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Digitized by the Internet Archive 
 in 2011 with funding from 
 The Library of Congress 
 
 http://www.archive.org/details/paintershandbookOOroor 
 
ROORBACH'8 
 PRACTICAL. HAND-BOOKS.-No. 2. 
 
 THE 
 
 PAINTER'S 
 
 Hand-Book. 
 
 NEW YORK: 
 
 o. .a., roorib^ch:, 
 
 102 Nassau Street. 
 
GO OD BOO KS. 
 
 The Parlor Magician ; or, One Hundred Tricks for the Draw- 
 ing-room, containing an Extensive and Miscellaneous Collection of Con- 
 i'uring and Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, 
 iings, Fruit, Coin, Balls, Handkerchiefs, etc., all of which may be Per- 
 formed in the Parlor or Drawing-Room, without the aid of any apparatus ; 
 also embracing a choice variety of Curious Deceptions, which may be per- 
 formed with the aid of simple apparatus ; the whole illustrated and clear- 
 ly explained with 121 engravings. Paper covers, price 30 cts. 
 
 Bound in boards, with cloth back. _. 50 cts. 
 
 Book of Riddles and Five Hundred Home 
 
 Amusements, containing a Choice and Curious Collection of Riddles, 
 Charades, Enigmas, Rebuses, Anagrams, Transpositions, Conundrums, 
 Amusing Puzzles, Queer Sleights, Recreations in Arithmetic, Fireside 
 Games, and Natural Magic, embracing Entertaining Amusements in Mag- 
 netism, Chemistry, Second Sight, and Simple Recreations in Science for 
 Family and Social Pastime, illustrated with sixty engravings. Paper covers, 
 
 price 30 cts. 
 
 Bound in boards, with cloth back z- 50 cts. 
 
 The Book Of Fireside G-ameS. Containing an Explana- 
 tion of the most Entertaining Games suited to the Family Circle as a Re- 
 creation, such as Games of Action, Games which merely require attention, 
 Games which require memory, Catch Games, which have for their objects 
 Tricks or Mystification, Games in which an opportunity is afforded to 
 display Gallantry, "Wit, or some slight knowledge of certain Sciences, 
 Amusing Forfeits, Fireside Games for "Winter Evening Amusement, etc. 
 
 Paper covers, price __ 30 cts. 
 
 Bound in boards, with cloth back 50 cts. 
 
 Parlor Tricks "With Cards, containing Explanations of 
 all the Tricks and Deceptions with Playing Cards ever invented, embra- 
 cing Tricks with Cards performed by Sleight-of-hand ; by the aid of Mem- 
 ory, Mental Calculation, find Arrangement of the Cards ; by the aid of 
 Confederacy, and Tricks Performed by the aid of Prepared Cards. The 
 whole illustrated and made plain and easy, with seventy engravings. Paper 
 
 covers, price 30 cts. 
 
 Bound in boards with cloth back .- 50 cts. 
 
 Parlor Theatricals ; or, Winter Evenings' Entertainment. Con- 
 taining Acting Proverbs, Dramatic Charades, Acting Charades, or Drawing 
 Room Pantomimes, Musical Burlesques, Tableaux Vivants, &c. ; with In- 
 structions for Amateurs ; how to Construct a Stage and Curtain ; how to 
 get up Costumes and Properties, on the " Making "Up " of Characters, Ex- 
 its and Entrances ; how to arrange Tableaux, etc. Illustrated with Engra- 
 vings. Paper covers, price 30 cts. 
 
 Bound in boards, cloth back - 50 cts. 
 
 The Book of 500 Curious Puzzles. Containing a 
 
 large collection of entertaining Paradoxes, Perplexing Deception in num- 
 bers, and Amusing Tricks in Geometry. By the author of " The Sociable," 
 "The Secret Out," "The Magician's Own Book." Illustrated with a Great 
 Variety of Engravings. This book will have.a large sale. It will furnish 
 
 Fun and Amusement for a whole winter. Paper covers, price 30 cts. 
 
 Bound in boards, with cloth back 50 cts. 
 
 O. A. R00RBACH, 102 Nassau St., N. Y. 
 
THE 
 
 PAINTEK'S 
 
 HAND-BOOK. 
 
 
 / 
 
 O. J±. R, O O R, B ^ C H, 
 
 102 Nassau Street. 
 
 

 Entered according to Act of Congress, in the year 1868, by 
 
 O. A. KOOKBACH, 
 
 In the Clerk's Office of the District Court of the United States for the 
 Southern District of New York. 
 
 h '///?? 
 
THE 
 
 PAINTER'S HAND-BOOK. 
 
 Painting is, strictly speaking, a chemical process ; for 
 the painter has to select such colored substances, whether 
 from the mineral, vegetable or animal kingdom, as will unite 
 with oils and varnishes, or with glutinous substances, such 
 as size ; and which, when laid on walls, &c, will resist the 
 action of the atmosphere. To this extent painting is a 
 chemical process. Again : Painting is, in some degree, a 
 branch of the fine arts, since, being partly for ornament 
 and embellishment, an exercise of taste is called for, in the 
 choice and disposition of various colors. 
 
 In practice, however, the house-painter seldom considers 
 the chemical nature of the colors which he employs ; nor 
 do there appear to be any well understood laws, by which 
 colors are chosen with any especial reference to one ano- 
 ther. The painter is, to a considerable degree, deprived of 
 the privilege of choosing or arranging Ms colors, since 
 those by whom he is employed generally decide what shall 
 be the colors selected. Still, the painter might, by an at- 
 tention to chemistry, devise improved combinations of 
 substances, either of a brilliant or of a durable nature, in 
 the mixture of his paints ; and he might also, by a culti- 
 vation of taste, and an attention to the harmony of colors, 
 produce something which would approach to the intellect- 
 ual, even in house-painting. It is said that Italian apart- 
 ments have an exceedingly chaste and beautiful effect, from 
 the skill of the Italian painters in associating different 
 colors — the colors employed are very brilliant ; and yet a 
 gaudy effect is avoided by the judicious arrangement of 
 tints. 
 
 In a work of this kind we cannot enter very fully into 
 the nature of color. But we shall endeavor to explain 
 briefly the chemical nature of different pigments which are 
 
4 THE PAINTER'S HAND-BOOK. 
 
 used as paints ; and also to offer a few remarks on the har- 
 monizing of different colors. 
 
 The object of painting a house is two-fold : first, the 
 preservation of wood, metal, &c, by preventing air and 
 moisture from exerting injurious action thereupon; and se- 
 cond, the production of an effect agreeable to the eye. The 
 latter point is regulated wholly by the choice and distri- 
 bution of colors ; but the former depends on the nature of 
 the pigments employed. 
 
 When a color, such as will please the eye, is chosen, the 
 important question arises, how shall that color be reduced 
 to a liquid state, so as to be laid on the wall with a brush? 
 If the coloring substance be mixed up with water, the 
 probability is, that it would, when laid on the walls and 
 allowed to dry, have so little tenacity as to be easily wiped 
 off with the finger. If mixed with a glutinous substance, 
 such as glue, size, isinglass, &c, it will be proof against dry 
 rubbing, but would not bear to be wetted. If oil were 
 used, the greasy nature of the oil might prevent the paint 
 from drying for a very considerable period; if alcohol or ether 
 were employed, the rapid evaporation might deprive the 
 paint of any permanent character ; so that it becomes a 
 problem of importance to the painter, to determine what 
 is the most convenient liquid to mix with a coloring mat- 
 ter, in order to produce a paint or pigment. 
 
 This question is determined, in a great measure, by the 
 nature and situation of the place to be painted. The ceiling 
 of a room, for instance, is removed from the friction either of 
 dry or wet substances ; and a paint in which size is the liquid 
 body, if cheaper than oil paint, might be advantageously 
 employed. But for the door of a room, or any similar 
 part, the paint must have a greater degree of durability. 
 If the clothes are rubbed against it, they should not be 
 soiled by the contact ; if a wet cloth or a warm hand be 
 placed against it, the paint should not receive a permanent 
 stain ; and it should stand the wear and tear of some years. 
 Now these different necessary qualifications of a paint have 
 led to the adoption of two distinct kinds of painting — oil 
 painting, and distemper painting ; the latter of which may 
 be exemplified by what is termed the " whitewash" of a 
 ceiling. 
 
 Distemper coloring is very frequently the work of a plas- 
 terer; but a few words hereafter will enable us to give an 
 
THE PAINTER'S HAND-BOOK. 5 
 
 idea of the mode in which it is conducted. The paint 
 which the painter uses, in the majority of cases, is mixed 
 up with oil, so that the term ''paint" has become now al- 
 most exclusively applied to oil colors. 
 
 The point, then, to which these introductory details 
 bring us, is simply this : That the painter purchases cer- 
 tain colored substances, principally of mineral origin, from 
 the manufacturers ; mixes them with oils, &c, into a fluid 
 state ; and then lays the fluid paint, by means of a brush, 
 on the articles which he is employed to paint, and with 
 such a choice of colors as taste or caprice may direct. It 
 will thus be convenient to separate the information which 
 we may have to offer into six parts, according as it relates, 
 1st. To the nature of the coloring substances. 2d. The oils 
 and other fluids with which they are mixed. 3d. The 
 modes of mixing and laying on the colors. 4th. The choice 
 of colors, when more than one are employed. 5th. Re- 
 ceipts for colors. 6th. Miscellaneous. 
 
 l._ON COLORING SUBSTANCES. 
 
 These we may conveniently arrange according to their 
 colors. 
 
 White. — White is the basis of almost all the colors 
 used in House-Painting ; or rather, whatever be the finish- 
 ing color, the under-coats of paint are generally either 
 white, or contain white as one of their ingredients. The 
 choice of a material for white paint is of much importance ; 
 and it is unfortunate that, after all the trials that have 
 been made, the white which is found to be most durable 
 and to possess the most valuable properties, is a poisonous 
 substance, which has had great influence in injuring the 
 health of house-painters ; it is white lead. This substance 
 is a carbonate of lead, and is used in the arts in three dif- 
 ferent states of purity, as white lead, ceruse, and flake white. 
 The first is the one which is most largely employed by 
 painters. It is prepared by exposing strips of sheet lead 
 to the action of vinegar ; but as the painter purchases it 
 ready-made, we need not detail the process. Sometimes 
 it is adulterated with lohiting ; but this may be detected 
 by rubbing a little of it between the fingers, and throwing 
 it on a piece of kindled charcoal. If pure, the who'e of it 
 
6 THE PAINTER'S HAND-BOOK. 
 
 will turn of a yellowish hue, and shortly present the ap- 
 pearance of metallic globules ; but if any whiting has been 
 mixed with it, an earthy residue will be the result. 
 
 Bougival white, and Spanish ichite, are substances fre- 
 quently employed instead of white lead ; but they are less 
 durable. The former is a clay procured from Bougival, 
 near Marly, in France ; and the latter contains bismuth as 
 one of its ingredients. 
 
 Plaster of Paris, which is nearly the same with gyp- 
 sum, or sulphate of lime, is not mixed with oil, but with 
 water and size, and is therefore used in distemper paint- 
 ing. 
 
 Whiting is a kind of washed chalk, and is serviceable to 
 the painter as an ingredient for putty and in distemper 
 coloring ; but not in oil paint. 
 
 There are a few other whites employed by the painter ; 
 but white lead so far exceeds them all in the extent of 
 its application, that we need not extend our notice of 
 them. 
 
 Black. — The most general black in oil painting is lamp- 
 black. The soot which we obtain by holding a cold sub- 
 stance over the flame of a lamp is, in reality, lamp-black ; 
 but it is generally procured by burning resinous woods, or 
 common turpentine, or the refuse resulting from its purifi- 
 cation, or resin, and preserving the thick smoke which 
 arises. It forms a very useful paint, by subduing the 
 brightness of other colors, and is cheap, smooth, and dura- 
 ble, when employed by itself as black paint. But it is so 
 unctuous in its nature, that it would dry slowly, without 
 precautions which we shall hereafter explain. 
 
 Ivory black is obtained by burning clippings of ivory in 
 a covered crucible ; but it is too expensive to be much used 
 by the. house-painter. 
 
 A kind of charcoal, made by burning beech and vine 
 wood, and peach stones, is often used as an ingredient in 
 black paint. In Germany and France a fine charcoal is 
 procured by burning wine lees, tartar, and peach stones, 
 in large vessels, and collecting the soot. 
 
 Most black paints have a very brilliant luster, when 
 mixed up with oil, and applied to wood- work, &c. 
 
 Yellow. — Chrome yellow, which presents a very bril- 
 liant color, is a compound of chromic acid and lead. 
 Chrome was discovered about forty years ago; and as 
 
THE PAINTER'S HAND-BOOK. 7 
 
 chrome yellow was originally rather costly, its use was 
 confined to the portrait-painter. But an improved mode 
 of manufacture has brought its price within the reach of 
 the house-painter, and it is now extensively employed. It 
 possesses so much body or solidity, that it is said one 
 pound of it will go as far as four pounds of patent yellow, 
 whose use it has, to a great extent, superseded. 
 
 Turner's or patent yellow, to which we have just alluded, 
 is a muriate of lead, the muriatic acid being derived from 
 sea salt, and the lead from litharge. 
 
 Naples yellow is a pigment of a mild and beautiful color, 
 the composition of which was for a long time known only 
 to the manufacturer at Naples, but which is found to be a 
 combination of lead, antimony, alum, and some other 
 bodies. It is an extensively useful color. 
 
 King's ye'loio and orplment are sulphurets of arsenic, but 
 are so poisonous in their nature that they are not much 
 used, especially as they are not very durable.- 
 
 Massicot, and the different kinds of yelow ochre, are use- 
 ful in painting, under certain circumstances. The former 
 is an oxide of lead ; and the latter consist of clay, lime, 
 and iron. 
 
 Red. — The brilliant color, vermilion, is formed from cin- 
 nabar, or sulphuret of mercury. Cinnabar occurs as a na- 
 tive ore : but vermilion is generally prepared artificially, 
 by heating mercury and sulphur together, with certain pre- 
 cautions. This substance possesses all the properties to 
 form a good paint ; but, from its high price, it is frequent- 
 ly adulterated with red lead. If a piece be put upon a 
 red-hot iron, and the whole evaporate, the vermilion is 
 pure ; but if a residue is seen, red lead may be suspected. 
 
 Carmine is a very brilliant red, extracted from cochineal 
 by the action of an acid. The chief material (cochineal) 
 of which it is composed, is so costly that the manufacture 
 remains in but few hands, and requires much care and 
 caution. 
 
 The term lake is applied to those pigments which are 
 obtained by extracting the coloring matter from animal 
 and vegetable substances by means of an acid, or some 
 other agent. The name appears to be derived from " lac," 
 an Indian word signifying color, or coloriDg matter. The 
 carmine which we have just described is a lake ; and two 
 other red lakes are cochineal lake, and madder lake. Coch- 
 
8 THE PAINTER'S HAND-BOOK. 
 
 ineal lake is prepared from a liquor which remains after the 
 preparation of carmine, and which is heated with soda or 
 potash in a particular manner, by which a precipitate is 
 obtained. Madder lake is obtained by steeping the root of 
 a vegetable called madder in water, and subjecting it to 
 other processes. Brazil wood may also be made to produce 
 a beautiful red by similar means. Thus it appears that 
 both animal and vegetable substances yield lakes which 
 come more or less under the denomination of red. 
 
 Red lead, or minium, which is an oxide of lead, is a very 
 useful pigment to the painter, as it possesses a good body 
 and dries readily. 
 
 Spanish oroion is a cheap paint of a dull red color, and 
 is frequently used as a preparatory or priming color by 
 painters. It is a kind of earth. 
 
 Some of the ochres, and other earthy matters containing 
 iron, such as Indian red, Venetian red, &c, are used to pro- 
 duce different tints and intensities of red. 
 
 Brown is a color very frequently produced by a mix- 
 ture of red and black ; indeed there is only one substance 
 in extensive use as a simple brown color. This is umber, 
 so named from Umbria, in Italy, from whence it was first 
 obtained. Turkey umber is of a clove-brown color, and is 
 brought from Cyprus. When burnt a little, it acquires a 
 deeper tinge of brown. It consists of oxides of iron and 
 of manganese, principally. 
 
 A pure simple brown of superior color has been recom- 
 mended, which may be procured by dissolving prussiate of 
 lime and muriate of copper in water, by whicn a brown 
 prussiate of copper may be obtained. 
 
 Parkers cement, when well ground up with oil, has 
 been recommended as a useful chocolate color for rough 
 work. 
 
 Blue. — Prussian blue is a brilliant color resulting from 
 the combination of Prussic acid and iron, and is very valu- 
 able to the painter on account of the large proportion of 
 coloring matter which it contains in a given weight ; in- 
 deed it has been said that it contains, weight for weight, 
 ten times more coloring matter than any other substance. 
 Hence a smalt quantity will go a great way in forming 
 compound colors. 
 
 Indigo is derived from a plant growing in the East Indies 
 and in America, called Indigo/era. When the plant has at- 
 
THE PAINTER'S HAND-BOOK 9 
 
 tained a certain height, the leaves are cut and steeped in 
 water, where, after a time, they begin to ferment. The 
 liquor is then drawn off, and a blue sediment is deposited, 
 which, when dried, forms the indigo of commerce. Indigo 
 is so very dark a blue, that it is found necessary to add a 
 little white to it in painting. It is generally used for 
 distemper, but the best kinds are also used for oil painting. 
 
