Google
This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project
to make the world's books discoverable online.
It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject
to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books
are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover.
Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the
publisher to a library and finally to you.
Usage guidelines
Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing tliis resource, we liave taken steps to
prevent abuse by commercial parties, including placing technical restrictions on automated querying.
We also ask that you:
+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for
personal, non-commercial purposes.
+ Refrain fivm automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the
use of public domain materials for these purposes and may be able to help.
+ Maintain attributionTht GoogXt "watermark" you see on each file is essential for in forming people about this project and helping them find
additional materials through Google Book Search. Please do not remove it.
+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner
anywhere in the world. Copyright infringement liabili^ can be quite severe.
About Google Book Search
Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web
at |http: //books .google .com/I
8%„nj
4
I
' fAFW^
1?
]
i
THE
PAINTER,
GILDER, AND YARNISHER'S
COMPANION :
CONTAININO
KULES AND REGULATIONS
IN
fiVERYTHING RELATING TO THE ARTS OF PAINTING.
GILDING, VARNISHING, GLASS-STAINING. GRAINING.
MARBLING. SIGN-WRinNG, GILDING ONGLASS,
AND COACH PAINTING AND VARNISHING;
Tests for the Deteetioii ef Adultentio&g in Oils, Colors, Et^.
AND A
STATEMFJfT OP THK DISEASES TO WHICH PAINTERS ARK MCUMARIT
LIABLE, WITH THE SIMPLEST AND BEST REMEDIES.
SIXTEENTH EDITION.
K,E'^ISEX>, -WITH -A-IT -A-I>I»E2T3DI3C.
CONTAININO
COLORS AND COLORING-THEORETICAL AND PRACTICAL.
COMPRISING DESCRIPTIONS OP
V GREAT VARIETY OP ADDITIONAL PIGMENTS, THEIR QUALITIES
AND USE8. TO WHICH AR»=: ADDED, DRYERS, AND MODES
AND OPERATIONS OP PAINTING, ETC.
TOGETHER WITH
CheTreuFs Principles of Harmony and Contrast of Colors.
PHILADELPHIA :
HENRY CAREY BAIRD & CO.,
INDDSTRIAL PUBLISHERS, BOOKSELLERS AB ilPORTERS,
810 Walnut Street.
1886.
Rnterod afioordliig to Act of CongresA, In the yemt 1809, by
Hjctrt Caret Baird,
to tb« a«rk*8 Office of the District Coart of the United States fn Mid •>» ttl*
KMtem District of Pennajrlvania.
OOLIilNS, PRINTER.
PREFACE.
The marked success which has attended the
publication, of The Painter, Gilder, and
Varnisher's Companion, has encouraged the
publisher, from time to time, to make such ad-
ditions to it as seemed most likely to add to its
value and usefulness. The present edition has
been greatly improved, and it is confidently be-
lieved, will commend itself still further to the
attention of practical men, and others who have
occasion to use su^h a book.
The object of the volume is to give a clear,
concise, and comprehensive view of the princi-
pal materials to be used, and the operations to
be conducted, in the practice of the various
3
4 PREFACB.
branches of these trades, and to embody in as
simple language and as limited a compass as
possible, the present state of knowledge in
regard to them.
Since the appearance of the first edition, and
prior to the publication of the pre^nt one, the
following additions had been made : —
Directions for Graining and Imitating Woods
and Marbles, instructions for Sign Writing, and
complete instructions for. Coach Painting and
Varnishing. The present one comprises, be-
side the contents of all former editions, th«
entire Appendix.
That portion of the Appendix on Colors
AND Coloring, theoretical and practical,
will be found to comprise many very valuable
principles regarding all the colors, together
with descriptions of the best pigments, tabler
classifying them under general heads, indicating
FKEFACfi. 5
their respective merits or defects, and conse-
quently pointing out the circumstances under
which they may or may not be safely used,
beside much other general information.
The brief but comprehensive statement of
The Pbikcu'les of Uarmony a^'d Contrast
OF Colors, of M. Cuevreul has been given
under the conviction, that by calling attention
to the doctrines laid down by that eminent
experimenter and philosopher, in a book so
popular as the present one, much good would
result. It would be difficult to over-estimate
the importance of disseminating true ideas of
taste in color, not only among Painters, but
among all those who desire to embellish their
houses, or who have any control over, or direc-
tion of buildings, for public or private use, or
those who have occasion to call into requisition
the painter's art, or to use colors in any of the
6 PREFACE.
thousand ways in which they play an im
portant and leading part. That our people need
instruction in this direction cannot be denied,
and this portion of the volume is particularly
commended to the attention of all readers.
H. 0. B.
Philadelphia. April 1, 1869.
CONTENTS.
PAGE
Tools axd Apparatus 7
Taylor's Indigo Giindiiig-mill ... 9
Kawlinson's Indigo Grinding-niill 1 1
COF.0URS 19
Whites 10
Wliite Lead, Ceruse, and Flako
White 19
Spanish, or Bongival White 21
(iypsum, or IMasti-r of Pai is 21
White of Tioyos, or White C halk 22
IJl.ACKS 22
Ivor y Black 22
Lamp Black 23
('harcoal Blacks 23
|{Ki« 24
Vt-rmilion 24
lilinium, or Red Lead 2a
i'ai mine 2(5 I
]4»ke 2S I
^IKinish Brown 29 i
Other Reds :'. ) |
Yku.ows 30 I
Yellow Ochre;. 30 |
Ma-<sicot 30 |
Chrome Yellow 31 i
Turner's, or I'atent Yellow 31 i
Oipinient - 32 1
Nuples Yellow 32 j
Yellow of Antimony 33 i
Yellow Pink 33
Bi.UES 33
Prussian Blue 33 ;
Indigo 34 ^
Ultramaiine 35
t^malr, Ziiffre, Azure, Saxon Blue, '
or Enamel Blue 36 ]
Blue Verditer 37 |
Greens 37'
Verdigris 37 '
Italian or Verona Creeu 38 '
PAGR
Saxon, or Hungary Green 38
Schoc'k's' Green 38
Schweiiifurt Green 39
Brunswick Green 39
Green Verditer 40
Grt'cn Lake ')r Venetian Grceu- 40
Bkowns 41
Umber 41
New Brown, di '•cove red l)y Mr.
