing ; Mirrors, care of, to make, pure silver, etc., etc.; Nickel, 
 to plate with without a battery; Noise, prevention of; Painting Bright Metals; 
 Paper, adhesive, barometer, glass, tracing, transfer, waxed, etc.; Paper, to clean, take 
 creases out of, remove water stains, mount drawing paper, to prepare for varnishing, 
 etc , etc. ; Patiia; Patterns, to trace; Pencils, indeHHe ; Pencil Marks, to fix; 
 Pewter; Pillows for Sick Room, cheap and good ;- Vla-ier-of-Paris, how to work; 
 Poisons, antidotes for, 12 recipes; Polishing Powders, preparation and use of (six 
 -Resins, their properties, etc. ; Saws, how to sharpen; Sieves; Shellac, 
 properties and uses of; Silver, properties of, oxidized, old, cleaning, to remove ink 
 nm, to dissolve from plated goods, etc., etc. ; Silvering metals, leather, iron, 
 etc. ; Size, preparation of various kinds of; Skins, tanning and curing, do with hair 
 on; Stains, to remove from all kinds of goods; Steel, tempering and working (six 
 p;i^es): Tin, properties, methods of working; Varnish, 21 recipes for; Varnishing, 
 directions for; Voltaic Batteries; Watch, care of; Waterproofing, 7 recipes for; 
 Whitewash;- Wood FIoo/s, waxin?, staining, and polishing; Wood, polishing; 
 Wood, staining, 17 recipes; Zinc, to pulverize, black varnish for. 
 
 104 closely-printed pages, neatly bound. Sent bv mail for 36 cents 
 (postage stamps received). 
 
Edited by FRED. T. HODGSON, Author of " The Steel Square and Its 
 
 Uses," " Practical Carpentry," " Stair Building Made Easy." etc. 
 
 THE OPERATIVE BUILDER is published on the first day of each 
 month and contains 16 large pages, printed in the best manner on 
 fine paper. It is illustrated with useful working drawings, details 
 and diagrams, all made to scale, with full descriptions and explana- 
 tions of the same. Each issue contains several pages of good, prac- 
 tical matter on subjects pertaining to the various arts which it 
 represents, and a question and answer column is under the super- 
 vision of several thoroughly practical men. Such new tools, new 
 methods, new machines, new materials and inventions as are of use 
 to its readers are fully described and commented on. 
 
 Careful and impartial reviews of all new books and journals relat- 
 ing to the building trades are published from time to time, so that 
 its readers will have an opportunity of judging a book or journal on 
 its merits before purchasing. 
 
 In short, it is the object of the editors and publishers to make it a 
 
 LIVE, PRACTICAL AND INSTRUCTIVE JOURNAL, Which Will diSCUSS in a 
 
 simple, yet rigidly thorough and accurate manner, all those mattei-s 
 which relate to the progress of the building arts. 
 
 THE OPERATIVE BUILDER offers special inducements to adver- 
 tisers of builders' tools and materials, and painters' and decorators' 
 requirements, as we guarantee an average monthly circulation ol 
 10.000 copies, and are ready to exhibit the proofs of this to any one 
 who has a right to ask for it. and our rates are so low that no dealer 
 in the goods named can afford to ignore us. 
 
 As the circulation is so large the publishers are able to make the 
 sub.-ciption. price very low, viz: Fifty Cents per year ; Five Cents for 
 .single, numbers. Specimen copies will be sent free to any part. of 
 1 he' world, to those who send us their address for that purpose. 1 HE 
 OPERATIVE BUILDER may also be obtained from any newsstand m 
 thti I 'nil cd states or Canada. 
 
 Industrial Publication Company, 
 P.O. i?ox3Kr>2. 22 College Place, New York. 
 
 
Gaylamount 
 
 Pamphlet 
 
 Binder 
 
 Gaylord Bros.. Inc. 
 
 Stockton, Calif. 
 T. M. Reg. U.S. Pat. Off. 
 
 YB &794I 
 
 M433S9 
 
 THE UNIVERSITY OF CALIFORNIA LIBRARY