 There are several preparations of cobalt, diifering slightly 
 from one another, but all of them having a blue color, such 
 as smalt, zaffre, azure blue, enamel blue, Saxon blue, vit- 
 reous oxide of cobalt, &c. Two or three of these are dif- 
 ferent names for the same substance. These blue3 are 
 mostly used for enamel or miniature painting ; but they 
 are sometimes employed by the house-painter, in the form 
 of a dry powder ; this is sprinkled on wet paint, which 
 thus dries with a dead blue color. The principal reason 
 for this mode of using smalt seems to be, that its glassy 
 or sandy texture will not allow it to be mixed up into a 
 smooth paint with oil. 
 
 Ultramarine we need scarcely touch upon, since its enor- 
 mous price removes it out of the reach of the house-painter. 
 It is prepared from a mineral called ' lap-is lazicli, and is 
 nearly worth its weight in pure gold. 
 
 Blue verditer, which is a nitrate of copper, is a useful 
 blue for distemper coloring ; but not for oil, as the oil gives 
 it too dark a tinge. 
 
 Green. — The most common and useful green is verdigris. 
 It is an acetate of copper, and is rather bluish-green in its 
 tinge ; but the addition of a little yellow will produce an 
 excellent grass green. In the wine districts in the south 
 of France, grape-stalks and husks are placed upon plates 
 of copper, and moistened. Fermentation takes place ; the 
 acetic acid in the grapes combines with the copper ; and 
 a green rust is formed, which constitutes verdigris. In 
 grinding this substance, the painter should be careful not 
 to admit any of the dust into his mouth, as it is highly 
 poisonous. 
 
 A useful light sea-green pigment is SclieeWs green, 
 which is an arseniate of copper, and not so deleterious as 
 most pigments containing arsenic. 
 
 Italian green and Saxon green, which are species of earths, 
 Bruns-w ick green, which is a muriate, of copper, and green 
 verditer, which is a nitrate of copper, are sometimes used 
 
10 THE PAINTER'S HAND-BOOK. 
 
 in oil colors, but more frequently in distemper ; as oil 
 deepens the tint too much. 
 
 AVe might greatly extend our list of coloring substances; 
 but as those which we have enumerated comprise nearly 
 all those which are used by the house-painter, we need not 
 enter upon those whose employment is mostly limited to 
 the portrait or miniature-painter, or to glass, enamel, and 
 porcelain-stainers. 
 
 It will be obvious that there are numerous colors em- 
 ployed in house-painting, which we have not j r et enumer- 
 ated, such as salmon color, drab, lilac, &c. These are pro- 
 duced by mixture of two or more of the colors which 
 we have already mentioned. The number of tints that 
 may be thus produced is absolutely infinite; since 
 every change, whether of ingredients, or of the proportion 
 in which they are mingled, will produce a different tint 
 from those before produced. It follows, therefore, that no 
 minute direction can be given as to the combination of dif- 
 ferent colors ; for it is impossible to find distinctive namss 
 for all the varieties of tint and shade. We may, however, 
 make a few general remarks on the production of mixed 
 colors. 
 
 A strom color may be produced by chrome yellow, low- 
 ered or subdued with white ; and different proportions of 
 the same two colors will produce a lemon color; orpiment, 
 or Naples yellow, may be used instead of chrome. Chrome 
 and vermilion, or yellow ochre and red lead, will produce 
 an orange color; the former being the more brilliant, but 
 the more expensive mixture of the two. 
 
 Different gradations of buff and cream colors may be ob- 
 tained by the mixture of white lead and yellow ochre. 
 The addition of a little umber to the same ingredients 
 will give the sober hue of stone color — as also a drab. 
 
 Flesh color will result from a mixture of lake, white 
 lead, and a little vermilion. Stone ochre instead of the 
 lake will give it a fawn tint; and the white and vermilion 
 alone will yield & peach color. 
 
 PearLsmd silver gray may be obtained by mixing white 
 lead, indigo, and a small portion of black ; and a common 
 gray by white and black without the indigo. Flaxen gray 
 or sky blue will result from white lead, Prussian blue, and 
 a little lake. 
 
 By the addition of a little white to chrome and vermil 
 
THE PAINTER'S HAOTJ-BOOK. 11 
 
 ion, or to Naples yellow and realgar, an approach to a gold 
 color will be obtained. All imitation of metallic luster 
 must, however, necessarily be imperfect. 
 
 An olive color may be produced either from black, yel- 
 low, and a little blue, or from yellow, pink, lamp-black, 
 and a little verdigris. 
 
 A violet color will result from the mixture of vermilion, 
 white lead, and dark blue or black. Red lead may be sub- 
 stituted for vermilion, but with inferior effect. The 
 violet color, mixed with a rich deep red, will produce 
 purple. 
 
 Prussian blue, verdigris, raw umber, yellow ochre, and 
 yellow pink, will enable us to produce almost every ima- 
 ginable shade and tint of green, by using two or more of 
 these colors, and varying their relative proportions. 
 
 A pure, fine lead color may be obtained from indigo and 
 white. But an impure lead color for coarse work, such as 
 iron railings, &c, may be obtained by collecting the re- 
 mains of all the other colors from the paint-pots, and mix- 
 ing them together. 
 
 As a general rule it is found that those colors which re- 
 sult from the mixture of two other colors are more bril- 
 liant and rich than when three or more colors are com- 
 bined ; for this reason they are termed virgin colors. 
 
 It may likewise be considered a general effect, that black 
 increases the obscurity of all colors ; and that white height- 
 ens or enlivens them. Hence black and white, which, 
 strictly speaking, can hardly be called colors, play a very 
 important part in modifying the intensity of various col- 
 ors, such as yellows, reds, and blues. 
 
 A very economical substance has lately been introduced 
 as an ingredient in paint for coarse out-door work, such as 
 sheds, palings, &c, viz., road dust. Roads are repaired 
 with stones of a granitic, flinty or chalky nature, according 
 to the locality where they are situated ; and by the con- 
 stant traffic over them, the materials become ground down 
 into a fine powder or dust, which, when further pounded 
 or sifted, forms a durable material for paint. 
 
 The materials which we have now enumerated are pur- 
 chased from the wholesale dealers, or from the manufac- 
 turers, by the painter ; and they are, generally speaking, 
 in the form of rough powder. Formerly the painter was, 
 to a considerable extent, thrown upon his own resources. 
 
12 THE PAINTERS HAND-BOOK. 
 
 to obtain the different colored pigments ; but the exten- 
 sion and improvement in the modes of manufacture enable 
 the painter to purchase his colors cheaper than he can pre- 
 pare them himself. This must, of course, be considered a 
 benefit to ail parties in a pecuniaiy point of view ; but it 
 has this bad effect, that the painter forgets that his trade 
 is, to a certain extent, a chemical one ; and he consequently 
 loses the earnestness of observation and the inventive im- 
 pulse which always characterize those who have to make for 
 themselves the articles which they use. We would sug- 
 gest to every house-painter, that he has it in his power to 
 give a more intellectual tone to his employment, if he were 
 to study the effects which chemical action produces, both 
 on the colors of various pigments and on their power of 
 mixing with oils, varnishes, &c! If he can discover any 
 new substance, or new combination of substances, which 
 would possess either durability or beauty when employed 
 as a paint, he may feel assured that manufacturers might 
 soon be found who could supply it to him at a convenient 
 price. It is to the young apprentice that we particularly 
 address these remarks ; for the intelligent apprentice is the 
 germ of the skillful workman. 
 
 2— THE LIQUIDS WITH WHICH COLORS ARE 
 MIXED. 
 
 Oils are of mineral, animal, and vegetable origin ; but 
 the latter are those which are used in painting, and of 
 these linseed oil is the most extensively employed. 
 
 Linseed oil is obtained from the seed of linum usitatissi- 
 mum, or flax plant. It is obtained from the seeds by beat- 
 ing and pressing, aided by heat. 
 
 The kernels of different kinds of nuts, such as walnuts, 
 hazel, and beech nuts, afford a valuable kind of oil, which 
 is known as nut oil, and is obtained by beating and pressing. 
 
 Linseed and nut oils have so great a degree of fatness or 
 unctuousness, that they would, if not influenced by some 
 drying process, keep the paint in a wet state for too long a 
 time after being laid on. It is therefore necessar}^ either 
 to give the oil itself a drying quality, or to add some other 
 ingredient to the paint, with that object in view. The oil 
 has a drying quality given to it by boiling 32 parts of oil 
 
THE PAINTER'S HAND-BOOK. 13 
 
 with 12 parts of litharge or oxide of lead, and three parts of 
 sulphate of zinc, or white vitriol. After a certain amount 
 of boiling it is fit for use, under the name of toiled oil. 
 For painting floor-cloths, and for other purposes in which 
 rapid drying is required, the proportion of litharge is in- 
 creased, by which the fatness of the oil is more subdued, 
 or " killed," as it is termed. 
 
 Linseed oil is most generally employed, on account of its 
 cheapness ; but for situations which are exposed to rain or 
 sun, and are at the same time required to present a good 
 appearance, nut oil ought to be used, as it is found to resist 
 the action of the weather more perfectly. 
 
 Oil of spike, oil of lavender, and oil of poppies, are seldom 
 employed by the house-painter, chiefly on account of their 
 expense. Oil of poppies, however, possesses the important 
 quality of being colorless, and is therefore sometimes used 
 in delicate work, in which it is desired that the oil should 
 not affect the color of the paint. 
 
 A very valuable oil employed by the painter is oil of tur- 
 pentine, usually known as turps. It is obtained by distil- 
 ling crude turpentine ; it is a volatile essential oil, and is 
 useful to the house-painter in three ways : — 1st : when 
 mixed with prepared paints, it makes them work more 
 smoothly and freely in the brush ; 2d : it enables the paint 
 to dry in a much shorter time ; and, 3d : it deadens the 
 gloss which oil imparts to paint, thereby producing the 
 dead flatting which is often desired in house-painting. It 
 is mixed either with or without oil, according to the effect 
 intended to be produced. 
 
 We may here mention that crude turpentine is obtained 
 from different species of the pine tree. The process by 
 which oil of turpentine is obtained from common or crude 
 turpentine also yields the yellow resin of the shops, as a 
 residual matter. 
 
 Boiled oil is often made still more drying in its quality, 
 by dissolving resin in it, and adding a little turpentine. 
 In this form it may be used as a varnish for coarse work, 
 after the latter has been painted. 
 
 It has been found that when a solution of yellow soap is 
 added to paint mixed in the usual manner, it acquires a 
 very drying quality, even if tho oil be fat. 
 
 The only animal oil which appears to have been used to 
 much extent in painting, is pilchard oil. This is some- 
 
14 THE PAINTER'S HAND-BOOK. 
 
 times used for coarse painting. But, in general, animal 
 oils are found to be too fat for paint, and are therefore used 
 only for illumination. 
 
 Common tar, coal tar, and oil of tar, the first of which 
 is of vegetable and the second of mineral origin, are useful 
 for rough out-door work, such as gates, posts, &c. They 
 may be used warm, without the addition of any coloring- 
 matter; or they may be altered in color by other sub- 
 stances. The common tar, which is obtained from the 
 pine, is rather expensive ; but coal tar, evolved in the pro- 
 cess of making gas, is sold at a low price. Its offensive 
 smell goes off in a few days after it is used. 
 
 Besides the processes by which oils have a drying quality 
 imparted to them, the painter has at hand substances 
 which, under the common name of dryers, enable him to 
 make his paint dry more quickly than without their use. 
 These arc principally litharge, acetate of lead, commonly 
 called sugar of lead, and white vitriol. 
 
 In some cases the pigment employed is mixed with var- 
 nish instead of oil, in order that the paint may have a high 
 gloss when dry. We shall have occasion to speak of dif- 
 ferent sorts of varnish hereafter. 
 
 Some pigments are neither mixed with oil, nor turpen- 
 tine, nor varnish. Cheapness or taste may require that a 
 more economical kind of painting should be used ; such as 
 is called distemper. In such cases it becomes of import- 
 ance to use some cheap liquid which should cause the 
 paint to adhere to the wall, since water would not suffice 
 for that purpose. Now such a liquid may be obtained by 
 boiling parchment, leather, parings of hoofs, or some simi- 
 lar animal substance in water, by which an adhesive glue 
 or size is obtained. "When walls are painted in distemper, 
 the dry colors are almost invariably mixed with warm 
 melted size. For some delicate purposes, milk, and for 
 others ale or beer, forms the liquid with which the colors 
 are mixed ; as they all have, to a certain degree, a glutin- 
 ous or adhesive quality. 
 
 It therefore appears that oils of various kinds, turpen- 
 tine, varnishes, size, milk, and malt liquor, are the liquids 
 with which the painter, under different circumstances. 
 mixes his dry colors. He would find it to his advantage 
 to investigate and discover the reasons why one liquid is 
 better than another, in certain cases. He should not be 
 
THE PAINTER'S HAND-BOOK. If 
 
 satisfied with using a certain oil or varnish merely because 
 others do so ; for he should endeavor, as much as possible, 
 to be able to give reasons for the various processes which 
 he performs. It is this which distinguishes the intelligent 
 workman from others. 
 
 MIXING AND LAYING-ON COLORS. 
 
 The colors which we have mentioned are mostly pur- ! 
 chased by the painter in the state of a powder, or small 
 dry lumps. It therefore becomes necessary to reduce them 
 to a very fine and smooth state before they are fit to be 
 mixed with the oils, &c. This is an important part of the 
 painter's busiuess, and one in which an apprentice would 
 be much engaged. 
 
 Sometimes the dry colors are gritty, or contain small 
 particles of dirt or sand, which would prevent them from 
 being ground up to smooth powder. In this case they are 
 washed. The color is put into a tub, and water thrown 
 upon it; by which the color becomes mechanically mixed 
 with the water, while the gritty particles fall to the bot- 
 tom. When these latter have settled, the colored liquid 
 is poured off; the colored substance is allowed to settle at 
 the bottom ; the clear water is thrown away, and the color 
 is allowed to get dry. This process can only be employed 
 with a substance that will not permanently unite with the 
 water which is thrown upon it. When the washed color 
 is perfectly dried, it is fit for grinding. 
 
 This process is performed on a grindstone, by the aid of 
 a mutter. The grindstone, or stone, is generally a slab of 
 white or black marble or porphyry, with a perfectly 
 smooth surface ; and the muller is a large egg-shaped peb- 
 ble with one end broken off, and a smooth flat surface 
 produced. A small quantity of the dry color (which must 
 be pounded and sifted, and washed if necessary) is placed 
 on the stone and moistened with a little oil, and the mul- 
 ler worked over it in a circular direction. The materials 
 are gradually worked out towards the edge of the stone ; 
 from whence they must be removed, and also from the 
 sides of the muller, with a spatula or palette knife, which 
 is a broad, thin, flexible knife. If the quantity ground at 
 one time be small, the grinding is more completely per- 
 
16 THE PAINTER'S HAND-BOOK. 
 
 formed, and with no greater expenditure of time, than 
 when a larger quantity is ground at once. 
 
 As the small portions are ground, they are taken up on 
 the palette knife, and placed in a paint-pot. "When the 
 colors are ground up with oil of turpentine, it would be 
 well if a current of air could carry off the vapor of the tur- 
 pentine, as it is very injurious. Indeed the whole process 
 of grinding colors is detrimental to the health, on account 
 of small particles of poisonous matter getting into the 
 mouth, eyes, and nostrils ; and it were to be wished that 
 machinery were more frequently employed for this pur- 
 pose. Mr. Ta}^lor and Mr. Eawlinson have invented ma- 
 chines — the one for the purpose of grinding colors in a dry 
 state, and the other for performing the same process with 
 oil. It seems, however, as if habits and prejudices would 
 long prevent these contrivances from coming into general 
 use. 
 
 All colors containing arsenic are injured by contact with 
 steel ; so that the painter should have an ivory or a horn 
 palette knife, called a voider, to remove the ground paint 
 from the stone. The paint, before it is removed, should 
 be perfectly smooth and free from grit ; and if the color be 
 one in frequent demand, many painters keep it ready 
 ground, and preserved in ox or sheep bladders. 
 
 When the ground color, as thus prepared, is placed in 
 the paint-pot, it is too thick for use, and must be thinned 
 with the oil which it is proposed to use. The proper de- 
 gree of fluidity can only be learned by experience. If too 
 thin, it will run into drops when applied to the work, and 
 the under surface will show through it. If too thick, it 
 works with difficulty, and has a rough appearance. 
 
 The paint being now ready for use, we must speak of 
 the brushes employed to lay it on. 
 
 Brushes are, in shape, either round or flat. The latter 
 are used principally in varnishing and in graining ; but in 
 common painting, round brushes are generally used ; though 
 it has been doubted whether flat brushes would not be 
 preferable, since the painter generally works his brushes 
 so as to impart to them two flattish surfaces. 
 