ILitchet 41
Compound Coloiks, or Coloiks
AFUSINO FROM MlXTlUK 42
Light Gi-ay 42
Buff :. ... 42
Silver, or Pearl G my 42
Flaxen Gray .. .42
Bi ick colour 42
Oak -Wood culoiu' 42
Walnut-tree coluur 43
Jonquil 43
Leniun Yellow 43
Oiango colour 43
Violet colour 43
Purple 43
Carnation 43
Gold colour 43
Olive colour 4,3
Lead ctdour 4.3
Chestnut clour 43
Light Timber colour 44
Flesh colour 44
Light Willow (Jreen 44
Grass Green 44
Stone colour 44
"Dark Lead colour 44
Fawn colour 44
Choc(dafe colour 44
Portland Stnne colour 44
To imitate Mahogany 44
To imitate Wainscot 44
(iii;
IV
CONTENTS.
PAGB
To imitate Satiii wood 41
OiM 45
Oil of Spike 45
Oil of Liivender 46
Oil of Poppies 45
Nut Oil, or Linseed Oil 46
Oil of Turpentine ~... 48
Vat Oils « 48
DijingOils 49
IMIchard Oils &0
Varnishes..^ 51
81iell-l«c Varnish M
Ked Shell-lac Varnisii 65
Turpentine Varnish 55
Unseed Oil Varnish 56
Copal Varnish 56
Gold-coloured Copal Varnish 56
Camphorated Copal Varnish 57
('A)\yn\ Varnish in imitation of Tor-
toise-Shell 57
Amber Varnish 59
Caoutchouc, or Gum-elastic Var-
nish 60
Mastic Varnish 60
Varnish fur Violins, etc 61
White Hard Varnish 62
Varnishes for Paling and coarse
Wood-work 62
Varnish for Coloured Drawings... 63
Varnish for Olass 63
Black Varnish for old Straw or
Chip Hats 63
Varnish for Draw^ings and Card-
work 64
Changing Varnishes 54
Mordant Varnishes 65
Gbnebal Obsertations ox Var-
jnsHBS 66
Polishes 70
Varnish Polish 70
Polish for Dark-coloured Woods... 70
Polish for Tunbridge-ware, Goods,
etc 71
Canrer's Polish 72
French Polish 72
Water-proof Polish- 72
Finishing Polish 73
(JiLDiNO Materials 74
Fine Gold Powder 74
Colour-heightening Compositions. 74
MostUc Gold 75
Dutch or German Metal 76
Ethere:i] .Solution of Gold 76
Gold 0ll-col«mr, or Size 78
Gold Water Size 78
Proparatory Size 78
PAOR
White Coating 79
Colouring Yellow 79
Vermeil 80
Miscellaneous Materials 81
Painter's Cream 81
Rotten Stone 81
Glue and Isinglass 82
Common Size 82
GlUNIklNO AND WaSHINQ COLOURS 83
ClBANLINESS III WOKKINO 88
pRACTicB OF Painting 91
Painting in Distemper 94
Painting in Milk 97
Practice of Varnishing and
Polishing 100
French Polish lO'^;
Waxing IW
Pkactice of Gilwno 107
Gilding Carved Wood with
Water Size 107
Gilding Plaster or Marble with
Water Size Ill
Gilding Wood in Oil 112
To Gild Steel 112
To Gild Copper, Brass, etc 113
Gilding Glass and Porcelain....;.. 113
Gilding Leather 114
Gilding Writings, Drawings, etc.,
on Paper or Parchment 115
Gilding the Edges of Paper 116
Ox Lacquering 117
Lacquer for Bi-ass 117
Lacquer for Philosophical In-
struments. .< 117
Gold-coloured Lacquer for Bras3
Watch-cases, Watch-keys, etc. 118
To make Lacquer of various
Tints 119
To Clean old Brass-work for La>
quering 119
Bronzing 120
Japanning 128
Colours required in Japanning... 123
To prepare a Tortoi.ic-8hell Ja-
pan ground by means of Heat. 121
Foils 126
To Colour Foils 126
Fish Oil Colours 130
To prepare the Oil I^^U
Gain by the above Process 131
Preparation and C«Mt t)f particu-
lar Colours 132
Subdued Green 182
Lead Colour 133
Bright Green a35
Stone Colour 1.S4
CONTENTS.
PAGE
Brown Retl 135
Chocolate Colour 136
Yellow 136
Black 186
Olass-Staimnq 137
No. 1. Flux 139
No. 2. Gray Flux 189
No. 3. Flux for Canoines and
Groena 139
The Various Colors 139
BlUfiS 140
Ir^Jigo Blue 140
Turquoise Blue 141
Azuro Blue 141
Deep Aeurc Blue... 141
Sky Blue for the Browns 141
Violet Blue, for Ground Colour... 142
Lavender Blue, for Ground
Tint 142
Greens 142
Emerald Green 142
Bluish Green 143
Grass Green 143
Di'agon, Pistache, and Olive
Green 143
YELLrfWS 143
Sulphur Yellow 144
Fixed Yellow for touches 144
Yellow f(»r Browns and Greens... 144
Deep Yellow, to nrix with the
Chromium Greens 145
Jonquille Yellow for flowers 145
Wax Yellow 145
Fixed Wax Yellow 145
Nankin Yellow for grounds 146
Deep Nankin Yellow 146
Pale Yellow Ochre 146
Deep Yellow Ochre, called Yel-
low Brown 146
Brown Yellow Ochre 146
IsalKilla Yellow, for grounds 147
Orange Yellow, for grounds 147
Brick Red 147
Deep Blood Red 147
Colours OF Gold 147
Hard Carmine 148
Pure Purple 148
Deep Violet 148
Colours of Iron 148
Flesh Red 149
Clove Brown 149
W(»od Brown 150
Hair Brown 150
Liver Brown 160
Sepia Brown 150
White 150
PAUB
YellowI»h-Gi-ay for Browns and
Reds 161
Bluish-Gray for mixtures 161
Grayish- Black forniixtures 361
Deep Black 162
Application of the Coloui-s 152
To fire the Paintings 164
Furnace and Muffle 154
Harmony of Colours 158
Miscellaneous Subjects and
Useful Receipts 169
To increase the strength of com-
mon Rectified Spirits of Wine. 15S
To Silver by Heat. im
To Tin Copper and Brass 161
To Tin Iron and Copper Vessels. 161
To Paint Sail-Cloth so as to make
it PUable, Durable, And Water-
proof. 162
To make Oil-Cloth 162
To prepare Varnished Silk 164
To paint Cloth, Cambric, Sarce-
net, etc., so as to render them
Transparent 164
To thicken linen Cloths for
Screens 165
Printei-'s Ink 165
Sticking, or Court Plaster 166
To imitate Tortoise-shell with
Horn « 167
A Varnish to preserve Glass from
the Rays of the Sun 168
To imitate Rosewood 168
To imitate Black Rosewood 169
A fine Black Varnish for Coaches
and Iron Work 170
A Varnish to imitate the Chinese 170
To' clean Silver Furniture 170
To colour the Backs of Chinmeys
with Lead Ore 171
To clean Marble, Sieiiaa, Jasper,
Porphj-ry, etc 171
A White for inside Painting 171
To take Ink Spots out of Mahog-
any 172
To make Paste for Furniture 172
To make Oil for Furniture 173
To Brown Gun Barrels 17o
To clean Pictures 173
Another Method 174
Varnish for Clock Faces, etc 174
Varnish for Balloons 176
Diseases and Accidents to
WHICH Painters and Var-
NISUBRS are particularly
LIABLE 177
VI
CONTENTS.
PAGE
Painter's Colic 177
Weakness of the Wrists 180
Effects of Poisonous Substances
used in Painting and Varnish-
ing 181
Nausea 184
Burns and Scalds 184
Gkneral Ob3:;rvation8 187
DtREGTIONS FOR Ci.<AlNING AND
Imitating Woods and Mar-
bles 190
Oak 190
Combs 190
Brushes 191
Colours, etc 191
tiniining C«>1 »ur 192
Spirit C.lour 194
PollanlOak 195-
Root of Oak 196
To Grain Pollard and Root of
Oak in Distemper 196
Walnut 197
Bird's-eye Maple in Distemper.. . 197
To Gi ain Maple in Oil 199
S itiii-wooil 200
Mah'iganyin Distemper 201
Mahog my in Oil 201
Rosewood 202
Marble 203
Sienna ... 203
Black and Gold Marble 204
Siint Ann'.s 205
'Veid Antique, or .\iicient Green. 205
Egyp!i»n <;re.Mi 206
Rouge n a, or lloyal lied 206
Italian Jasper 207
Dove Marble 208
Black Pardel la 208
PAGE
Derbyshire Spar. 208
Granites ... 2-9
To Polish Imitation Marble^ 210
I>SrRUCTIOXS FOR SlGN-A\ RlYiNO 211
Setting-out, or Airangement of
Lettei^ 213
To raise or make Letters appear
to stand out from the Buaid,
and to tsbadow them 213
To Gild Lettei-s 214
To Write, Gild, and On anient
on Glass 215
Complete iNSTRrcrioNS for
Coach-Painting and Var-
nishing 217
A suitable place to work in 217
Preparing the Oil 217
Boiled Oil 217
Raw Oil 219
Priming Coat for a carriage-gear-
ing and body 219
Smoothing with eandpnper 220
Use of pumice-stone in smooth-
ing after priming 220
Use of grained sole leather jn
snif.otliing after piiniing 220
Roufih-stufling 221
Finishing up to receive the colour 223
Putting on the colour 224
Rubbing down after the second
coat. 220
Varnishing 227
Ornamenting and striping 229
Ornaments on panels 230
Shading 232
Striping 232
Varnishing after striping 235
APPENDIX.
Colors and Coloring; theoretical and practical: CoMPRismo descrip-
tions OF A Great Variety of additional Pigments; their Qualities and
uses; to which are added Dryers and Modes and Operationsof Painting.
PAGE
Colors 241
Qualities of Pijrments. 242
Of white AND ITS PIGMENTS
White 243
PAGE
White Lead 2-J4
Adnlterations 245
Kreins,CremsorKremnitz white 246
Flake White 246
CONTENTS.