 The round brushes are from a quarter of an inch to three 
 inches in diameter, according to the purpose to which they 
 are to be applied. In general they are made of hog's 
 bristles. The largest are frequently used first as dusters, 
 by which they are softened, and better prepared for paint- 
 
THE PAINTER'S HAND-BOOK. 17 
 
 ing-brushes, in which state they are used for painting large 
 surfaces. Smaller surfaces, such as mouldings, are painted 
 with sash-tools, which are an intermediate size between 
 the large brushes and fitches ; the latter are very small 
 brushes bound with tinned-iron* instead of string. Camel 
 and sable-hair pencils are sometimes, but not frequently, 
 employed by the house-painter. 
 
 Suppose now that new wood-work is to be painted. The 
 first process is that of knotting. As the knots in a piece 
 of wood generally present the ends instead of the side of 
 the grain to the eye, it is necessary to give the knots an 
 additional coat of paint 5 which, by filling up the pores, 
 shall leave the surface fit to present a solid and uniform 
 appearance when painted. The knotting is made of red 
 lead, litharge, and boiled oil, or spirits of turpentine. For 
 interior work, red lead ar 
 out any other substance. 
 
 When the knotting is dry, the first coat of paint, called 
 priming, is applied. This is, in almost all cases, white lead. 
 It is not often that the painter grinds his own white lead, 
 since it is found cheaper in the end to purchase it ready 
 ground, and packed in a cask. The painter also gets rid 
 of a very unwholesome part of his business by that means. 
 
 The priming is made thinner than any of the subsequent 
 coats, the liquid being oil and turpentine mixed, the for- 
 mer predominating. When the priming is dry, the nail 
 holes and other depressions are filled with putty, and the 
 whole is well dusted. After which the second color is 
 given^ which has the usual consistence of oil paint. A 
 general mode of hastening the drying is to add half an 
 ounce of dryers, either sugar of lead or litharge (the former 
 being the best), to a pound of paint. Where the color is 
 intended to be white, it is useful to give a blue tinge to 
 the white by a little Prussian blue, as a smoky atmo- 
 sphere soon turns a pure white to a dingy yellow. As a 
 general rule, the preparatory coats of paint are white, 
 whatever the finishing color is to be. But when the lat- 
 ter is dark, a cheap red color is frequently used for the 
 second and third coats. 
 
 * That which is, in common parlance, called tin, is, in almost every 
 case, iron-plate covered with a very thin layer ; of tin to preserve it from 
 rusting. It then acquires the name 6f tin-plate. '; ^ 
 
18 THE PAINTER'S HAND-BOOK. 
 
 The manner of using the brush is an art which practice 
 alone will give. Sometimes long strokes of the brush are 
 desirable ; at others shorter strokes, or a kind of dabbing, 
 are necessary, especially in ornamental work. The brash 
 is moved in cross directions, in order that every part may 
 be equally covered, and the final stroke, called the '' lay- 
 ing-off," is generally done in the direction of the grain. In 
 painting paneled doors, attention must be paid to the 
 grain of the wood, since the direction of the grain in the 
 cross stiles is at right angles to that in the panels ; and 
 every endeavor must be made to obliterate the marks of 
 the brush. In painting the mouldings round the panels, 
 a small brush or fitch is employed. It is convenient to 
 have a little of the paint on a palette, in which the fitch 
 can be dipped ; the fitch, when brought to a point, is more 
 calculated to work neatly; and this can be better effected 
 by the use of a palette than by dipping the fitch in the 
 pot of paint. 
 
 As a general rule, it may be stated, that when a glossy sur- 
 face is to be produced, the color is thinned with oil instead of 
 turpentine ; but when a flat or dead surface is wanted, 
 turpentine is emplo} r ed in preference. The last coat, when 
 a perfectly dead or dull surface is required, is called fiat- 
 tmg, and is done with paint mixed wholly with turpentine, 
 no linseed oil being employed. This is a very unwhole- 
 some part of the painter's business, since the turpentine 
 evaporates rapidly, and is inhaled with the air. It is this 
 rapid evaporation which removes all the gloss ; for if oil be 
 employed, a gummy resin remains behind, when the paint 
 has dried, which yields the glossy surface. A bastard fiat 
 contains a little oil mixed with the turpentine, and is more 
 durable than when turpentine alone is employed. 
 
 The number of coats of paint which work requires, de- 
 pends partly on whether it has been painted before. New 
 work should have four or five coats; but two or three will 
 suffice for wood-work which has been previously painted. 
 Sometimes, instead of the oil priming, painters use clear- 
 cole, made of size. But this is a bad practice, since the 
 size is apt to peel off, and of course to bring off with it all 
 the paint which may be laid on it. 
 
 The number of coats of paint which a job is to receive 
 is expressed technically thus : Clearcole and finish ; two 
 coats in oil ; two coats in oil, and flat ; three coats in oil 
 
THE PAINTER'S HAND-BOOK. 19 
 
 three coats in oil, and flat, according to the number of 
 coats, and whether the last coat is or is not to be flatted. 
 The second color is generally white, the same as the prim- 
 ing ; but the ground color, or that which precedes the fin- 
 ishing coat, is the same color as the latter, but a little 
 darker in shade. 
 
 When old work, or that which has been previously 
 painted, is to be repainted, care must be taken that all 
 grease and dirt are removed from the old paint before the 
 new is applied. For this purpose it should be washed, if 
 necessary, with water containing soda or pearl-ash ; or the 
 greasy parts should be well washed with turpentine. The 
 paint which is afterwards laid on is distinguished from 
 that necessary for new work in these particulars — that a 
 smaller number of coats will suffice ; and that a larger 
 proportion of turpentine must be employed ; in other re- - 
 spects the modes of mixing and using are much the same 
 for new and for old work. If a roughness exist on the sur- 
 face of the old paint it is necessary to rub it down with 
 pumice stone, or even to burn off the paint. 
 
 We may here make a few remarks respecting the treat- 
 ment of the brushes used by the painter. A brush should 
 never be allowed to get dry while any paint is in it, for it 
 can never afterwards be thoroughly cleaned. If it be 
 necessary to use a brush with two diiferent colored paints, 
 it must be washed before being transferred from one color 
 to another. This may be done either in oil or in turpen- 
 tine, and afterwards in hot soap-suds. But it is always 
 better to devote a brush or set of brushes to each color. 
 In this case, it is necessary that a brush, when not in use, 
 should be kept in water, to prevent the hairs from drying 
 and hardening together. The water, however, has a tenden- 
 cy to rot the string with which the hairs are bound round. 
 It is therefore desirable that, instead of the coating of glue 
 which is laid on the string, and which is soon softened by 
 the water, a coating of resin should be laid on, which will 
 effectually preserve the string from the action of the 
 water. When the hairs of a brush are getting loose, they 
 may often be kept in their places by driving a wedge in 
 between the handle and the hairs. 
 
 We must now speak of a very pleasing part of the 
 painter's business, viz., graining and marbling; that is, 
 such a disposition of colors as will imitate the grain, knots, 
 
20 THE PAINTER'S HAND-BOOK. 
 
 &q,, of different kinds of wood, and the veins and spots of 
 different kinds of marble. As the skill to effect these 
 imitations rests solely on an attentive survey of the objects 
 to be imitated, there seems no good reason why an intelli- 
 gent painter should not acquire the necessary talent ; and 
 yet those who are engaged in this kind of painting are 
 distinct from the common house-painter, and receive higher 
 wages. In many cases, however, both branches are per- 
 formed by the same individual ; and we shall, therefore, 
 treat briefly of the processes. It ought to be well under- 
 stood, before an apprentice is placed to a plumber, painter, 
 and glazier, whether he will learn graining, as well as the 
 other departments of painting ; as the amount of the pre- 
 mium paid ought to be influenced by this circumstance. 
 
 As a general rule, graining is performed in distemper 
 color, and afterwards varnished ; as the stiffness of oil 
 color is found to be an obstacle to the effectual imitation 
 of the grain of wood. Oak, however, which is frequently 
 used for exterior work, such as street doors, &c, is fre- 
 quently done in oil, as follows : 
 
 The ground, or the last coat of paint previous to the 
 graining color, is rotten stone and white lead, mixed with 
 oil to a tint similar to the lightest parts of common oak. 
 On this is laid a thin coating of the megilp, or graining 
 color, which is a mixture of rotten stone, sugar of lead and 
 white wax. In a few minutes the graining comb is applied, 
 which is a comb with short, straight, thick teeth. This is 
 drawn along the wet surface in a waving line, by which an 
 effect is produced similar to the grain of the wood. A 
 piece of leather is now wrapped round the end of the fin- 
 ger or of a stick, and with it the paint is wiped off in little 
 patches, spots, or lines, in imitation of the light spots ob- 
 served in oak. In this state the grain has an appearance 
 of hardness, which has an unpleasing effect ; to remove 
 this, a dry brush is dabbed over it, by which a softening 
 effect is produced. When the graining color is dry, the 
 dark veins are imitated by putting on a little Vandyke 
 brown, ground in ale. 
 
 To imitate oak in distemper, the same ground may be 
 used as for oil ; but the graining color is burnt and raw 
 umber, and Vandyke brown, which are ground in beer 
 and applied with a brush. The graining is now effected, 
 not with combs, as in the last case, but with tools madt 
 
THE PAINTER'S HAND-BOOK. 21 
 
 on purpose, called mining brushes. The light and dark 
 patches, veins, &c, are produced much in the same way as 
 in the former instance. When the whole is dry it is var- 
 nished, both for the sake of producing a gloss, and for du- 
 rability ; since the graining color, being mixed with beer, 
 is not of a permanent nature, and requires varnish to pre- 
 serve it. 
 
 Mahogany is generally imitated in distemper. The 
 ground is a mixture of Venetian red with white lead, and 
 a little crimson lake, if the mahogany to be imitated is 
 Spanish. The graining color, which consists of Vandyke 
 brown, or sienna, ground in beer, is then laid on in a thin 
 coat. This, by being dabbed with a sponge, will give the 
 light parts. A badger-hair brush, called a softener, is then 
 drawn lightly across the light and dark parts, by which 
 the edges of division between them are softened. When 
 this is dry the deeper tints of the veins, knots, &c, are 
 put in with a darker shade of Vandyke brown. " The soft- 
 ener is then again used to mellow the whole. 
 
 Rosewood requires a brilliant ground. A mixture of 
 vermilion, lake, and flake white, is useful for this purpose. 
 The graining material is of Vandyke brown, as in the case 
 of mahogany, but more opaque and solid. This must be 
 laid on in a peculiar way, so as to imitate the remarkable 
 contortions of grain so frequently observed in rosewood. 
 The light and dark patches, veins, knots, &c, are pro- 
 duced much in the same manner as in the case of mahoga- 
 ny, but with a careful attention to the distinctive charac- 
 ter of the two kinds of wood. 
 
 The ground for satin-wood is the same as for light oak. 
 The graining color is Oxford ochre, ground in ale, and is 
 laid on in a thin coat. This is then dappled by letting a 
 sponge fall on various parts of it, by which portions of the 
 color are taken off. The edges of these dappled patches are 
 then softened with the badger softener, as in other cases. 
 When this is dry, a flat graining-brush is dipped in umber 
 and terra sienna, ground in ale, and is passed along the 
 work in a waving direction, by which a kind of grain is 
 produced, which is softened in the same way as before. 
 
 Maple requires the same ground, and nearly the same 
 graining colors, as satin-wood; the principal point of 
 difference being in the course and nature of the grain, 
 veins, &c. 
 
22 THE PAINTER'S HAND-BOOK. 
 
 The ground for walnut wood is yellow ochre, umber and 
 white ; and the graining color, for dark veins, &c, is raw 
 umber. 
 
 It is not necessary for us to proceed with further details 
 on this subject, as it is quite impossible to give, in writing, 
 that information which can only be rightly understood by 
 personal practice. We may make the following general 
 remarks on the subject : Almost all woods whose grain is 
 of a fanciful or elegant form, such as oak, both light and 
 dark, pollard oak, Honduras and Spanish mahogany, rose- 
 wood, Russian and bird's-eye maple, satin-wood, coral 
 wood, zebra wood, elm, black walnut, &c, may be imi- 
 tated. The principle of imitation is, that a groundwork 
 shall be laid on, nearly the same tint as the lightest parts 
 of the wood to be imitated, and which color is ground in 
 oil. On this, when dry, is laid a thin coating of a trans- 
 parent color, which is mixed, not with oil, but with beer; 
 and which is so treated with a comb, a softener, a leather, 
 &c, as to yield a resemblance to the grain of the wood 
 which is to be imitated. After this is dry, the darker 
 parts are put in with a small brush or pencil, in such places 
 and in such quantity as may be deemed desirable. The 
 whole, when dry, is then varnished once or twice. 
 
 The imitation of marbles is very similar to that of 
 woods ; since a study of the natural appearance of marbles 
 is the only way to acquire a knowledge of the best modes 
 of producing imitations of them. A few brief remarks on 
 this subject will be sufficient. 
 
 Marbles, if intended to be exposed to the weather, 
 should be done in oil ; otherwise distemper may suffice. 
 For the Cipolin, or white-grained marble, the ground is 
 white, and the dark veins are of white, black, and Indian 
 red, mixed together. If the marbling is done in distem- 
 per, the walls should be first whitewashed, and should then 
 have a coating of whiting and milk. Lamp-black, damp 
 blue, and Indian red, are then prepared in milk, and laid 
 on with small brushes, according to the directions of the 
 veins. A softness in the appearance of the veins is indis- 
 pensable to the beauty of the marble imitation, and is pro- 
 duced by a peculiar mode of handling the brush, called by 
 the painters scumbling. 
 
 Dove-colored marble has a ground of a light lead color ; 
 Florentine marble has a ground of white, Indian red, and 
 
THE PAINTERS HAND-BOOK. 23 
 
 black, mixed together ; sienna marble, a ground of yellow 
 ochre ; and green marbles, such as verde antique, Egyptian 
 marble, and serpentine, have a black ground. In all these 
 cases the veins must be put in with such colors as will 
 most successfully imitate the pattern of the original mar- 
 bles. Sometimes it is necessary to lay on two or three 
 very thin coats of the veining color, or two coats at one 
 place and only one at another. Sometimes large patches 
 are dabbed on with a brush, and partially wiped off again, 
 and the edges softened down. The spotted appearance of 
 porphyry is produced in a remarkable manner. After the 
 ground is prepared, a large brush is dipped in vermilion 
 and white, and suffered to drain tolerably dry. The han- 
 dle of the brush is then struck against a piece of wood, or 
 the back of a knife, so that a sprinkling of drops falls on 
 the work. When this is dry, another sprinkling of a 
 darker color is prepared, and then another of white paint ; 
 by which time the original ground is nearly covered with 
 three series of spots. Spotted marble of different kinds, 
 and granite, may be imitated by similar means. 
 
 It will be sufficient to remark, in concluding these de- 
 tails, that by such means as we have described, marbles of 
 all the different kinds may be imitated, such as Schiola, 
 Valentia, Lumachelli, Bardiglio, Dolomite, Arragon, black 
 and gold marble, &c. 
 
 Another branch of business, which is sometimes exer- 
 cised by itself, sometimes conjointly with graining, and at 
 other times by the common painter, is inscription writing; 
 that is, writing inscriptions over shop windows, &c. The 
 principal difficulty in this art is to be able to impart a bold, 
 free, and correct shape to letters, whether of the Roman, 
 Italic, or Egyptian character, and whether they be as 
 small as one inch, or as large as three or four feet, in di- 
 ameter. Considerable practice is indispensably necessary 
 to the acquisition of skill in this department, and written 
 instructions are worth but little. As a general rule, we 
 may observe that in all the Roman capitals except I, J, M, 
 and W, the extreme breadth equals the height ; the 
 breadth of I and J is equal to half the height ; and that of 
 M and W is equal to one and a half times the height. 
 These are, we believe, the type-founders' rules for Roman 
 capitals of a medium character between the grotesque ex- 
 tremes so often observed. 
 
24 THE PAINTER'S HAND-BOOK. 
 
 Sometimes letters are merely painted of a black, white, 
 yellow, or some other color. But at other times they are 
 gilt ; in which case the form of the letter is written with 
 Japan gold-size, a substance which soon acquires such a 
 state between wetness and dryness, that leaf-gold, when 
 laid on it, adheres perfectly and strongly. The gold is 
 laid on from the books in which it is purchased from the 
 gold beater. This is a process in which much gold, is 
 wasted, as the sheets in which it is purchased are square. 
 Raised wooden letters have now, to a great extent, super- 
 seded those of which we have been speaking. 
 
 The process of varnishing, in which the painter is 
 sometimes engaged, is not so different from that of paint- 
 ing as to require a very long notice. A few remarks will 
 suffice. 
 
 Varnishes are compounds of gummy or resinous sub- 
 stances with fluids in which they will melt easily, and 
 which will soon evaporate when laid on in a thin stratum, 
 leaving the resinous body as a glossy film. 
 
 The resinous bodies employed are distinguished among 
 themselves into hard and soft ; the hard being those which 
 will dry quickly when used in the form of varnish, and 
 the soft those which will not crack when hardened, 
 which hard resins are apt to do. It is therefore usual to 
 employ two or more kinds of resins or gums, in order to 
 combine the qualities of both hard and soft. The hard 
 resins usually emplo} 7 ed in varnishes, are such as copal, 
 amber, inastich, sandarach, lac, &c; and the soft, such as 
 Canada balsam, elemi, capivi, turpentine, &c. The 
 liquids in which these are melted, are generally spirits of 
 wine , essential oil of turpentine, and strong white drying 
 oil. 
 