VI 1
PAGE
mane d' Argent '247
Roman White 247
Sulphate uf Lead 247
Zinc White 247
Tin White 249
Poail White 249
Tints 250
Of toe Primary Colors
Of Yellow 250
Jauue Minerale 252
Naples Yellow 252
Massicot 253
Yellow Ochre ^ 253
Oxford Ochre 254
Stone Ochre 254
Koman Ochre 254
Brown Ochre 254
Terra di Sienna 255
Iron Yellow 255
King's Yellow 255
Chinese Yellow "255
Arsenic Yellow 256
Cadmium Yellow 256
(jkimboge 266
Gall-stone 257
Yellow Lake 257
Of Red 257
Iodine Scsulet 259
Ked Ochre 200
Indian Red 260
Light Red 261
Venetian Red 261
Rubric or Madder Lakes 261
Scarlet Lake 262
Lac Lake 263
Madder Carmine 263
Of Blue '. 263
Ultramarine 266
Factitious Ultnunarluo 267
Cobalt Blue 268
Smalt 268
Royal Bine 269
Antwerp Blue 269
Op tub Seooxdart Polors
Of Orange 269
Chrome Orange 270
Orange Ochre 271
Mai-s Orange 271
Burnt Sienna Earth 271
Orange Lo<id 271
Orange Orpimont 272
Op Green 272
Mixed Greens 274
Turre-rerte 274
Chrome Greens 275
P4G«
Cobalt Greens 276
£mcrald Green 276
Mineral Green •• 276
Prussian Green 276
Invisible Green 276
Zinc Green 276
Of Purple 277
Mixed Purples 278
Gold Purple 279
Madder Purple 279
Burnt Carniiuo 279
Purple Lake 280
Purple Ochre 280
Of tue Tertlirt Colors
Of Citrine 280
Mixed Citrine 281
Brown Pink 282
Umber 282
Of Russet 282
Mixed Russet 283
Field's Russet 284
Prussiate of Copper 284
Kusset Ochre 285
Of Olive 285
Mixed Olive 286
Olive Green 286
Burnt Verdigris 286
Of semi-Neutral Colors
Op Brown 287
Vandyke Browu. 289
Manganese Brown 289
Cappagh Browu 290
Burnt Umber 290
Cassel Earth 291
Cologne Earth 291
Rubens Brown 291
Brown Ochre 291
Bono Brown 291
Asphaltum 292
Antwerp Brown 292
Prussian Brown 293
Op Grat 293
Mixed Grays 294
Ultramarine Ashes 294
Phosphate of Iron 295
Plumbago 2'.>5
Op the Neutual-Black 295
Ivory Black 297
Lamp Black 297
Frankfort Black 298
Blue Black 298
Spanish Black 298
Mineral Black 299
Maganese Black 299
Black Ochre 299
Black Lea<l 296
__• • •
Vlll
CONTENTS.
PAGE
Tables op Piomextb
Table I. Pigments wlucU change
by liglit, oxygen and pure air
but not by sbude sulphuretted
Ijydrogon, damp and foul air... 301
Table II. Pigments little or nut at
all changed by light, oxygen,
und pure air; but by shade,
Bulphurctted Iiydrogen, damp
and impure air 301
Table III. Pigments changed by
the action both of light and
oxygen and the opposite pow-
ers of sulphuretted hydrogen
damp and impure air 302
Table IV. Pigments not at all or
little changed by the action of
light, oxygen and pure air ; nor
by the opposite influences of
shade, sulphuretted hydrogen,
dump and impure air; nor by
the action of lead or iron 303
Table V. Pigments subject to
change variously by the ac-
tion of wljite lead and other
jngments and preparations of
that metal 304
Table A' I. Pigments changed by
iron, its pigments and other
ferruginous substances 305
Table VII. IMgnientS more or
less transi)arent, and generally
lit to be emi>loyed as graining
and fiiiislnng colors 305
Table Vlll. Pigments little or
not at .all affected by heat or
fire 306
Table IX. Pigments little or not
at all artected by lime and
elij;ible for fresco, distenjpor
urul crayon painting 307
Dryers 308
Modes AND Operations of Pai.vt-
ING
Grounds 310
Painting in Oil 310
Priming 311
Flattening 311
Stain Oraitiing 812
Transparencies 313
Jlules of Painting 313
Fre-sco 313
In Distemper Painting 315
Scagliola 315
Cleaning and Restorinq
In I'emoving Varnish 316
PAOI
Removing Paint 317
Chevreul's Principles of Har-
mony AND Contrast of Colors
Definitions 319
Analysis of Light and Color 320
The Source of Color 320
The Type or Standard of Color 321
On the Mixture of Colors 321
C«)lors of Objects 324
Complementary Colors 324
Circumstances which modify a
Color 826
Modificatioivs produced in a color
by being placed in contact with
another Color 326
Result of placing Colors in Con-
tiguity 3-29
First gi-oup. — ^Two compound Col-
ors, having the same simple
Color in each 3'29
Second group. — Acomi>ound Col-
or with a simple color which
forms a part of the Compound 329
Third group. Two simple Colors 330
Fourth group. Two Conipounds
composed of the sanic simple
Colors 330
I"ifth gi'oup. A Compound Col-
or, and a simple color which is
not found in the compound 330
Influence of Gloss atid of Form
upon the Effect of Contrast of
two Colors 3.J1
Binary associations of Colors 331
1. Association of Complementary
Colors 331
2. Association of non-Comple-
mentary Colors 33f
In the Association of two Colors
of equal tone, the height of
the tone may influence the
Beauty of the Association 332
Influence of the Contignity of
White on Colors 33:j
Influence of the -Contignity of
Black on Colors 334
Influence of the Contiguity of
Gray on Colors 3:^^
Harmony of Coloi'S 3.50
First group. Harmonies of An-
alogous Colors 336
Second group. Harmonies of
Contrast 336
On the Selection of the kind of
Harmony for a given object... 338
Index W)
THE
PAINTER, GILDER, AND VARNISHER'S
COMPANION.
TOOLS AND APPARATUS.
Before proceeding to enter upon any details respect-
ing the nature, use, and composition of the substances
employed by the Painter, Gilder, and Varnisher, I shall
give a description of the tools and apparatus necessary
in these occupations, with directions for their selection
and proper use. The first in order and in importance
are the grindstone and muller, employed in grinding
colours. The grindstone in common use is a horizontal
slab, tibout eighteen inches square, and sufficiently heavy
to enable it to remain fixed and firm while the colours
are ground upon it. The best material is spotted marble
or granite ; but when that cannot be procured without
inconvenience or great expense, white or black marble
may be used. Particular care must be taken that the stono
IH hard and of a close grain, and not full of sn^all pores
7
8 THE PAINTER, GILDER,
which will be sure to retain part of the colours 6rsl
ground, and thus prevent the stone from being properly
cleaned, and render the po^ours that are ground after-
wards mixed and dingy.
A large piece of slate is sometimes used for a grinds
etone ; but this is very improper, except where the colours
are quite of a common description, and the painting re-
quires no nicety.
The muller is a pebble-stone, in the shape of an egg,
with the larger end broken off, and then ground as smooth
ind flat as possible. It is generally to be purchased
ready-made at the colour shops. The greater its size
(if the dimensions are not so large as to make it difficult
for the workman, with a moderate exertion of the strength
of his arms, to keep it in continual motion) the better.
The usual size is from two to three inches in diameter
at the flat end, and about five inches high. In choosing
it, the principal points to be observed are, that the sur-
face is perfectly smooth and the edges well rounded off.
An excellent substitute for the common grindstone
and muller, but confined in its application to the grind-
ing of colours in a dry state, has been invented by Mr.
Charles Taylor, of Manchester, England, and is repre-
sented by Figs. 1 and 2.
Fig. 1 represents a mortar, made of marble or other
bard stone. One made in the usual form will answer.
M is a muller or grinder, made nearly in the form of
a. pear, in the upper part of which an iron axis is firmly
fixed ; which axis, at the parts marked N, N, turns in
grooves, or slits, made in two pieces of oak, projecting
AND VARNISHER'S COMPANION.
TAYLOE'e ISDIGO GRIHDINO-MILL.
Fig. 1. Fig. 2.
hofizoatally from n wait, &c, ; and when the axis ia ai
work, it is secured in the grooves bj the iron pins 0,
P, the handle, which forms a part of the axis, and bj
turning which the grinder is worked.
Q, the wall, &c., in wliicli the oak pieces, N, N, ara
R, a weight, which may occasionally be added, if
more power ie wanted.
Fig. 2 shows the muller or grinder with its ttxisRepit-
10 THE PAINTER, QILDEB^
fa to from the other machinery : its bottom should be
made to fit the mortar.
S, a groove cut through the stone muUer.
The muUer being placed in the mortar, and secured
m the oak pieces by means of the pins, the colour to be
ground is thrown into the mortar, above the muUer; on
turning the handle, the colour in lumps falls into the
groove cut through the mulle'r; and is from thence
drawn in under the action of the muller, and again pro-
pelled to its outer edge, within the mortar; from whence
the coarser particles again fall into the groove of the
muller, and are again ground underneath it ; this opera-
tion is continued until the whole of the colour is ground
to an impalpable powder: the muller is then readily
removed and the colour taken out.
To prevent any of the colour from flying ofF in dust
under the rapid operation of the muller, and to save also
the workmen from inhaling any of those pernicious mat-
ters which enter into the composition of most paints, a
wooden cover, made in two halves, with a hole in it for
the axis of the muller to pass through, is usually placed
on the mortar while at work. Had Mr. Taylor's mill
aothing else to recommend it, the protection which it
thus affords to the health of the workmen ought alone
to insure its general adoption. The common grindstone
and muller are, in this respect, particularly objectionable.
For mixing, or rather perfectly incorporating, colours,
after they are dry-ground, with oil or water, and still
farther refining them, recourse may be had to the mill
for which Mr. Rawlinson, artist, in England, received a
prize from the Society of Arts.
AND fARNlSllEK'S COMPANION,
RAWLINSON'S INDIGO GltlNDlNG-MILL.
Fig. 8.
A is a cyliDder, made of any kind of marble; i.';i
black marble is esteemed the best, because it is the hard-
est, and takes the best polish. B is a concave muller;
uovering one-third of the circumference of the cylinder,
and made of the same kind of marble with it: this is
tiled in a wooden frame, h, whieh is hung to tie fraino
E at /, t. c is a piece of iron, about an inch broad, to
keep the muUer steady ; and is affixed to the frame by
u joint at/ Tlic small bindinjx swob (with '\l>- nut)
12 THE PAINTER, GILDER,
tvhich passes through the centre of the iron plate c, k
foi the purpose of laying more pressure on the miiller,
when required, as well as to keep it steady. D is a
taker-oflF, made of a piece of clock-spring, about half an
inch broad, and is fixed, similarly to a frame-saw, in an
iron frame, K, in an inclined position to the cylinder ;
and the frame turns on pivots at d, d, G is a sliding-
board, made to draw out occasionally, in order to clean
it, should any particles of paint fall upon it from the
cylinder ; it also forms a support for the dish H, to catch
tho colour as it drops from the taker-ofi* D. F is a drawer
for the purpose of containing curriers' shavings, which
are the best things for cleaning paint-mills. E is the
mill frame.
The colour being mixed with oil or water, an^, with
a spatula or palette-knife, put upon the cylinder near to
the top of the concave muUer, the cylinder is then turned
round towards the muller ; which draws the colour be-
neath the muller without any difficulty ; and a very few
turns of the cylinder spread it equally over the surface.