 The different varnishes which may be made are almost 
 innumerable, since every substance which will leave a gloss 
 on the surface of work, is, in effect, a varnish. It is there- 
 fore no part of our present object to detail the modes of 
 manufacturing varnish, especially as the painter buys them 
 ready-made. 
 
 Varnishes prepared with spirits of wine are used chiefly 
 for articles of furniture and internal decoration ; but not 
 for any object requiring exposure to the weather. Mas- 
 tich varnish is used principally for pictures. The most 
 useful varnishes for the house-painter are copal, linseed 
 
THE PAINTER'S HAND-BOOK. 25 
 
 oil, and turpentine varnishes. In some cases, such as 
 in graining and marbling, varnish is applied after the 
 painting is finished, for the double purpose of fixing 
 and preserving the paint, and producing a gloss. In 
 other cases, where a fine gloss is required to oil paint, 
 either a coat of varnish is given when the paint is dry, or 
 a little varnish is mixed with the oil in making up the 
 paint. In some rare instances, varnish is mixed with dis- 
 temper color. 
 
 The brushes used in varnishing are generally flat, so 
 as to enable the workman to lay a smooth, even surface 
 of varnish on the work. Varnishes are usually kept in 
 wide-mouthed bottles ; from which they are poured into 
 tin varnish pans, which are sold by the color-man, and 
 which have a false bottom above the real bottom, the in- 
 terval between the two being filled with sand. When 
 the pan is held over the fire for a short time the sand be- 
 comes heated, by which the varnish above it is kept from 
 being chilled. 
 
 The varnish which has been applied to a painted surface 
 is sometimes polished, by rubbing it with a close coil of 
 list or cloth, dipped in prepared Tripoli powder, or putty 
 powder, or in one of the various polishes which have been 
 prepared for that purpose. French polishing is generally 
 applied to the bare surface of wood; such as mahogany, 
 rosewood, &c, without the intervention of any kind of 
 paint ; and is usually performed by a class of persons dis- 
 tinct from house-painters. 
 
 Painting in distemper is a process which we need not 
 dwell upon. The colors employed are generally some of 
 those we have mentioned, and a few others which cannot 
 be made up into oil paints ; and the medium in which 
 they are used is size, which the painter or plasterer pur- 
 chases ready for use, and which only requires melting. 
 The surface to be painted must be perfectly free from 
 grease ; and a coating of warm size is put on previously to 
 the color. The color is made much thinner, or more liquid, 
 than oil paint. 
 
 A species of distemper painting in which milk is em- 
 ployed, is sometimes adopted, to obviate the unwholesome 
 smell resulting from new oil paint. Skimmed milk, slaked 
 lime, poppy oil, and Spanish white, are mixed in certain 
 
26 THE PAINTER'S HAND-BOOK. 
 
 proportions, and laid on as distemper, which may be 
 colored if desired. It is doubtful, however, whether this 
 possesses the durability of oil paint. 
 
 The painter has scope for displaying much taste, in 
 what is called ornamental painting ; that is, ornamenting 
 the walls of rooms with representations of flowers, 
 wreaths, mouldings, &c. The patterns for this purpose 
 may be the result of his own invention, or they may be 
 taken from the patterns of the paper-hangers, or the}' may 
 be borrowed from published books containing scroll orna- 
 ments, &c. 
 
 A knowledge of the effects of light and shade is 
 indispensable in this kind of painting ; and the employ- 
 ment is so far an exercise of taste, that the workman who 
 succeeds at it may rank himself above the common house - 
 painter. 
 
 If the painter have a tolerable skill in drawing, an orna- 
 ment may be sketched on the wall with a pencil, according 
 to his taste ; but if not, he procures the requisite pattern 
 >n a piece of paper, and pricks the outline and principal 
 parts full of holes. He then places the paper against the 
 wall, and dabs it with a small bag containing charcoal pow- 
 der. The powder goes through the holes, and leaves on 
 the wall marks sufficiently distinct to guide the painter in 
 tracing the figure. 
 
 Sometimes the wall is so painted as to resemble panel- 
 ing. In this case it is often necessary to draw a long, 
 straight, narrow line — a process which demands a steady 
 hand to guide the pencil of paint along the edge of a ruler 
 or lath. 
 
 Clouding a ceiling, or painting a ceiling to imitate 
 clouds, is another part of ornamental painting, in which 
 success greatly depends upon a watchful observation of sky 
 ,nd clouds, as they are presented to us by nature. The 
 ornamental painter is, in fact, an artist, and, like an artist, 
 he should draw his patterns from the pure models which 
 natural objects afford. We need scarcely, therefore, impress 
 upon any one who is about to enter upon this branch of 
 business, the importance of acquiring a knowledge of 
 drawing ; as that knowledge will be the most important 
 instrument in his subsequent progress. 
 
THE PAINTER'S HAND-BOOK. 27 
 
 CHOICE AND DISTRIBUTION OF COLORS. 
 
 If a person were to play three different notes on a 
 piano-forte, or if three persons were to play different 
 notes on three instruments, the effect would be pleasing 
 or unpleasing to an auditor, according to the relation 
 between the notes produced. If the notes had those rela- 
 tions to one another which musicians call a third and a fifth, 
 the effect would be agreeable ; but if the intervals were 
 either a little greater or a little less, the effect would be 
 disagreeable. 
 
 Now similar effects are produced on the eye by the har- 
 mony and discord of colors. We cannot tell why the ear 
 requires a certain relation to exist between the musical 
 sounds that are uttered ; nor can we tell why the eye re- 
 cogniezs a similar relation in colors; but so it is. If 
 gaudy blue, green, red, and yellow, be used on the walls 
 of an apartment, without order or system, the effect upon 
 the eye is not so pleasing as when the colors, even if less 
 brilliant, are disposed in certain relations to one another. 
 The way in which a harmony of colors is to be considered 
 is this : 
 
 If we view a strong red light for a few seconds, and then 
 direct our eyes to a sheet of white paper or other white 
 object, a vivid green will present itself, of the same size 
 and shape as the original object. Or if we place a red ob- 
 ject on a white ground, and view it steadily for a few sec- 
 onds, a green ring will soon surround the red object. If 
 the object be blue, the secondary color will be orange ; if 
 purple or violet, it will be yellow; and so on of other 
 colors. 
 
 Now this secondary color, which is sometimes called the 
 accidental and also the complementary color, is that in 
 which the eye seems to feel relief after having gazed for 
 some time on the original color. Many theories have been 
 formed for the explanation of the production of these sec- 
 ondary colors, but none of them are conclusive or satis- 
 factory. 
 
 It is found that any color appears brighter and richer 
 after the eye has rested for some seconds on the comple- 
 mentary color, than without such aid. Hence it has been 
 proposed so to arrange the colors of an apartment, that the 
 eye should be relieved from any particular color by its 
 
28 THE PAINTER'S HAND-BOOK. 
 
 complementary color. As the transition from one to the 
 other would, however, be too abrupt, it is necessary to 
 have an intermediate tint, which shall break the descent 
 from one color to its complementary color. This tint, 
 which has been called the harmonizing tint, may be the 
 one next lower in brilliancy to the original color ; thus, 
 red to orange, orange to yellow, &c. 
 
 It may frequently happen that the decided change of 
 color here implied may not be convenient, on account of 
 the disposition of doors, windows, &c, to an apartment. 
 In such a case it is better to adopt a neutral tint, than 
 to employ any violent and staring colors. Where circum- 
 stances, however, allow the painter scope for employing a 
 contrasting color and also a harmonizing color, to the pre- 
 vailing color of the apartment, the following table, which 
 has been prepared by a practical writer, may be useful : 
 
 Principal Harmonizing Contrasting 
 
 color. color. color. 
 
 White Light yellow Black. 
 
 Yellow Orange Deep purple. 
 
 Orange Bed Intense blue. 
 
 Scarlet Crimson Intense green. 
 
 Crimson Violet Yellowish green. 
 
 Blue Indigo Orange. 
 
 Green Yellow Intense red. 
 
 Purple Crimson Yellow. 
 
 Black Gray White. 
 
 The colors are of course indefinite, since the number of 
 shades and tints of color is incalculable ; but the table will 
 give a general idea of what is meant by contrasting and 
 harmonizing colors, the former being what we have termed 
 the complementary colors. 
 
 This attention to the harmony of colors should be paid 
 not only to the paint on the walls, but also to the color of 
 the furniture in the room. If the principles which regu- 
 late color were fully acted on, the prevailing color of a car- 
 pet and of the damask chairs, and sofas, &c, ought to reg- 
 ulate the color of the paint on the wall and doors of a 
 room. The position of a room with respect to the light 
 which enters the windows, is also worthy of notice, since a 
 northern aspect gives what is called a cold tone to the col- 
 ors of a room, while a southern aspect gives a warm tone. 
 
 We can do no more than indicate the propriety of a 
 painter attending to those subjects ; any further details 
 would exceed our limits. If cleanliness alone were the ob- 
 
THE PAINTEB'S HAND-BOOK. 29 
 
 ject held in view in painting a house, it would be matter 
 of small import what colors were employed ; but when an 
 effect pleasing to the eye is desired, it is important to ana- 
 lyze the nature of the pleasure which colors impart to us 
 through the medium of the eye. Now, although house- 
 painters have certain ill-defined rules on the subject of the 
 choice of colors agreeable to the eye, yet no attempt, as 
 far as we are aware, has been made to apply to house- 
 painting the results of scientific inquiry on the nature of 
 color, until late years. Painters not only recognize the pro- 
 priety of combining colors according to certain effects pro- 
 duced by them on the eye, but give what may be termed a 
 mental tone to house-painting by drawing distinctions be- 
 tween the colors of apartments according to the purposes to 
 which the apartments are devoted — such as a subdued tone 
 of color for a library ; fanciful and airy tones for a draw- 
 ing-room, &c. Mr. Hay illustrates his remarks on the in- 
 fluence of colors on the eye by referring to the great mas- 
 ters in historical painting — shows that they appreciated 
 the harmony of colors by the arrangement of the tints in 
 their pictures, and justly observes that there is no reason 
 why the walls of our apartments should not also exhibit 
 such a distribution of colors as experiment has shown to 
 be agreeable and harmonious to the eye. 
 
 The reader will, by this time, have had opportunities for 
 perceiving that there is something of chemistry and some- 
 thing of taste concerned in the avocation of the painter ; 
 and that there is in this, as in almost all trades, evidence 
 that the intelligent apprentice or journeyman who takes 
 the trouble to think for himself, will soon attain a supe- 
 rior position to him who receives rules and dogmas from 
 others, without inquiring how and why they are applica- 
 ble in some cases and not in others. 
 
 The various processes which we have enumerated as 
 forming parts of the employment of the painter, are, of 
 course, not all equally easy, and an apprentice would 
 therefore be first employed at those which require least 
 experience. There are many things to do before the 
 painting-brush is employed. The colors, as we have ob- 
 served, are purchased, generally speaking, in the form of 
 dry powders or grains, and must be well ground before 
 they can be mixed up with oil. This frequently devolves 
 upon an apprentice, as considerable time is consr~ a A in 
 
30 THE PAINTER'S HAND-BOOK. 
 
 the process. It would be a great improvement if machin- 
 ery were employed for this purpose, as the exhalations and 
 small particles are injurious to health ; but so long as man- 
 ual labor is necessary, an apprentice may be profitably 
 emploj^ed in this manner. 
 
 In preparing work to receive a coating of paint, there 
 is much which an apprentice can perform. Cutting off 
 lumps, rubbing down roughnesses on the surface with 
 pumice-stone, cleaning corners and the depressed parts of 
 ornaments from dust and dirt, and using a dusting-brush 
 over the whole, are useful employments for his time. In 
 painting new wood-work, the knots are to be painted and 
 the holes filled up with putty, before the general painting 
 commences ; and this an apprentice can likewise do. The 
 first coat of paint, or thin priming, can also be laid on by 
 him. Iron railings, and rough exterior work, frequently 
 receive a preparatory coat of coarse lead color, to which 
 painters give the (not very elegant) name of " smudge ;" to 
 lay on this smudge is a useful exercise for the apprentice in 
 the use of the brush. 
 
 There are many indispensable things which must be at- 
 tended to — such as keeping pots, brushes, cloths, pumice- 
 stone, color-boxes and barrels, oils, cans, &c, in a clean 
 and proper state for use, about which an apprentice may 
 be usefully employed. There are many parts, also, in 
 which a journej-man requires an apprentice, or some other 
 assistant, to be near him while at work ; and it is at such 
 times that an apprentice becomes gradually accustomed to 
 the nature and appearances of those processes in which he 
 will afterwards be manually engaged. 
 
 In ornamental painting, writing, graining, &c, it is cus- 
 tom aiy for the master to give a young apprentice a piece 
 of board or panel, and a specimen to copy from; and then 
 to let him exercise himself in imitating the pattern which 
 is set before him ; for, in his earlier attempts, it is merely 
 the faculty of imitation which is brought into play : the 
 exercise of taste and invention is developed at an after pe- 
 riod, when a certain degree of mechanical tact has been 
 acquired. 
 
 It is to be regretted that the business of a painter is 
 rendered very unhealthy, chiefly by the use of one ingre- 
 dient — white lead. There are many processes in which he 
 is concerned, such as grinding colors in which arsenic is 
 contained, flatting, in which a rapid evaporation of turpen- 
 
THE PAINTER'S HAND-BOOK. 31 
 
 tine takes place, &c, which are detrimental to health ; but 
 the extensive use of white lead seems to be the most inju- 
 rious. The painter is subject to a complaint commonly 
 known as the painter 's colic, which is very distressing, and 
 which seems to arise from habitual exposure to white lead 
 in different states. 
 
 Mr. Vanherman, a practical painter, after expressing a 
 wish that experiments should be tried to produce a white 
 pigment which would have the permanent and useful qual- 
 ities of white lead without its injurious tendency, recom- 
 mends a paint which is devoid of most of the unpleasant 
 smell attending on oil paint, and which might perhaps 
 prove less hurtful to the painter. His plan is to mix up 
 white lead, raw linseed oil, spirit of turpentine, sulphate 
 of lime, and turpentine varnish, in certain proportions, 
 which form a flat, inodorous, white paint, to which dry 
 colors may be added, if the paint is required to be tinted ; 
 and oil is to be added, if a gloss is required. Such a com- 
 position must be used extensively before its availability 
 could be fairly estimated. We do not believe that this 
 plan has been much acted upon — indeed, Mr. Vanherman 
 complains of the jealousy with which his attempt has been 
 regarded by master-tradesmen, who have felt that their 
 interests may be interfered with by an invention which 
 would make painting less insalubrious, and therefore prac- 
 ticed by persons not bred to the trade. Into the justice 
 oi this complaint we are not prepared to enter ; but we 
 should sincerely regret if any narrow prejudice were to re- 
 tard the introduction of improved processes. Mr. Van- 
 h"_ A_«n directs that, besides the liquids which we have just 
 nam^d, 10 lb. of sulphate of lime (known as "satin white") 
 s^ci d be added to every 100 lh. of white lead employed in 
 paint ; and that the liquid for giving the paint the proper 
 degree of fluidity should not be oil and spirits of turpen- 
 tine, as usual, but spirits of turpentine, spirit of wine, and 
 oil of carraway, in the proportion of one gallon of the first, 
 half a pint of the second, and half a gill of the third. The 
 sulphate of lime is the ingredient to which Mr. Vanher- 
 n: /.. attaches the most importance as a neutralizing agent; 
 but as we have no other testimony of its excellent effect 
 tlijuii what he has himself said, we shall do no more than 
 indicate that such an attempt, which all should consider 
 praiseworthy, has been made to lighten the evils to which 
 
32 THE PAINTER'S HAND-BOOK. 
 
 the painter is exposed ; and to suggest to those who are 
 practically engaged in the occupation, the propriety of 
 turning their attention to this important subject. 
 
 The painter' 1 s colic afreets all those who are constantly 
 engaged with white lead. Sir John Sinclair has estimated 
 that, of the men engaged in white lead works, one in three 
 dies annually. If the pain attending this complaint be 
 very great, it has been recommended to lull the senses 
 with a little opium, while castor oil is to be used to pro 
 duce a more permanent benefit. Ardent spirits, which 
 are too often resorted to, aggravate the complaint, although 
 they may assuage the pain for a time. If the colic be not 
 promptly attended to, it frequently brings on palsy and 
 paralysis in other parts of the frame. Sometimes a painter 
 has a weakness or palsy of the wrists. This is supposed 
 to be occasioned partly by the fumes of white lead, as be- 
 fore observed, and partly by handling the brushes, paint- 
 pots, &c, by which the subtle poison insinuates itself 
 through the pores of the skin. 
 
 Dr. Pemberton, in a treatise on abdominal diseases, 
 states that a man was brought to the hospital whose 
 wrists were palsied through the effects of lead ; the hands 
 hung down from the wrists in a perfectly useless manner. 
 Dr. Pemberton applied to his arm a splint, or kind of 
 trough, into which the arm, wrist and hand were laid out 
 straight, and securely bandaged. After the lapse of a 
 month, the man could raise a weight of eight ounces to a . 
 level with his forearm, and in five weeks more he entirely 
 recovered the use of his arm. His left arm, which had 
 not been so treated, remained wholly useless. This plan 
 is worthy of the notice of those who are engaged in the 
 use of white lead in any of its forms. 
 