When it is found to be ground sufficiently fine for the
purpose required, it is very readily removed b}' means
of the taker-off before described; which must be held
against the cylinder, and the cylinder be turned the re-
verse way, which cleans it very quickly and completely ;
and the muller will only require to be cleaned when the
operation is nearly completed and previous to changing
the colour. For this purpose, it is to be turned back,
being, as before said, hung upon pivots affixed to the
frame at /, i; and may then be very conveniently cleaned
AND VARNISHER's COMPANION. 13
with a j»alette-knife or a spatula. Afterwards, a hand-
ful of the curriers' shavings being held upon the cylinder,
by two or three revolutions it is cleaned effectually -, and
there is much less waste of colour with this machine
than with any marble slab.
For the purpose of clearing the colour off the common
grinding-stone, as well as for keeping it together should
it spread too much during the grinding, painters some-
times employ a piece of horn, like that used for lanterns,
about three inches by four, or a piece of wood of the
same dimensions, very thin and smooth, and made sharp
and even at the edge. This is called a voider. It is,
however, more customary to use for this purpose a
palette-'knife. This instrument is commonly sold in the
shops, and is generally made of steel, which ought to be
highly tempered, extremely thin, and perfectly flexible
Ivory, however, is a much preferable material for the
palette-knife, since some kinds of yellow assume a dingy,
dark-green hue, and all colours which contain any por-
tion of arsenic in their composition experience a change
when touched with iron or steel.
In no particular ought the painter or varnish er, who
wishes to insure superiority in the execution of his work,
to be more circumspect, than in the choice of his brushes
and pencils.
Binislies are either round or flat, and are of various
sizes. The round ones vary from a quarter of an inch
to two inches and a half in diameter. For some par-
ticular purposes, they even exceed this latter size. The
larger ones are made use of in laying on the first coat
14 THE PAINTER, GILDER,
of pamt, ov priming, as it is called, and in painting ovoi
large surfaces which require considerable quantities of
colour. The smaller brushes are for parts to which,
from their size or situation, the large ones cannot l^e
applied. Brushes of a flat form are usually termed
varnishing brushes, being chieflj* used for that purpose]
but they are likewise employed in drawing lines, vein
ing, and imitations of variegated woods.
A correspondent of the Mechanics* Magazine (vol. i.
p. 279) makes an objection to the use of round brushes,
which must be allowed to have considerable weight
" Being made round," he says, '' they are by no means
well adapted, in that shape, for laying on a flat surface :
the consequence is, that painters invariably use their
brushes but one way, for the very purpose of wearing
them flat, which goes to prove the necessity of an altera-
tion in their general shape/' He then describes one
which he made with a flat handle, and found to answei
much better, for all common purposes, than the ordinary
round brush. The handle was of beech, about an ineb
and a half wide and three-eighths of an inch thick, andj
near the end on which the hairs were tied, was bevelled
off" to a thin edge.
Brushes are almost always made of hogs' bristles
Sometimes they are of badger's or goat's hair, especially
when required for varnishing fine works with a thin
varnish. In choosing them, observe, in the first place,
that the hairs are strong ; and next, that they are close
together, and fast bound with the threads that tie them
round in the stocks. If the hairs are weak, the coloui
AND VARNISIIER's COMPANION. 13
irill never lie in a good body ; if they are not ulosc to-
gether, they will spread and divide unequally when
used, and consequently cannot work well. But the
worst fault of all is, their not being fast bound in the
stocks; for, in that case, some of them will come out
while you are working, and the appearance of the work
will be strangely disfigured by loose hairs being seen
buried in the colouring, when dry.
Even when as tightly bound together as possible, the
hairs often get loose, from the practice, so common with
painters, of keeping their brushes in water when out of
use, by which the strings that bind them, though usually
glued over, soon become rotten. To prevent brushes
from being damaged in this way, get them bound in the
usual way, but not glued over, and then work in rosin
and grease, which will resist the water, and keep the
brush for a long time tight and sound. When, by long
use, the hairs of a good brush legin to work loosely,
drive a few thin wedges of wood inside the thread with
which they are bound round, and this will render the
whole fast again.
PenciU differ from brushes in the smallness of their
size, and in being manufactured of a much finer and
softer hair. In some cases the hair of the marten, or
of children, and even swansdown, are used for them ;
but these are generally confined to pencils intended for
irtists, the mechanical painter being rarely engaged in
work of such a delicate nature as to require them. Pen-
cils are invariably of a round form. The smallest aro
fitted into the barrels of quills, the larger sort into tin
16 THE PAINTER, GILDER,
cases, both placed at the ends of sticks *, some of a very
large size are fastened into stocks in the same manner
HS brushes.
In choosing pencils, a very simple trial will prove
whether they are fit for your purpose. You have only
to put them into your mouth, and, after wetting them
a little, draw them out between your tongue and upper
lip ; then, if they present a sharp point, and the hairs
come out full next to the case, and without separating,
the pencils are good ; if the hairs show ragged, or are
thin at the opposite end to the point, they cannot be
depended upon. The sharpness of the point is of par-
ticular consequence in small pencils. The same atten-
tion must be paid to the hairs being fast bound in the
stocks or cases, as directed in the choice of brushes.
With regard to the stick, or stock, attached to the
pencil, it ought never to be less than eight inches ; and,
indeed, the greater the length, provided the workman
can handle it with freedom and certainty, the better ;
for it is as impossible for a painter to have a good com-
mand of his pencil, as a writer of his pen, if he hold it
too near the point.
To steady the hand while using the pencil, painter*
use what they call a moU-stick. This is made of a
straight piece of wood, generally mahogany, with a nob
at one end of it, resembling a printer's puff, but smaller,
composed of some soft substance enclosed in leather.
This end must be rested lightly on the work, and the
other end being held in the left hand, will render the
Mtick a support to the right.
AND VARNISHER's COMPANION. 17
When you are engaged upon works which will require
the use of pencils or small brushes for a long time to-
gfttlier, it is customary, instead of having your colours in
pots or pans, to dispose them in such quantities as they
are likely to be wanted in, upon a palette. This is a
8m<all board, generally of an oval form, to be had at any
colour-shop. It ought to be made of walnut or apple-
tree wood, and, before being used, it should be well
rubbed over with drying oil, till it refuses to take up
any more. The same kind of palette will serve for the
vaniisher ; but, for painting m distemper, it is necessary
to have one made of tin-plat<}.
Spatulas, resembling in appearance the spreading
slices used by apothecaries, are useful for preparing
colours, and for many other purposes. They should be
had of different materials, horn, bone, iron, steol, or
ivory ; but there should be, at least, one of each of the
last two kinds, — those made of steel being sometimes
improper, for the reason mentioned in speaking of the
palette-knife.
A fflass mattrass is usually recommended for digest-
ing varnishes, as its transparency admits of the progress
of the solution being readily observed. But it is only
the experienced manipulator who can safely employ a
vessel of this kind ; and for general use, one of tin is'
much better.
A rubber y for varnishing or polishing, is usually made
by rolling up a strip of thick woollen cloth, which has
been torn off so as to form a soft, elastic edge ) thick,
wide list will, however, answer equally well. The coil
18 THE PAINTER, aiLDEn,
may be from one to three inches in diameter, accorciiiig
to the size of the work.
There are other articles which it may be desirable, or
even indispensable, for the painter, gilder, or varnisher
to have among his apparatus, but which do not require
any description of their nature or use, or any directions
for their selection, — ^such as putty,* a putty-knife, dust-
ing-cloths, and brushes, pots and pans of different sizes,
made of tin or earthenware, to hold colours, (when of
earthenware they should be glazed,) a large pestle and
mortar, hair and silk sieves, square and rule, compasses,
and black-lead pencils.
* Putt J is m^de of commc>n whitings pounded very fine, and
oiixed op with linseed oil till it becomes %bout the Uiickn^M of
AND VARNISHER'S COMPANION. 19
COLOUKS.
I SHALL now proceed to mention the principal colouring
Bubstances, with their combinations, pointing out their
comparative advantages and disadvantages. In a few
instances, where the process is not tedious or difficult,
or where there would be a risk of getting them in a very
impure state at the shops, I shall state the method cf
preparing them for use. In most cases, particularly
since the general erection of colour-mills, it will be found
a saving both of time and expense to purchase them
ready prepared.
WHITES.
White Lead, Ceruse^ cmd Flake Whitt,
The white colour most generally used in house-painting,
and which forms the best priming for all other colours,
is a subcarbonate of lead, consisting of 85 parts of pure
lead and 25 of carbonic acid. The more common sorts
are called white lead; the purer, ceruse; the very best,
flake white. The following is a simple and expeditious
method of preparing it.
Take some long narrow slips of lead, and make them
up into rolls, leaving a small space between every fold,
10 that none of the surfaces may touch on j another any-
20 THE PAINTER, OILDEa,
where ; place these rolls in earthen pots, upheld by a
little bar in such a manner as not to sink down above
halfway into the pots ; and in each of these vessels put
as much strong vinegar as nearly to touch the lead.
When the vinegar and the lead are both in the pot; cover
it up close, and leave it under the action of a moderate
heat, till the plates of lead are reduced to a complete
calx, which when dried will become very solid. If yoi
find that the process has not been continued long enough,
knock ofif the part of the surface of the lead which b
calcined, and repeat the process with the remainder.
When cakes of white lead are purchased ready pre-
pared, small particles of lead in the metallic state are
not unfrequently found, owing to the preparation having
been imperfectly executed; and in grinding the colour,
this metallic part; becoming divided by the motion of
the muUer, gives a grayish tint to it. To avoid this
inconvenience, if you do not prepare your white lead
yourself, be careful to ascertain as well as you can, in
purchasing it, whether it is pure, and select the thinnest
cakes, in grinding it, your slab and muUer should be
perfectly cWn, because there is often a little acid moist-
ure in white lead, which renders it very apt to attract
any parts thau remain of colours previously ground. To
obtain white lead of a very fine quality, it is often neces-
sary to grind it several times.
Not unfrequently this colour is adulterated with com-
mon whiting, and its beauty by this means greatly im-
paired. To detect this fraud, rub a little of the suspected
wticle between the fingersj and throw it on a piece of
AND VARNISHEK's COMPANION. 21
live charcoal ; if pure, the whole of it will tura of a yel-
lowish hue, and in a few minutes take the form of bril-
liant metallic globules; but if any whiting has been
mixed with it, there will be a corresponding residue of
a white earthy appearance.
Sjpanishj or Bougival White.
A precipitate, formed by the solutions of bismuth
when thrown into water, is what goes, in commerce, by
the name of Spanish White, Bougival White, (from
Bougival, near Marly, in France,) and sometimes White
of Bismuth. It is generally sold in cakes of an oblong
form. It is much better for house-painting than any
whites that contain a mixture of chalky substances, and
it is not unfrequently used instead of white lead for
priming, being far cheaper, though much less durable.
When employed with oil or varnish, it ought to be used
Tery dry, or it will unite but imperfectly with them.