 The mercury, arsenic and verdigris, which are contained 
 in many paints, are also injurious to the system in many 
 ways ; but the quantities employed by the painter are not 
 large. Turpentine, also, gives out fumes which occasion a 
 nausea and sickness in the stomach. 
 
 From these evils attending his employment, the paint- 
 er's best preservatives are cleanliness and sobriety. A neat 
 mode of handling his brushes, frequent washing of the 
 skin, frequent renewal of clean linen, and a good supply of 
 fresh air, and sobriety in living, are the things to be desirecL 
 
THE PAINTER'S HAND-BOOK. 33 
 
 ^ 5.— RECIPES FOR COLORS. 
 
 Blue Colors. — Blue belongs to the order of vegetable 
 substances, like indigo ; or to that of metallic substances, 
 like Prussian blue ; or to that of stony mineral substances, 
 as ultramarine ; or to that of vitreous substances colored 
 by a metallic oxide, as Saxon blue. Ultramarine is more 
 particularly reserved for pictures. The same may, in some 
 degree, be said of saxon blue. 
 
 When prussiate of iron or indigo is employed without 
 mixture, the color produced is too dark. It has no splen- 
 dor, and very often the light makes it appear black ; it is, 
 therefore, usual to soften it with white. 
 
 Blue Distemper. — Grind with water as much ceruse 
 as may be thought necessary for the whole of the intend- 
 ed work ; and afterwards mix it with indigo, or Prussian 
 blue. 
 
 This color produces very little effect in distemper ; it is 
 not very favorable to the play of the light ; but it soon ac- 
 quires brilliancy and splendor beneath the vitreous lamina 
 of the varnish. Painting in distemper, when carefully var- 
 nished, produces a fine effect. 
 
 Blue Yerdxter may be ground with pure alcoholic 
 varnish added to a little essence ; and may be mixed up 
 with compound mastich varnish if the color is to be applied 
 to delicate articles. Or mastich gallipot varnish, added to 
 a little drying oil, may be used for grinding, and common 
 gallipot varnish for mixing up, if the painting is intended 
 for ceilings, wainscoting, etc. This color is soft and dull, 
 and requires a varnish to heighten the tone of it, and give 
 it play. Turpentine copal varnish is proper for this pur- 
 pose, if the article has need of a durable varnish. 
 
 Bright Red. — A mixture of lake and vermilion gives 
 that beautiful bright red which painters employ for san- 
 guine parts. This red is sometimes imitated for varnishing 
 small appendages of the toilette. It ought to be ground 
 with varnish and mixed up with the same, after which it is 
 glazed and polished. The mastich gallipot varnish is used 
 for grinding ; gallipot varnish for mixing up, and camphor- 
 ated mastich varnish for glazing. 
 
 Black Color, Fine. — Take some camphor and set it on 
 fire ; from the flame will arise a very dense smoke, which 
 may be collected on a common saucer by holding it over 
 
31 THE PAINTER'S HAND-BOOK. 
 
 the flame. This black, mixed with gum arabic, is far su- 
 perior to most India-ink. 
 
 Miniature painters, who use colors in small quantities, 
 sometimes obtain a most beautiful and perfect black by 
 using the buttons which form on the snuff of a candle, 
 when allowed to burn undisturbed. These are made to 
 fall into a small thimble, or any other convenient vessel 
 which can be immediately covered with the thumb, to ex- 
 clude the air. This is found to be perfectly free from 
 grease, and to possess every desirable quality. 
 
 Black Paint. — Usage requires attention in the choice 
 of the matters destined for black. The following are their 
 properties : 
 
 Black from peach stones is dull. 
 
 Ivory-black is strong and beautiful when it has been well 
 attenuated under the muller. 
 
 Black from the charcoal of beech-wood, ground on por- 
 phyry, has a bluish tone. 
 
 Lamp-black may be rendered mellower by making it with 
 black which has been kept an hour in a state of redness in 
 a close crucible. It then loses the fat matter which accom- 
 panies this kind of soot. 
 
 Black furnished by the charcoal of vine twigs, ground 
 on porphyry, is weaker, and of a dirty gray color when 
 coarse and alone, but it becomes blacker the more the 
 charcoal has been divided. It then forms a black very 
 much sought after, and which goes a great way. 
 
 Black from Wine-lees. — This black results from the 
 calcination of wine lees and tartar, and is manufactured on 
 a large scale in some districts of Germany, in the environs 
 of Mentz, and even in France. This operation is performed 
 in large cylindric vessels, or in pots, having an aperture in 
 the cover to afford a passage to the smoke, and to the acid 
 and alkaline vapors which escape during the process. When 
 no more smoke is observed, the operation is finished. The 
 remaining matter, which is merely a mixture of salts 
 and a carbonaceous part very much attenuated, is then 
 washed several times in boiling water, and it is reduced 
 to the proper degree of fineness by grinding it on por- 
 phyry. 
 
 if this black be extracted from dry lees, it is coarser 
 than that obtained from tartar, because the lees contain 
 earthy matters which are confounded with the carbonaceous 
 part. 
 
THE PAINTER'S HAND-BOOK. 36 
 
 This black goes a great way, and has a velvety appear- 
 ance. It is used chiefly by copper-plate printers. 
 
 Another. — Peach-stones, burnt in a close vessel, produce 
 a charcoal, which, when ground on porphyry, is employed in 
 painting to give an old gray. 
 
 Another. — Yine twigs reduced to charcoal give a bluish, 
 black, which goes a great way. When mixed with, white 
 it produces a silver white, which is not produced by other 
 blacks; it has a pretty near resemblance to the black 
 of peach-stones, but to bring this color to the utmost 
 degree of perfection, it must be carefully ground on por- 
 phyry. 
 
 Chamois and Buff Color. — Yellow is the foundation 
 of chamois color,, which is modified by a particle of min- 
 ium, or what is better, cinnabar and ceruse in small quan- 
 tity. This color may be employed in distemper, varnish, 
 and oil. For varnish, it is ground with half common oil of 
 pinks, and half of mastich gallipot varnish. It is mixed with 
 common gallipot varnish. For oil painting, it is ground and 
 mixed up with drying oil. 
 
 Cheap Outside Paint. — Take two parts (in bulk) of 
 water-lime ground fine, one part (in bulk) of white lead 
 ground in oil. Mix them thoroughly, by adding best boiled 
 linseed-oil enough to prepare it to pass through a paint-mill, 
 after which, temper with oil till it can be applied with a 
 common paint-brush. Make any color to suit. It will last 
 three times as long as lead paint, is superior, and costs not 
 one-fourth as much. 
 
 Chestnut-Color. — This color is composed of red, yel- 
 low and black. The English red, or red ochre of Auvergne, 
 ochre de rue and a little black, form a dark chestnut-color. 
 It is proper for painting of every kind. If English, red, 
 which is dryer than that of Auvergne, be employed, it 
 will be proper, when the color is intended for varnish, to 
 grind it with drying nut-oil. The ochre of Auvergne may 
 be ground with the mastich gallipot, and mixed up with 
 gallipot varnish. 
 
 The most experienced artists grind dark colors with lin- 
 seed oil, when the situation will admit of its being used, 
 because it is more drying. For articles without doors nut- 
 oil is preferable. The colors of oak-wood, walnut-tree, 
 chestnut, olive, and yellow, require the addition of a little 
 
36 THE PAINTER'S HAND-BOOK. 
 
 litharge ground on porphyry ; it hastens the desiccation of 
 the color, and gives it body. 
 
 But if it is intended to cover these colors with varnish, 
 as is generally done in wainscoting, they must be mixed up 
 with essence, to which a little oil has been added. The 
 color is then much better disposed to receive the varnish, 
 under which it exhibits all the splendor it can derive from 
 the reflection of the light. 
 
 Crimson, or Rose-Color. — Carminated lake — that 
 which is composed of alum charged with the coloring 
 part of cochineal, ceruse, and carmine — forms a beautiful 
 crimson. It requires a particle of vermilion and of white 
 lead. 
 
 The use of this varnish is confined to valuable articles. 
 
 Distemper in Badigeon, To. — Badigeon is employed 
 for giving an uniform tint to houses rendered brown by 
 time, and to churches. Badigeon, in general, has a yel- 
 low tint. That which succeeds best is composed of the 
 saw-dust or powder of the same kind of stone and slacked 
 lime, mixed up in a bucket of water holding in solution 
 one pound of the sulphate of alumina (alum). It is applied 
 with a brush. 
 
 At Paris, and in other parts of France, where the large 
 edifices are constructed of a soft kind of stone, which is 
 yellow, and sometimes white when it comes from the 
 quarry, but which in time becomes brown, a little ochre 
 de rue is substituted for the powder of the stone itself, 
 and restores to the edifice its original tint. 
 
 A Dryer for Painting. — Vitreous oxide of lead 
 (litharge), is of no other use in painting than to free oils 
 from their greasy particles, for the purpose of communi- 
 cating to them a drying quality. Red litharge, however, 
 ought to be preferred to the greenish yellow ; it is not 
 so hard, and answers better for the purpose to which it is 
 destined. 
 
 When painters wish to obtain a common color of the 
 ochrey kind, and have no boiled oil by them, they may 
 paint with linseed oil, not freed from its greasy particles, 
 by mixing with the color about two or three parts of lith- 
 arge ground on a piece of porphyry with water, dried and 
 reduced to fine powder, for sixteen parts of oil. The color 
 has a great deal of body, and dries as speedily as if mixed 
 with drying oil. 
 
THE PAINTER'S HAND-BOOK. £7 
 
 Green Color. — Every green color, simple or compound, 
 when mixed up with a white ground, becomes soft, and 
 gives a sea-green of greater or less strength, and more or 
 less delicate, in the ratio of the respective quantities of the 
 principal colors. Thus, green oxides of copper, such as 
 chrome green, verdigris, dry crystallized acteate of copper, 
 green composed with blue verditer, and the Dutch pink of 
 Troyes, or any other yellow, will form, with a base of a 
 white color, a sea-green, the intensity of which may be 
 easily changed or modified. The white ground for painting 
 in distemper is generally composed of Bougival white 
 (white marl), or white of Troyes (chalk), or Spanish white 
 (pure clay) ; but for varnish or oil painting, it is sought for 
 in a metallic oxide. In this case, ceruse or pure white ox- 
 ide of lead is employed. 
 
 Flaxen Gray. — Ceruse, or white lead, still predomin- 
 ates in this color, which is treated as the other grays, but 
 with this difference, that it admits a mixture of lake in- 
 stead of black. Take the quantity, therefore, of ceruse 
 necessary, and grind it separately. Then mix it up, and 
 add the lake and Prussian blue, also ground separately. 
 The quantities of the last two colors ought to be propor- 
 tioned to the tone of color required. 
 
 This color is proper for distemper, varnish, and oil paint- 
 ing. For varnish, grind it with mastich gallipot varnish, 
 to which a little oil of pinks has been added, and then 
 mix it up with common gallipot varnish. For oil paint- 
 ing, grind with unprepared oil of pinks, and mix up with 
 resinous drying nut-oil. The painting is brilliant and 
 solid. 
 
 When the artist piques himself upon carefully pre- 
 paring those colors which have splendor, it will be 
 proper, before he commences his labor, to stop up the 
 holes formed by the heads of the nails in wainscoting, with 
 putty. 
 
 Every kind of sizing which, according to usual cus- 
 tom, precedes the application of varnish, ought to be 
 prescribed as highly prejudicial, when the wainscoting 
 consists of fir-wood. Sizing may be admitted for plas- 
 ter, but without any mixture. A plain stratum of 
 strong glue and water spread over it is sufficient to fill 
 up the pores to prevent any unnecessary consumption of 
 the varnish. 
 
38 THE PAINTER'S HAND-BOOK. 
 
 The first stratum of color is ceruse without any mix- 
 ture, ground with essence added to a little oil of pinks, 
 and mixed up with essence. If any of the traces 
 are uneven, rub it lightly, when dry, with pumice- 
 stone. This operation contributes greatly to the beauty 
 and elegance of the polish when the varnish is applied. 
 
 The second stratum is composed of ceruse changed to 
 llaxen gray by the mixture of a little Cologne earth, as 
 much English red or lake, and a particle of Prussian blue. 
 First, so make the mixture with a small quantity of cer- 
 use, that the result shall be a smoky gray, by the addition 
 of the Cologne earth. The red, which is added, makes it 
 incline to flesh-color, and the Prussian blue destroys the 
 latter to form a dark flaxen gray. The addition of ceruse 
 brightens the tone. This stratum and the next are ground, 
 and mixed up with varnish as before. 
 
 This mixture of colors, which produces flaxen gray, has 
 the advantage over pearl gray, as it defends the ceruse 
 from the impression of the air and light, which makes it 
 assume a yellowish tint. Flaxen gray, composed in this 
 manner, is unalterable. Besides, the essence which forms 
 the vehicle of the first stratum contributes to bring forth 
 a color, the tone of which decreases a little by the effect 
 of drying. This observation ought to serve as a guide to 
 the artist, in regard to the tint, which is always stronger 
 in a liquid mixture than when the matter composing it is 
 extended in a thin stratum, or when it is dry. 
 
 Flexible Paint. — Take of good yellow soap, cut into 
 slices, two and a half pounds ; boiling water, one and a 
 half gallons. Dissolve, and grind the solution while hot 
 with one quarter hundred weight of good oil-paint. Used 
 to paint on canvas. 
 
 Golden Yellow Color Cases often occur when it is 
 
 necessary to produce a gold color without employing a 
 metallic substance. A color capabb of forming an illusion 
 is then given to the composition, the greater part of which 
 consists of yellow. This is accomplished by Naples or 
 Montpellicr yellow, brightened by Spanish white, or by 
 white of Morat, mixed with ochre de Berri and realgar. 
 The last substance, even in small quantity, gives to the 
 mixture a color imitating gold, and which may be employed 
 in distemper, varnish, or oil. When destined for oil, it is 
 
THE PAINTER'S HAND-BOOK. 39 
 
 ground with drying or pure nut-oil, added to essence or 
 mixed with drying oil. 
 
 Ivory and Boneblack. — Put into a crucible surrounded 
 by burning coals, fragments or turnings of ivory, or of the 
 osseous parts of animals, and cover it closely. The ivory 
 or bones, by exposure to the heat, will be reduced to char- 
 coal. When no more smoke is seen to pass through the 
 joining of the cover, leave the crucible over the lire for 
 half an hour or longer, or until it has completely cooled. 
 There will then be found in it a hard carbonaceous matter, 
 which, when pounded and ground on porphyry with water, 
 is washed on a filter with, warm water and then dried. 
 Before it is used it must be again subjected to the matter. 
 
 Black furnished by bones is reddish. That produced by 
 ivory is more beautiful. It is brighter than black obtained 
 from peach-stones. When mixed in a proper dose with 
 white oxide of lead, it forms a beautiful pearl gray. Ivory- 
 black is richer. The Cologne and Cassel-black are formed 
 from ivory. 
 
 Jonquil.— This is employed only in distemper. It may, 
 however, be used with varnish. A vegetable color serves as 
 its base. It is made with Dutch pink and ceruse, and 
 ground with mastich gallipot varnish, and mixed up with 
 gallipot varnish. 
 
 Lampblack, Paints from. — The consumption of lamp- 
 black is very extensive in common painting. It serves to 
 modify the brightness of the tones of the other colors, or 
 to facilitate the composition of secondary colors. The oil 
 paint applied to iron grates and railing and the paint ap- 
 plied to paper snuff-boxes, to those made of tin-plate, and 
 to other articles with dark grounds, consume a very large 
 quantity of this black. Great solidity may be given to 
 works of this kind by covering them with several coatings 
 of the fat turpentine, or golden varnish, which has been 
 mixed with lampblack, washed in water, to separate the 
 foreign bodies introduced into it by the negligence of the 
 workmen who prepare it. 
 
 After the varnish is applied the articles are dried in a 
 stove by exposing them to a heat somewhat greater than 
 that employed for articles of paper. Naples yellow, which 
 enters into the composition of black varnish, is the basis 
 of the dark brown observed on tobacco-boxes of plate-iron, 
 
40 THE PAINTER'S HAND-BOOK. 
 
 because this color changes to brown when dried with the 
 varnish. 
 
 Lampblack, a Superior. — Suspend over a lamp a funnel 
 of tin plate, having above it a pipe to convey from the 
 apartment the smoke which escapes from the lamp. 
 Large mushrooms, of a very black, carbonaceous matter, 
 and exceedingly light, will be formed at the ^ummit of 
 the cone. This carbonaceous part is carried to such a state 
 of division as cannot be given to any other matter, by 
 grinding it on a piece of porphyry. 
 
 This black goes a great way in every kind of painting. 
 It may be rendered drier by calcination in close vessels. 
 
 The funnel ought to be united to the pipe which conveys 
 off the smoke by means of wire, because solder would be 
 melted by the flame of the lamp. 
 
 Light Gray and Distemper, To Paint in. — Ceruse, 
 mixed with a small quantity of lampblack, composes a 
 gray, more or less charged, according to the quantity of 
 black. With this matter, therefore, mixed with black in 
 different doses, a great variety of shades may be formed, 
 from the lightest to the darkest gray. 
 
 If this color be destined for distemper, it is mixed with 
 water ; if intended for oil painting, it is ground with nut- 
 oil, or oil of pinks ; and with essence added to oil, if de- 
 signed for varnish. This color is durable and very pure, if 
 mixed with camphorated mastich varnish ; the gallipot var- 
 nish renders it so solid that it can bear to be struck with a 
 hammer, if, after the first stratum, it has been applied with 
 varnish, and without size. For the last coating sandarach 
 varnish and camphorated varnish are proper ; and for the 
 darkest gray, spirituous sandarach varnish. 
 
 Naples and Montpellier Yellow. — The composition 
 of these is simple, yellow ochre mixed with ceruse, ground 
 with water, if destined for distemper ; or drying nut-oil 
 and essence, in equal parts if intended for varnish ; and 
 mixed up with camphorated mastich varnish ; if for delicate 
 objects, or with gallipot varnish, give a very fine color, the 
 splendor of which depends on the doses of the ceruse, 
 which must be varied according to the particular nature 
 of the coloring matter employed. If the ground of the 
 color is furnished by ochre, and if oil painting be intended, 
 the grinding with oil added to essence may be omitted, as 
 
THE PAINTEE'S HAND-BOOS. 41 
 
 essence alone will be sufficient, Oil, however, gives more 
 pliability and more body. 
 
 Oak-wood Color. — The basis of this color is still formed 
 of ceruse. Three-fourths of this oxide, and a fourth of 
 ochre de rue, umber earth, and yellow de Berri ; the last 
 three ingredients being employed in proportions which lead 
 to the required tint, give a matter equally proper for dis- 
 temper, varnish and oil. 
 
 Olive Color, for Distemper. — When intended for 
 distemper, it will be necessary to make a change in the 
 composition. The yellow above mentioned, indigo, and 
 ceruse, or Spanish white, are the new ingredients which 
 must be employed. 
 
 Olive Color for Oil and Varnish. — Olive color is a 
 composition, the shades of which may be diversified. Black 
 and a little blue, mixed with yellow, will produce an olive 
 color. Yellow de Berri, or d'Auvergne, with a little ver- 
 digris and charcoal, will also form this color. 
 
 It is ground and mixed up with mastich gallipot, and 
 common gallipot varnishes. For oil painting, it is ground 
 with oil added to essence, and mixed up with drying oil. 
 
 Paint Fire-Places and Hearths, To. — The Genevese 
 employ a kind of stone, known under the name of moiasse, 
 for constructing fire-places and stoves, after the German 
 manner. This stone is brought from Saura, a village of 
 Savoy, near Geneva. It has a grayish color, inclining to 
 blue, which is very agreeable to the eye. 'This tint is 
 similar to that communicated to common white-washing 
 with lime, chalk, or gypsum, the dullness of which is cor- 
 rected by a particle of blue extract of indigo, or by char- 
 coal black. 
 
 Painter's Cream. — Painters who have long intervals 
 between their periods of labor, are accustomed to cover the 
 parts they have painted with a preparation which preserves 
 the freshness of the colors, and which they can remove 
 when they resume their work. This preparation is as 
 follows : 
 
 Take of very clear nut-oil, three ounces ; mastich in 
 tears, pulverized, one-half ounce ; sal saturni, in powder 
 (acetate of lead,) one-third ounce. Dissolve the mastich 
 in oil over a gentle fire, and pour the mixture into a mar- 
 ble mortar, over the pounded salt of 
 
42 THE PAINTER'S HAND-BOOK. 
 
 wooden pestle, and add water in small quantities till the 
 matter assume the appearance and consistence of cream, 
 and refuse to admit more water. 
 
 Prussian Blue Paint. — The ceruse is ground with oil, 
 if for varnish, made with essence, or merely with essence, 
 which is equally proper for oil painting; and a quantity of 
 either of these blues sufficient to produce the required tone 
 is added. 
 
 For varnish, the ceruse is generally ground with oil of 
 pinks added to a little essence, and is mixed up with cam- 
 phorated mastich varnish, if the color is destined for deli- 
 cate objects; or with gallipot varnish, if for wainscoting. 
 This color, when ground and mixed up with drying oil, 
 produces a line effect, if covered by a solid varnish made 
 with alcohol or essence. 
 
 If this oil color be destined for expensive articles, such 
 as valuable furniture subject to friction, it may be glazed 
 with the turpentine copal varnish. 
 
 Red Distemper for Tiles. — Dip a brush in water 
 from a common lye, or in soapy water, or in water charged 
 with a twentieth part of the carbonate of potash (pearl- 
 ash), and draw it over the tiles. This washing thoroughly 
 cleanses them, and disposes all the parts of the pavement 
 to receive the distemper. 
 
 When dry, dissolve in eight pints of water one-half 
 pound of Flanders glue ; and while the mixture is boil- 
 ing, add two pounds of red ochre ; mix the whole with 
 great care. Then apply a stratum of this mixture to the 
 pavement, and when dry apply a second stratum with dry- 
 ing linseed oil, and a third with the same red mixed up 
 with size. When the whole is dry, rub it with wax. 
 
 Sea-Green for Distemper. — Grind separately with 
 water, mountain-green and ceruse; and mix up with 
 parchment size and water, adding ceruse in sufficient 
 quantity to produce the degree of intensity required in 
 the color. Watin recommends the use of Dutch pink of 
 Troyes and white oxide of lead, in proportions pointed 
 out by experience ; because the color thence resulting is 
 more durable. 
 
 In the case of a triple composition, begin to make the 
 green by mixing Dutch pink with blue verditer, and then 
 lower the color to sea green, by the addition of ceruse 
 ground with water. 
 
THE PAINTER'S HAND-BOOK. 4$ 
 
 Sea-Green for Varnish and Oils. — Varnish re- 
 quires that this color should possess more body than it 
 has in distemper ; and this it acquires from the oil which 
 is mixed with it. This addition gives it even more 
 splendor. Besides, a green of a metallic nature is substi- 
 tuted for the green of the Dutch pink, which is of a vege- 
 table nature. 
 
 A certain quantity of verdigris, pounded and sifted 
 through a silk sieve, is ground separately with nut-oil, half 
 drying and half fat ; and if the color is intended for me- 
 tallic surfaces, it must be diluted with camphorated mas- 
 tich, or gallipot varnish. 
 
 On the other hand, the ceruse is ground with essence, or 
 with oils to which one half of essence has been added, and the 
 two colors are mixed in proportions relative to the degree 
 of intensity intended to be given to the mixture. It may 
 readily be conceived that the principal part of this compo- 
 sition consists of ceruse. 
 
 If this color be destined for articles of a certain value T 
 crystallized verdigris, dried and pulverized, ought to be 
 substituted for common verdigris, and the painting must 
 be covered with a stratum of the transparent or turpen- 
 tine copal varnish. 
 
 The sea-greens, which admit into their composition 
 metallic coloring parts, are durable and do not change. 
 
 The last compositions may be employed for sea-green in 
 oil painting ; but it will be proper to brighten the tone a 
 little more than when varnish is used, because this color be- 
 comes darker by the addition of yellow, which the oil de- 
 velops in the course of time. 
 
 Siccitive Oil. — Boil together for two hours on a slow 
 and equal fire, half ounce of litharge, as much calcined 
 ceruse, and the same of terre d'ombre and talc, with' one 
 pound of linseed oil, carefully stirring the whole time. 
 It must be carefully skinned and clarified. The older it 
 grows the better it is. A quarter of a pint of this dryer 
 is required to every pound of color. 
 
 Solvent for Old Paint or Putty. — Caustic soda ? 
 applied with a broom or brush made of vegetable matter. 
 It is sold in the shops as concentrated lye. 
 
 Ultramarine. — A vitreous matter colored by oxide of 
 cobalt, gives a tone of color different from that of the 
 prussiate of iron and indigo. It is employed for sky-blues* 
 
4A THE PAINTER'S HAND-BOOK. 
 
 The case is the same with blue verditer, a preparation 
 made from oxide of copper and lime. Both these blues 
 stand well in distemper, in varnish, and in oil. 
 
 Saxon blue requires to be ground with drying oil, and 
 to be mixed with gallipot varnish. If intended for oil 
 painting, it is to be mixed up with resinous drying oil, 
 which gives body to this vitreous matter. 
 
 Yiolet-Color. — Violet is made indifferently with red 
 and black, or red and blue; and to render it more splen- 
 did, with red, white, and blue. To compose violet, there- 
 fore, applicable to varnish, take minium, or what is still 
 better, vermilion, and grind it with the camphorated mas- 
 tich varnish to which a fourth part of boiled oil and a little 
 ceruse have been added ; then add a little Prussian blue 
 ground in oil. The proportions requisite for the degree of 
 intensity to be given to the color will soon be found by 
 experience. The white brightens the tint. The vermilion 
 and Prussian blue, separated or mixed, give hard tones, 
 which must be softened by an intermediate substance 
 that modifies, to their advantage, the reflections of the 
 light. 
 
 Walnut-wood Color— A given quantity of ceruse, 
 half that quantity of ochre de rue, a little umber earth, 
 red ochre, and yellow ochre de Berri, compose this color 
 proper for distemper, varnish, and oil. 
 
 For varnish, grind with a little drying nut-oil, and mix 
 up with the gallipot varnish. 
 
 For oil painting, grind with fat oil of pinks added to 
 drjMng oil or essence, and mix up with plain diwing oil, or 
 with resinous drying oil. 
 
 White Distemper, to Paint in. — Grind fine in water 
 Bougival white, a kind of marl or chalky clay, and mix it 
 with size. It may be brightened by a small quantity of 
 indigo, or charcoal-black. 
 
 White Paint. — The white destined for varnish or oil 
 requires a metallic oxide ? which gives more body to the 
 color. Take ceruse, reduced to powder, and grind it with 
 oil of pinks, and one-fourth ounce of sulphate of zinc for 
 each pound of oil. Apply the second coating without the 
 sulphate of zinc, and suffer it to dry. Cover the whole 
 with a stratum of sandarach varnish. This color is dura- 
 ble, brilliant, and agreeable to the eye. 
 
 Boiled linseed oil might be employed instead of oil of 
 
THE PAINTER'S HAND-BOOK. 45 
 
 pinks, but the color of it would in some degree injure the 
 purity of the white. 
 
 Another. — White is prepared also with pure white oxide 
 of lead, ground with a little essence, added to oil of pinks 
 and mixed with gallipot varnish. The color may be mixed 
 also with essence diluted with oil, and without varnish, 
 which is reserved for the two last coatings. If for a lively 
 white, the color is heightened with a little Prussian blue 
 or indigo, or with a little prepared black. The latter gives 
 it a gray cast. But pure white lead, the price of which is 
 much higher than ceruse, is reserved for valuable articles. 
 In this particular case, if a very line, durable white be re- 
 quired, grind it with a little essence, and mix it with san- 
 darach or varnish. 
 
 6.— MISCELLANEOUS. 
 
 To Make a Composition for rendering Canvas, Linen ? 
 and Cloth Durable, Pliable, and Waterproof. 
 
 To Make it Black. — First, the canvas, linen, or cloth. 
 is to be washed with hot or cold water, the former prefer- 
 able, so as to discharge the stiffening which all new can- 
 vas, linen, or cloth contains ; when the stiffening is per- 
 fectly discharged, hang the canvas, linen, or cloth up to 
 dry ; when perfectly so, it must be constantly rubbed by 
 the hand until it becomes supple; it must then be 
 stretched in a hollow frame very tight, and the following 
 ingredients are to be laid on with a brush for the first 
 coat, viz., eight quarts of boiled linseed oil, half an ounce 
 of burnt umber, one quarter ounce of sugar of lead, one 
 quarter ounce of white vitriol, one quarter ounce of white 
 lead. 
 
 The above ingredients, except the white lead, must be 
 ground line with a small quantity of the above-mentioned 
 oil, on a stone and muller ; then mix all the ingredients 
 up with the oil, and acid three ounces of lampblack, which 
 must be put over a slow fire in an iron broad vessel, and 
 kept stirred until the grease disappears. In consequence 
 of the canvas being washed and then rubbed, it will ap- 
 pear rough and nappy; the following method must be 
 taken with the second coat, viz., the same ingredients as 
 before, except the white lead ; this coat will set in a few 
 
46 THE PAINTER'S HAND-BOOK. 
 
 hours, according to the weather ; when set take a dry 
 paint-brush and work it very hard with the grain of the 
 canvas ; this will cause the nap to lie smooth. 
 
 The third and last coat makes a complete jet-black, 
 which continues its color : Take three gallons of boiled 
 linseed oil, an ounce of burnt umber, half an ounce of 
 sugar of lead, one quarter ounce of white vitriol, half an 
 ounce of Prussian blue, and one quarter ounce of verdigris ; 
 this must be all ground very fine in a small quantity of 
 the above oil, then add four ounces of lampblack, put 
 through the same process of fire as the first coat. The 
 above are to be laid on arid used at discretion, in a similar 
 way to paint. To make lead color, the same ingredients 
 as before in making the black, with the addition of white 
 lead in proportion to the color you wish to have, light or 
 dark. 
 
 To make it Green. — Yellow ochre, four ounces ; Prus- 
 sian blue, three quarters of an ounce ; white lead, three 
 ounces ; white vitriol, half an ounce ; sugar of lead, one 
 quarter ounce ; good boiled linseed oil sufficient to make 
 it of a thin quality, so as to go through the canvas. 
 
 To make it Yellow. — Yellow ochre, four ounces, 
 burnt umber, one quarter ounce ; white lead, six or seven 
 ounces ; white vitriol, one quarter ounce ; sugar of lead, 
 one quarter ounce ; boiled linseed oil, as in green. 
 
 To make it Red. — Red lead, four ounces; vermilion, two 
 ounces ; white vitriol, one quarter ounce ; sugar of lead, 
 one quarter ounce ; boiled linseed oil as before. 
 
 To make it Gray. — Take white lead, a little Prussian 
 blue, according to the quality you want, which will turn 
 it to a gray color ; a proportion of sugar of lead and white 
 vitriol, as mentioned in the other colors, boiled linseed oil 
 sufficient to make it of a thin quality. 
 
 To make it White. — White lead, four pounds ; spirits 
 of turpentine, one quarter pint ; white vitriol, half an 
 ounce ; sugar of lead, half an ounce ; boiled oil sufficient 
 to make it of a thin quality. 
 
 The above ingredients, of different colors, are calculated 
 as near as possible ; but, as one article may be stronger 
 than another, which will soon be discovered in usiDg, in 
 that case the person working the color may add a little, or 
 diminish, as he may find necessary. 
 
 The same preparation for wood or iron, only reducing 
 
THE PAINTER'S HAND-BOOK. 47 
 
 the oil about three quarts out of eight, and to be applied 
 in the same manner as paint or varnish, with a brush. 
 
 Brilliant Whitewash, closely resembling Paint. 
 — Many have heard of the brilliant stucco whitewash on 
 the east end of the President's house at Washington. The 
 following is a receipt for it : 
 
 Take one-half bushel nice unslaked lime, slake it with 
 boiling water, cover it during the process to keep in the 
 steam. Strain the liquid through a fine sieve or strainer, 
 and add to it a peck of salt, previously well dissolved in 
 warm water, three pounds ground rice, boiled to a thin 
 paste, and stirred in boiling hot, one-half pound powdered 
 Spanish whiting, and one pound of clean glue, which has 
 been previously dissolved by soaking it Well, and then hang 
 it over a slow fire, in a small kettle within a large one 
 filled with water. Add five gallons of hot water to the 
 mixture, stir it well, and let it stand a few days, covered 
 from the dirt. It should be put on quite hot ; for this 
 purpose, it can be kept in a kettle on a portable furnace. 
 It is said that about a pint of this mixture will cover a 
 square yard upon the outside of a house, if properly ap- 
 plied. Brushes more or less may be used, according to the 
 neatness of the job required. It answers as well as oil- 
 paint for wood, brick, or stone, and is cheaper. It retains 
 its brilliancy for many years. There is nothing of the 
 kind that will compare with it, either for inside or outside 
 walls. Coloring-matter may be put in, and made of any 
 shade you like. Spanish brown stirred in will make red 
 pink, more or less deep, according to the quantity. A del- 
 icate tinge of this is very pretty for inside walls. Finely 
 pulverized common clay, well mixed with Spanish brown, 
 makes a reddish stone color. Yellow ochre stirred in 
 makes yellow-wash ; but chrome goes further, and makes 
 a color generally esteemed prettier. In all these cases the 
 darkness of the shades, of course, is determined by the 
 quantity of coloring used. It is difficult to make rules, 
 because tastes are different ; it would be best to try ex- 
 periments on a shingle, and let it dry. Green must not 
 be mixed with lime ; it destroys the color, and the color 
 has an effect on the whitewash which makes it crack and 
 peel. When walls have been badly smoked, and you wish 
 to have them a clean white, it is well to squeeze indigo 
 plentifully through a bag into the water you use, before it 
 
43 THE PAINTER'S HAND-BOOK. 
 
 is stirred in the whole mixture, or add a little blue stone. 
 If a larger quantity than five gallons be wanted, the same 
 proportion should be observed. 
 
 To Paint in 'Fresco. — It is performed with water-col- 
 ors on fresh plaster, or a wall laid with mortar not dry. 
 This sort of painting has a great advantage by its incorpo- 
 rating with the mortar, and drying along with it becomes 
 very durable. 
 
 The ancients painted on stucco, and we may remark in 
 Vitruvius what infinite care they took in making the plas- 
 tering of their buildings to render them beautiful and 
 lasting, though the modern painters find a plaster of lime 
 and sand preferable to it. 
 
 Painter's Colic — Symptoms. — Pain and weight in the 
 belly ; belching ; constant desire to go to stool, which is 
 ineffectual ; quick, contracted pulse ; the belly becomes 
 painful to the touch", and is drawn into knots ; constant 
 colic pains ; the patient sits in a bent position ; after 
 awhile palsy of part or of the whole body. 
 
 Treatment. — This disease is too apt to end in palsy, leav- 
 ing the hands and limbs contracted and useless. In every 
 case of colic, whose symptoms resemble the above, if the 
 person has been exposed to lead in any of its shapes, all 
 doubt on the subject vanishes. 
 
 Give laudanum in moderate doses, and rub the belly 
 well with warm spirits, and place him in a bath as hot as 
 he can bear. As soon as he is well dried, and has rested 
 in bed a few minutes, take him up and dash a bucket of 
 cold water over his belly and thighs, or mix an ounce of 
 sulphate of magnesia in a pint of water, and give a wine- 
 glassful every half hour until ease is obtained. If this, 
 with castor oil by the mouth and in clysters, will not pro- 
 duce a stool, apply a large blister to the belly. As soon 
 as the symptoms are somewhat abated, castor oil or laxa- 
 tive clysters may be resorted to for the purpose of keep- 
 ing the bowels open; and to guard against a return, small 
 doses of opium should be taken from time to time. Bit- 
 ters, the different preparations of iron, bark, etc., aire 
 necessary to restore the strength of the system. 
 
THE PAINTEK'S HAND-BOOK. 49 
 
 CAUTIONS TO PAINTERS, GLAZIERS, AND 
 PLUMBERS. 
 
 The following medical cautions were recommended by 
 the physicians and surgeons of the Bath Hospital, to those 
 who have received benefit by the use of the Bath waters, 
 in cases where the poison of lead is concerned, as plumb- 
 ers, glaziers, painters, and other artificers, who work in 
 trades which expose them to similar hazards from the 
 same cause ; to be observed by them at their return to the 
 exercise of their former occupation : 
 
 1. To maintain the strictest temperance, particularly 
 respecting distilled spirits, which had better be altogether 
 forborne. 
 
 2. To pay the strictest attention to cleanliness ; and 
 never suffer paint to remain upon their hands ; and partic- 
 ularly never to eat their meals, or go to rest, without 
 washing their hands and face with soap, perfectly clean. 
 
 3. Not to eat or drink in the room or place wherein 
 they work ; and much less to suffer any food or drink to 
 remain unused, even for the shortest space of time, in any 
 part of a room while painting, or where color stands ; and 
 not to work on an empty stomach. 
 
 4. As the clothes of persons in this line (painters par- 
 ticularly) are generally much soiled with color, it is recom- 
 mended for them to perform their work in frocks of tick- 
 ing, which may be frequently washed, and conveniently 
 laid aside when the workmen go to their meals, and again 
 put on when they resume their work. 
 
 5. Every business which can, in these branches, should 
 be performed with gloves on their hands. Painters, in 
 performing clean, light work, would find gloves an incon- 
 venience ; but to avoid the evil here mentioned, the han- 
 dle of the brush should be often scraped. Woolen or 
 worsted gloves are recommended, as they may and should 
 be often washed, after being soiled with the paint, or even 
 with much rubbing against the metal. 
 
 6. Caution is necessary, in mixing, or even in unpack- 
 ing the dry colors, that the fine powder does not get into 
 their mouths, or be drawn in bj^ the breath. A crape 
 covering over the face might be of service ; but care should 
 be taken to turn always the same side of the crape to- 
 wards the face, and to clean or wash it frequently. 
 
60 THE PAINTER'S HAND-BOOK. 
 
 7. All artificers should avoid touching lead when hot ; 
 and this caution is especially necessary for printers or 
 compositors, who have often lost the use of their limbs by 
 handling the types when drying by the fire, after being 
 washed. 
 
 8. Glaziers' putty should never be made or moulded by 
 the hand. An iron pestle and mortar would work the in- 
 gredients together, at least equally as well, and without 
 hazard. It is necessary in working putty to handle it, 
 nor is it usually pernicious. Cleanliness is therefore the 
 best recommendation. 
 
 9. If any persons, in any of the above employments, 
 should feel pain in the bowels, with costiveness, they 
 should immediately take twenty drops of laudanum, and 
 when the pain is abated, two tablespoonsful of castor oil, 
 or one-half ounce of Epsom salts, dissolved in warm cham- 
 omile tea. If this does not succeed, a pint or two pints of 
 warm soapsuds should be thrown up as a clyster. 
 
 10. As a preventive, ten or fifteen drops of aromatic 
 sulphuric acid (elixir of vitriol), is likely to be of service, 
 if taken daily. 
 
INDEX. 
 
 PAGE 
 
 Accidental Color 27 
 
 Badigeon, To Distemper in 38 
 
 Bastard Flat 18 
 
 Black ,., 6 
 
 " Color, Fine 33 
 
 ■" Ivory 6, 34 
 
 " Lamp 6, 34 
 
 " Paint 34 
 
 " "Walnut, To Imitate 22 
 
 " from Peach Stones 35 
 
 " from Vine Twigs 35 
 
 " from "Wine-Lees 34 
 
 Blue 8 
 
 " Colors 33 
 
 " Distemper 33 
 
 " Paint, Prussian '. -42 
 
 " Prussian 8 
 
 " Saxon 44 
 
 " Sky 10 
 
 " Verditer 9,33 
 
 Boiled Oil 13 
 
 Boneblack 39 
 
 Brazil "Wood 8 
 
 Bright Red 33 
 
 Brilliant Whitewash 47 
 
 Brown, Spanish 8 
 
 Brunswick Green 9 
 
 Brushes, Veining 21 
 
 Buff Color 10, 35 
 
 Burnt Umber 8 
 
 Carmine 7 
 
 Cautions to Painters, Glaziers, 
 
 and Plumbers 49 
 
 Cement, Parker's 8 
 
 Chamois Color 35 
 
 Cheap Outside Paint 35 
 
 Chestnut Color 35 
 
 Choice and Distribution of Col- 
 ors 27 
 
 Chrome Yellow 6, 19 
 
 Cinnabar 7 
 
 Clouding 26 
 
 Coal Tar 14 
 
 Cobalt 9 
 
 Cochineal 7 
 
 " Lake 7 
 
 Cold Tone 28 
 
 PAGE 
 
 Colic, Painter's 31 
 
 " 48 
 
 Co: 
 
 27 
 
 10 
 
 10 
 
 or, Accidental. 
 
 Blue 33 
 
 Buff 10, 35 
 
 Chamois 35 
 
 Chestnut 35 
 
 Complementary 27 
 
 Contrasting , 
 
 r Cream 
 
 ; Crimson 
 
 Drab 
 
 Fine Black 33 
 
 Flaxen Gray 37 
 
 Flesh 10 
 
 Gold 10 
 
 Gray 10 
 
 Green 11, 37 
 
 1 Harmonizing 28 
 
 Lead 11 
 
 Oak-YN 7 ood 41 
 
 Olive 11 
 
 " for Distemper 41 
 
 " for Oil 41 
 
 " i or Yarnish 41 
 
 Orange 10 
 
 Peach 10 
 
 Pearl 10 
 
 Principal 28 
 
 Bose 36 
 
 Stone : 10 
 
 Violet 11, 44 
 
 Walnut-"Wood 44 
 
 Golden Yellow 38 
 
 Colors, Choice & Distribution of 27 
 
 Mixing and Laying on of 15 
 
 Recipes for 33 
 
 Coloring Substances 5 
 
 Common Tar 14 
 
 Complementary Color 27 
 
 Composition, Waterproof. 45 
 
 Contrasting Color 28 
 
 Coral Wood, To Lnitate 22 
 
 Cream Color 10 
 
 " Painter's 41 
 
 Crimson Color 36 
 
 Dead Flatting 13 
 
52 
 
 INDEX. 
 
 PAGE 
 
 Distemper 4, 14 
 
 Blue 33 
 
 " Olive, Color for 41 
 
 Red, for Tiles 42 
 
 " Sea-Green, for 42 
 
 " in Badigeon, To 36 
 
 " Painting in 25 
 
 " To Paintin 40 
 
 " To Paint in White 44 
 
 Drab Color 10 
 
 Dryer, for Painting, a 36 
 
 Dryers 14 
 
 Dust, Road 11 
 
 Fawn Tint 10 
 
 Fine Black Color 33 
 
 " Places, To Paint 41 
 
 Fitches 17 
 
 Flat, Bastard 18 
 
 Flatting 18 
 
 Flaxen Gray 10, 37 
 
 Flesh Color 10 
 
 Flexible Paint 38 
 
 French Polishing 25 
 
 Fresco, To Paint in 48 
 
 Glaziers, Cautions to 49 
 
 Gold Color 11 
 
 " Size, Japan 24 
 
 Golden Yellow Color 38 
 
 Graining 19 
 
 Crib 20 
 
 Gray Color 10 
 
 " Flaxen 10, 37 
 
 " Silver 10 
 
 Green 9 
 
 " Brunswick 9 
 
 " Color 11, 37 
 
 " Italian 9 
 
 " Saxon 9 
 
 " Scheele's 9 
 
 " Sea 43 
 
 " Verditer 9 
 
 Grindstone 15 
 
 Harmonizing Color 28 
 
 Hearths, To Paint 41 
 
 Honduras Mahogany, To Imi- 
 tate 22 
 
 Dnitation of Coral Wood 22 
 
 Black Walnut 22 
 
 " Honduras Mahog- 
 any 22 
 
 Dnitation of Mahogany 21 
 
 " Marbles 22 
 
 Oak 20 
 
 " . Rosewood 21 
 
 «« Satin Wood 21 
 
 " Spanish Mahogany 22 
 
 " Zebra Wood 22 
 
 Indian Red 8 
 
 Indigo. 8 
 
 PAGE 
 
 Indigofera 8 
 
 Italian Green 9 
 
 Ivory 39 
 
 " Black 6, 34 
 
 Japan Gold Size 24 
 
 Jonquil 39 
 
 King's Yellow 7 
 
 Knotting 17 
 
 Lapis Lazulia 9 
 
 Lake 7 
 
 " Cochineal 7 
 
 " Madder 7 
 
 Lamp-black 6, 34 
 
 " Superior 40 
 
 " Paints from 39 
 
 Lavender, Oil of. 13 
 
 Lead Color 11 
 
 " Oxide of Vi 
 
 " Red 8 
 
 " White 10 
 
 Lemon Color 10 
 
 Light Gray, To Paint in 40 
 
 Linseed Oil 12 
 
 Litharge 13 
 
 Liquids with which Colors are 
 
 mixed 12 
 
 Madder Lake 7 
 
 Mahogany, To Imitate 21 
 
 Maple, To Imitate 21 
 
 Marbling 19 
 
 Marbles, To Imitate 22 
 
 Massicot 7 
 
 Megilp 20 
 
 Mental Tone 29 
 
 Mixing and Laying-on of Colors 15 
 
 Montpellier Yellow 40 
 
 Muller 15 
 
 Naples Yellow 7, 10, 40 
 
 Nut Oil 12 
 
 Oak, To Lnitate 20 
 
 " Wood Color 41 
 
 Ochres 8 
 
 Ochre, "Xellow 7, 10 
 
 Olive Color 11 
 
 ' ' Color for Distemper 41 
 
 " Color for Oil 41 
 
 " Color for Varnish 41 
 
 Oil of Lavender 11 
 
 " Poppies 13 
 
 " Spike 13 
 
 " Tar 14 
 
 " Turpentine 13 
 
 " Boiled 13 
 
 " Linseed 12 
 
 " Nut 12 
 
 " Olive, Color for 41 
 
 " Pilchard 13 
 
 " Siccitive 43 
 
 Oils Sea-greens from 43 
 
INDEX. 
 
 PAGE 
 .. 10 
 
 Orange Color 
 
 Ornamental Painting 26 
 
 Orpirnent 7, 13 
 
 Outside Paint, Cheap 35 
 
 Oxide of Lead 13 
 
 Paint, Black 34 
 
 " Cheap Outside 35 
 
 " Fire-places, To 41 
 
 " Flexible 38 
 
 " Hearths, To 41 
 
 " Prussian Blue 42 
 
 Solvent for Old 43 
 
 < £ White 44, 45 
 
 " in Distemper, To 43 
 
 " in Fresco, To 48 
 
 " in Light Gray, To 40 
 
 " in White Distemper, To 44 
 
 Painting 3 
 
 " A Dryer for 36 
 
 " in Distemper 20 
 
 Painters, Cautions to 49 
 
 Colic 81, 48 
 
 " Cream 41 
 
 Paints from Lamp-black 39 
 
 Parker's Cement 8 
 
 Patent Yellow 7 
 
 Peach Color 10 
 
 Pearl Color , 10 
 
 Pilchard Oil 13 
 
 Plaster of Paris 6 
 
 Plumbers, Cautions to 49 
 
 Polishing, French 25 
 
 Poppies, Oil of 13 
 
 Powder, Putty 25 
 
 Tripoli. 25 
 
 Priming 17 
 
 Principal Color 28 
 
 Prussian Blue 8, 42 
 
 Putty... 6 
 
 " Powder 25 
 
 " Solvent for Old 43 
 
 Bed 7 
 
 " Bright 33 
 
 " Distemper for Tiles 42 
 
 " Indian 8 
 
 « Lead 8 
 
 " Venetian _, 8 
 
 Receipts for Colors 33 
 
 Road Dust 11 
 
 Rose Color 36 
 
 Rosewood, To Imitate 21 
 
 Sash Tools 17 
 
 Satin White 31 
 
 Satin Wood, To Imitate 21 
 
 Saxon Blue 44 
 
 '■ Green 9 
 
 Scheele's Green , 9 
 
 Sea Green for Distemper 42 
 
 " Oils 43 
 
 PAGE 
 
 Sea Green for Varnish. 43 
 
 Siccitive Oil. 43 
 
 Sign Painting 23 
 
 Silver Gray 10 
 
 Sky Blue 10 
 
 Solvent for Old Paint 43 
 
 Putty 43 
 
 Spanish Brown 8 
 
 Spanish Mahogany, To Imitate 22 
 
 Spike, Oil of 13 
 
 Stove Color 10 
 
 Straw Color 10 
 
 Superior Lamp-black 40 
 
 Tar, Coal 14 
 
 " Common 14 
 
 " Oil of... 14 
 
 Tiles, Red Distemper for 42 
 
 Tone, Cold 28 
 
 " Mental 29 
 
 " Warm 28 
 
 Tripoli Powder 25 
 
 Turner's Yellow 7 
 
 Turpentine, Oil of 13 
 
 Ultramarine. 9, 43 
 
 Umber, Burnt 8 
 
 Varnish, Olive Color, for 41 
 
 " Sea Green for 43 
 
 Varnishing 24 
 
 Veining Brushes 21 
 
 Vermilion 7, 10 
 
 Venetian Red 8 
 
 Verdigris 9 
 
 Verditer, Blue 9, 33 
 
 " Green 9 
 
 Violet Color 11, 44 
 
 Voider 16 
 
 Walnut Wood Color 44 
 
 Warm Tone , . . 28 
 
 Waterproof Composition 45 
 
 White 5 
 
 " Bougival , 6 
 
 " Distemper, To Paint in. . . 44 
 
 " Lead. 10 
 
 " Paint 44, 45 
 
 " Satin 31 
 
 " Spanish 6 
 
 Whiting 6 
 
 Whitewash, Brilliant 47 
 
 Wine-Lees, Black from 34 
 
 Yellow 6 
 
 Chrome 6, 10 
 
 Color, Golden 38 
 
 " King's 7 
 
 " Montpellier 40 
 
 " Naples 7, 10, 40 
 
 " Ochre 7, 10 
 
 " Patent 7 
 
 " Turner's ' 7 
 
 Zebra Wood, To Imitate 22 
 
THE CONFECTIONER'S HAND-BOOK. 
 
 Containing full and explicit directions for making Candies, 
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 THE ACTOR'S ART. 
 
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 The Game of Whist. Bules, Directions and Maxims to 
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 Tlie Laws Of Love. A Complete Code of Gallantry. 
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 Duncan's Masonic Ritnaland Monitor, or Guide to 
 
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 Send orders to O. A. EOORBACH, 102 Nassau Street, N. "1 
 
T^^^p0pUiS^fluoS^&53? 
 
 Courteney's Dictionary of Abbreviations ; Literaiy, 
 
 1 Scientific, Commercial, Ecclesiastical, Military, Naval, Legal and Medical. 
 S A book of reference— 3,000 abbreviations— for the solution of all literary 
 I mysteries. By Edward S. C. Courteney, Esq. This is a very useful book. 
 1 Everybody should get a copy. Price 15 cts. 
 
 Blunders in Behavior Corrected. A Concise Code of 
 
 deportment for both sexes. Price - 15 cts. 
 
 i "It will polish and refine either sex, and is Chesterfield superseded. ' '—Home 
 pompanion. 
 
 Five Hundred French Phrases. Adapted for those 
 
 I who aspire to speak and write French correctly. Price «15 cts. 
 
 kow to Detect Adulteration in Our Daily Food 
 
 I and Drink. A complete analysis of the frauds and deceptions practiced 
 
 I' upon articles of consumption, by storekeepers and manufacturers ; with full 
 
 ! Ktions to detect genuine from spurious, by simple and inexpensive 
 
 ! means. Price.. - - 1o cts - 
 
 The Young Housekeeper's Book; or, How to Save 
 
 a Good Living upon a Small Income. Price 15 cts. 
 
 HOW to be Healthy ; Being a Complete Guide to Long 
 Life. By a Retired Physician. Price 15 cts. 
 
 How to Gut and Contrive Children's Clothes at 
 
 aSmallOost. With numerous explanatory engravings. Price.--15 cts. 
 
 HOW tO Talk and Debate ; or, Fluency of Speech Attained, 
 withoutthe Sacrifice of Elegance and Sense. Price 15 cts. 
 
 HOW tO DreSS With Taste. Containing Hints on the 
 harmony of colors, the theory of contrast, the complexion, shape or bight. 
 Price - - - 1£> ets * 
 
 Mind Vour StOPS. Punctuation made plain, and Compo- 
 
 sitfen simplified for Headers, Writers and Talkers. This little book is worth 
 fen timSthe price asked for it, and will teach accurately meverytirmg, 
 from the diction of a friendly letter to the composition of a, learned 
 treatise. Price— — 1S> cts ' 
 
 Hard "Words Made Easy. Bules for Pronunciation and 
 Accent; with SSructions how to pronounce French, Italian , Geman, 
 Russian, Danish, Dutch, Swedish, Norwegian, add other foreign nams A 
 capital work. Price lo cls ' 
 
 Bridal Etiquette. A Sensible Guide to the Etiquette and 
 ObservLc^ of the Marriage Ceremonies; containing complete directions 
 for Sal f eceptions andtSe necessary rules for bridesmaids, groomsmen, 
 sending cards, &c, &c. Price—. ----- : A *> cts »- 
 
 HOW tO Behave; of, The Spirit of Etiquette A Complete 
 Quids to Polite Society for Ladies and Gentlemen ; containing rules for 
 gS benavior at the Sinner table, in the parlor, and m the street ; with 
 important hints on introduction, conversation, «kc. Pnce Id cts. 
 
 The Chairman and Speakers Guide; or, R^M 
 
 the Orderly Conduct of Public Meetings. Price— - -ID cw»- 
 
 [?end orders to O. A. BOOBBACH, 102 Nassau Street, ST. •2'. 
 
Chesterfield's Letter "Writer and Complete Book 
 
 OF ETIQUETTE ; or, Concise Systematic Directions for Arranging and 
 Writing Letters. Also, Model Correspondence in Friendship and Business, 
 and a great variety of Model Love Letters. If any lady or gentleman de- 
 sires to know how to begin a Love Correspondence, this is just the book they: 
 want. If they wish to speak their minds to a tardy, a bashful, or a careles9 
 or indifferent lover, or sweetheart, this book tells exactly how it should be 
 done. Thi3 work is also a Complete Book of Etiquette. You will find more, 
 real information in this book, than in half a dogen volumes of the more ex- 
 pensive ones. It is emphatically a book for the million, and one which 
 every young person should have. As it contains Etiquette for Ladies, as 
 -well as for Gentlemen — Etiquette of Courtship and Marriage — Etiquette for, 
 writing Love Letters, and all that sort of thing, it i3 an appropriate book tO| 
 present to a lady. This book contains 136 pages, and is bound in pasteboardl 
 sides, with cloth back. Price 40 cts., 
 
 Brisbane's G-olden Ready Reckoner. Calculated in 
 
 Dollars and Cents, being a useful Assistant to Traders in buying and selling 
 various sorts of commodities, either wholesale or retail, showing at once the 
 amount or value of any number of articles, or quantity of goods, or any 
 merchandise, either by the gallon, quart, pint, ounce, pound, quarter, hun- 
 dred, yard, foot, inch, bushel, etc., in an easy and plain manner. To which 
 are added Interest Tables, calculated in dollars and cents, for days and for 
 months, at six per cent, and at seven per cent, per annum, alternately; and 
 a great number of other Tables and Rules for calculation never before in 
 print. Bound in boards, cloth back. By "William D. Brisbane, A. M., 
 Accountant, Book-keeper, &c. Price-..- 35 cts. 
 
 Richardson's Monitor of Free-Masonry. A Com^ 
 
 plete Guide to the various Ceremonies and Routine in Free-Masons' Lodges, 
 Chapters, Encampments, Hierarchies, &c, &c, in all the Degrees, whether 
 Modern, Ancient, Ineffable, Philosophical, or Historical. Containing, also, 
 ihe Signs, Tokens, Grips, Pass-words, Decorations, Drapery, Dress, Regalia 
 and Jewels, in each Degree. Profusely illustrated with Explanatory En- 
 gravings, Plans of the Interior of Lodges, &c. By Jabez Richardson, 
 A.M. A book of 135 pages. 
 
 IBound in paper covers. - Price 50 cts. 
 
 Dound and gilt. Price _ @1 00 
 
 This is the only book ever written which gives a detailed description of 
 the doings inside" a Masonic meeting. 
 
 100 Tricks "With Cards. J- H. Geeen, the Reformed 
 
 Gambler, has just authorized the publication of a new edition of his bool* 
 entitled, " Gamblers' Tricks with Cards Exposed and Explained." This is 
 a book of 96 pages, and it exposes and explains all the Mysteries of tbr, 
 Gambling Tables. It is interesting, not only to those who play, but to thos$ 
 "who do not. Old Players will get some new ideas from this curious book. I 
 
 Paper covers. Price 30 ctsJ 
 
 ZEcund in boards with cloth back. Price 50 cts' 
 
 Boxing Made Easy; or, The Complete Manual of Self 
 
 Defense. Clearly Explained and Illustrated in a Series of Easy Lessons 
 ■with some Important Hinta to "Wrestlers. Price - 15 cts 
 
 HOW to "Win and HOW to "WOO. Containing Rules fo; 
 the Etiquette of Courtship, with directions showing how to win the favor o 
 the Ladies, how to begin and end a Courtship, and how Love Letters shouh 
 be written. Price -15 cts 
 
 Copies of the above books sent free of postage on receipt of prtQ'i, 
 
 Send orders to O. A. ROORBACH, 102 Nassau Street, N. 
 
Oliver Twist. — A ^ ew an cl Elegant Parlor Game, for any 
 number of Players, based on the Celebrated Story of the 
 same name by Chables Dickens. Price 60c. 
 
 This new and superb parlor game differs from any hitherto 
 published, and is extremely fascinating and interesting in its 
 method of playing. It can be engaged in by any number of 
 persons, and affords an exhaustless fund of entertainment for 
 the Home Circle and the Social Party. It consists of sixty 
 cards, twenty-six of them being illustrated with engravings 
 of the leading characters, the whole enclosed, with full direc- 
 tions, in a handsome Box, richly embossed in Blue and Gold, 
 and printed in Carmine. 
 
 The Shakesperiail Oracle.— A New Game of Fortune. 
 
 Price 50 cents. 
 
 " I am Sir Oracle, 
 And when I ope my mouth let no dog bark. " 
 
 Merchant of Venice, Act.l, Sc. 1. 
 
 The character of this Game is sufficiently indicated by its 
 title. It forms a unique and charming recreation, and is at 
 times wonderful in its revelations. To persons of fine taste 
 its style and matter cannot fail to be highly pleasing and 
 satisfactory. 
 
 Mixed Pickles. — A Very Merry Game, for One Person or 
 Three. Price 30 cents. 
 
 This may be termed a merry solitaire ; and though no skill 
 is required in playing it, it will serve as an amusing and con- 
 stantly varying pastime for one or three persons. Any num- 
 ber may at the same time act as leokers-on or listeners, be in- 
 terested in its developments, and convulsed with laughter 
 over its results. 
 
 Match and Catch. — A Merry Picture Game for the 
 Young Folks at Home. Price 30 cents. 
 
 Designed for the youngest of the young folks, and can be 
 played by those who cannot read — the playing being guided 
 by the pictures, which are fantastic and amusing. It will 
 prove to be always attractive, and will keep a party of little 
 ones pleasantly employed for hours. 
 
 Any of the above will be sent by mail, post paid, on receipt of price, by 
 
 O. A. ROORBACH, 102 Nassau St., N. Y. 
 
Squalls.— The new English Game. Price 30 cents. 
 
 We offer a people's edition of this new and popular English 
 Game, capable of affording as much entertainment as the 
 higher cost sets. The prices heretofore have ranged from 
 one dollar to five dollars. Full directions for playing, with 
 Definitions of Terms employed, accompany each game. 
 
 Hand Book of Dominoes.— This little Book gives 
 
 descriptions and full directions for playing all Games with 
 Dominoes, including all recently invented, and the very 
 popular European Games. It will vastly increase the inter- 
 est felt in Dominoes. Price 15 cts. 
 
 Euchre and its LaWS.— The Laws and Practice of the 
 Game of Euchre. One large vol. cloth. Price $1 00. 
 
 The Common Sense Cook Book,— This book aims 
 
 to give, in a compact form, Receipts for Cooking, founded, 
 as the title indicates, on common sense. It furnishes a 
 reliable guide for the preparation of a vide range of dishes, 
 suiting all tastes and all purses. One decided attraction 
 is the number of delicious, but inexpensive preparations 
 which are included in the work. The proportions of ingre- 
 dients are carefully given, as well as the manipulations and 
 proper serving up. Price 30 cts. 
 
 How to make a Bad Memory G-ood, and a 
 
 GrOOd Memory Better.— A valuable guide for all de- 
 siring to improve their memories, and to be able to recollect 
 with facility, dates, facts, faces, names, locations, figures, 
 texts, &c. It will be found very useful to students prepar- 
 ing for examination, and clergymen, and all public speakers 
 will be able to save much time by the aid of the hints as to 
 speaking without notes. Price 15 cts. 
 
 Skeleton Leaves, and Phantom Flowers,— also, 
 
 How to Preserve Natural Flowers in all their fresh beauty. 
 One vol. cloth Price $2 25. 
 
 Any of the above will be sent by mail, postpaid, on receipt of price, by 
 
 O. A, ROORBACK, 102 Nassau St., N. Y. 
 
 s2 
 
GO OD BOO KS. 
 
 Hillgrove's Ball Room Guide, and Complete 
 
 Practical Dancing: Master. Containing a Plain Treatise on Etiquette 
 and Deportment at Balls and Parties, -with Valuable Hints in Dress and 
 the Toilet, together with full explanations and descriptions of the Rudi- 
 ments, Terms, Figures, and Steps used in Dancing, including Clear and 
 Precise Instructions how to Dance all kinds of Quadrilles, Waltzes, Polkas, 
 Redowas, Reels, Round, Plain and Fancy Dances, so that any person may 
 learn them without the aid of a Teacher ; to which is added Easy Direc- 
 tions for Calling out the Figures of every Dance, and the amount of Music 
 required for each. The whole illustrated with one hundred and seventy- 
 six descriptive engravings and diagrams, by Thomas Hillgrove, Professor 
 of Dancing. 237 pages, bound in cloth, with gilt side and back.. $1 00. 
 Bound in boards, with cloth back 75 cts. 
 
 Rarey & Knowlson's Complete Horse Tamer and 
 
 Farrier, comprising the whole Theory of Taming or Breaking the Horse, 
 by a New and Improved Method, as practiced with great success in the Uni- 
 ted States, and in all the Countries of Europe, by J. S. Raue?, containing 
 Rules for selecting a good Horse, for Feeding Horses, etc. Also, The Com- 
 plete Farrier ; or, Horse Doctor ; a Guide for the Treatment of Horses 
 in all Diseases to which that noble animal is liable, being the result of fifty 
 
 ? 'ears' extensive practice of the author, by John C. Knowlson, during his 
 ife, an English Farrier of high popularity, containing the latest discover- 
 ies in the cure of Spavin. Illustrated with descriptive Engravings. Bound 
 in boards, with cloth back — 50 cts. 
 
 The Poet's Companion : A Dictionary of all Allowable 
 Rhymes in the English Language. This is a book to aid aspiring genius in 
 the Composition of Rhymes, and in Poetical Effusions generally. It gives 
 the Perfect, the Imperfect, and the Allowable Rhymes, and will enable you 
 to ascertain, to a certainty, whether any words can be mated. It is invalu- 
 able to any one who desires to court the muses, and is used by some of the 
 best writers in the country. Price 25 cts. 
 
 The French "Wine and Liquor Manufacturer, a 
 
 Practical Guide and Private Receipt Book for the American Liquor Mer- 
 chant. By John Rack, Practical "Wine and Liquor Manufacturer. Illus- 
 trated with, descriptive Diagrams, Tables, and Engravings. This is by far 
 the most complete and reliable Book on the Manufacture of Liquor, ever 
 published. Cloth, price $3,00. 
 
 The Yoking Reporter ; or, Row to Write Short Rand. A 
 Complete Phonographic Teacher, intended to afford thorough instruction to 
 those who have not the assistance of an Oral Teacher. By the aid of this 
 work, any person of the most ordinary intelligence may learn to "Write 
 Short Hand, and Report Speeches and Sermons in a short time. Bound in 
 boards, with cloth back, price 50 cts. 
 
 The Nightingale Songster ; or, Lyrics of Love. Contain- 
 ing 164 Choice Sentimental Songs. Bound in boards, with cloth back, and 
 illustrated cover, price 50 cts. 
 
 The Emerald ; or, Book of Lrish Melodies. Containing- a Choice 
 Collection of Irish, Comic, and Sentimental Songs. Bound in boards, with 
 cloth back, and illustrated cover, price 50 cts. 
 
 The Knapsack Fllll Of Ftm ; or, 1000 Rations of Laughter. 
 
 Illustrated with over 500 Comic Engravings. Price •. — 30 cts. 
 
 O. A. ROORBACH, 102 Nassau St. NewJTork. 
 
 Copies of the above boots aent to any address in the U. S. free of postage on receipt of price. 
 
MASONIC BOOKS. 
 
 Duncan's Masonic Ritual and Monitor ; or, Guide 
 
 to the Wiree Symbolic Degrees of the Ancient York Rite, Entered Apprentice, 
 Fellow Craft, and Master Mason. And to the l)egrees of Mark Master, 
 Past Master, Most Excellent Master, and the Royal Arch. By Malcolm 
 C.Duncan. Explained and Interpreted by copious Notes and numerous 
 Engravings. Although this work is a complete Ritual of the Symbolic and 
 Chapter Degrees, and is also profusely illustrated with engravings of the 
 Secret Signs and Grips, it is not so much the design of the author to gTatify 
 the curiosity of the uninitiated, as to furnish a Guide to the Younger 
 Members of the O der, by means of which their progress from grade to 
 grade may be facilitated. It is a well-known fact that comparatively few 
 of the fraternity are "Bright Masons," but with the aid of this invaluable 
 Masonic Companion any Mason can, in a short time, become qualified to 
 take the Chair as Master of a Lodge. Everything in this book is clear and 
 correct, and it gives in the plainest possible language an understandable 
 description of all the Rites and Ceremonies practiced in the above-named 
 Degrees. Nothing is omitted in it that may tend to impart a full under- 
 standing of the principles of Masonry. The Ceremonies as they are (or 
 should be) performed, the Pass-Words, Grips, Signs, Tokens, Jewels, 
 Emblems, Lectures, and Plans of the Interior of Lodges, are all explained, 
 with numerous Notes and Engravings, (all new.) Tais is a valuable book 
 for the Fraternity, containing, as it does, the Modern "■Work" of the 
 order. No Mason should be without it. It is entirely different from any 
 other Masonic book heretofore published. Bound in cloth. Price— - $2 50 
 Leather tucks [Pocket-Book Style] with gilt edges $3 00 
 
 Richardson's Monitor of Freemasonry. A com- 
 plete Guide to the various Ceremonies and Routine in Freemason's Lodges, 
 Chapters, Encampments, Hierarchies, &c, &c, in all the Degrees, whether 
 Modern. Ancient, Ineffable, or Historical ; containing Engravings of the 
 Signs, Tokens, and Grips, and descriptions of the Regalia and Jewels, and 
 likewise the Pass- Words and other Secret Words in each Degree. Profusely 
 illustrated with explanatory Engravings and Plates. By Jabez Richard- 
 son, A. M. Any Society of Masons who wish to work in the higher De- 
 grees, or in any Degree whatever, will find this book an invaluable aid to 
 them. 192 pages, bound in gilt cloth. Price - $100 
 
 Morgan's Freemasonry Exposed and Explained. 
 
 Showing the Origin, History and Nature of Masonry ; its effect on the Gov- 
 ernment and the Christian Religion ; and containing a Key to all the De- 
 grees of Freemasonry. Giving a clear and correct view of the Manner of 
 conferring the different Degrees, as practiced in all Lodges throughout the 
 Globe. Price - 25 
 
 Copies of the above Books sent by mail, to any address, free of post- 
 age, on receipt of price. 
 
 Send all orders to O. A. ROORBACH, 
 
 102 Nassau St., New Yorlc* 
 
36 91 
 
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