Rolls of washed chalk, possessing none of the qualities
that should belong to Spanish or Bougival White, are
often sold under these names. To detect this adultera-
tion, pour upon the sample a few drops of aqua fortis,
or very strong distilled vinegar. If the Spanish White
be pure, no efifervescence will take place ; if any effer-
vescence appears, it is either wholly or in part chalk.
Gypsum y or Plaster of Paris.
Gypsum is a sulphate of lime, composed of lime and
tulphuric acid. It requires to be calcined before it in
22 THE PAINTER, GILDEll,
used as a colouring substance. When employed in hooseh
painting, it requires to be mixed with a great quantity
of M ater, and it then forms a very valuable article for
white-washing apartments, and for painting in distem-
per. Its white, when the gypsum is quite pure and
free from any mixture of clay, is very fine, and much
more delicate than that of chalk.
White of Troi/ts, or White Chalk.
The substance known by these names is an insoluble
compound formed of carbonic acid and lime. It is
generally used for common white-washing, though gyp-
sum is much preferable for this purpose. In distemper
it answers very well, as its being mixed up with size
renders it more durable ; but with oil and varnishes it
becomes brown, and occasions the latter to split. lake
all colours that contain chalk, it is without lustre.
BLACKS.
Ivori/ Black,
The bones of all animals, when reduced to charcoal
or carbon, form a good black; but the best of all blacks,
whether animal or vegetable, is that made from ivory
shavings burnt to a black coal, in a crucible closely
stopped up, and afterwards ground very fine. It may
be freed from every possible impurity by washing it in
muriatic acid or weak aqua-fortis, and is then an ox-
^remeiy rich and intense colour ; but being costly, ifc in
AND VARNISHER's COMPANION. 28
tfcldom employed in common work. The water colour,
dalled China Ink, is merely ivory black perfectly puro,
mixed with a solution of isinglass and Spanish liquoricei
and then evaporated to a proper c insistence.
Lamp Black.
The soot collected by holding a plate over the flame
of a lamp or candle is the veritable lamp black ; but the
more general way of obtaiting this substance on a large
scale is from the burning of resinous woods. It is used
more than any other black in common painting. It
serves to modify the brightness of the tints of other
colours, and is very useful in the composition of such
colours as result from mixtures. It is both cheap and
plentiful ; is a very good black for general purposes ;
and of so fine a body that, if tempered only with linseed
oil, it wUl serve, on most occaiions, to work without
grinding. But as the substance of this colour contains
a kind of greasy fatness, which makes it long in drying,
it is advisable to mix two parts of drying oil with the lin-
seed oil, or to grind some white copperas and mix it with
the colour, which will make it dry in a short time. Its
unctuosity may be also greatly lessened, and its lustre
at the same time much improved, by burning it in a
crucible or iron ladle made red-hot over a clear fire.
Charcoal Blacks.
The best charcoal is that procured by subjecting
wood, enclosed in a cast iron cylinder and wholly ex-
24 THE PAINTER, GILDER,
eluded from the action of the air, to a strong fire till ibt
cylinder is red-hot. The whole of the gaseous ingre-
dients being then disengaged, the fire is extinguished,
and the charcoal allowed to cool in the cylinder. The
woods that furnish the best charcoal for painters aic the
beech and vine ; the former yielding a black of a "bluish,
and the latter one of a grayish, cast. Wine LeeSy after
being calcined, washed several times in boiling water,
and ground to a fine powder, .yield a fine velvety black
which, however, is chiefly used by copper-plate printers.
Peach Stones, burned in a close vessel, yield a charcoal
which, after being ground, may be successfully used for
that kind of black generally known by the name of raven
gray, A very pure charcoal is also obtained by expos-
ing white sugar-candy to a red heat in an earthenware
retort. When charcoal obtained from any of these
sources is employed in painting, it should be mixed
with a very small portion of white lead, and made up
for use with drying oil.
REDS.
Vermilion.
The most delicate and brilliant of all the light reds is
that called VeiTailioUj obtained from the red sulphuret,
•jommonly known by the name of cinnabar. Although
einnabar is found in a natural state, being the ore from
which mercury is usually extracted, it is, in general,
prepared artificially, when vermilion is intended to be
manufactured out of it. The process is simple. Melt
AND VARNISHER's COMPANION. 25
six ounces of sulphur in an iron ladle ; then put two
pounds of mercury into a chamois leather, or a double
linen clotn, and squeeze it thence into the melted brim*
tftone, stirring them at the same time with a wooden
spatula, till they are well combined, forming a substance
the same as the natural cinnabar. When the mass is
cold; beat it into a powder, and sublime it in a glass
vessel with a worm-like top, over a strong fire, when
tiie ascendii^g fumes will form an incrustration on the
top of th^ vessel, which, reduced to a fine powder, is
vermJlion.
The body of vermilion is very delicate, and will grind
fts fine as oil itself. No colour looks better, works
HKioother, bears a better body, or goes farther.
It is not unfrequently debased by a mixture of red-
lead. To detect this adulteration, place a portion of it
on a piece of red-hot iron : if pure, it will evaporate
entirely ; if not, there will be an earthy residue.
Minium, or Red Lead. ^
This colour is made by first reducing common lead, by
calcining, to an oxide or litharge, which being ground to
powder, is put into a hot furnace exposed to a free access
of air, and continually stirred with an iron rake, till the
colour becomes a fine pale red.
The grinding red lead to a proper degree of fineness
IS very laborious and difficult, it being naturally very
harish and sandy. When, however, it is well ground
s
20 THE PAINTER; GILDER,
and made fine, it is lighter than any other red in general
use, bears a. good body in oil, and binds very fast and
firm. It has, likewise, the advantage of drying readily.
Ca^-mine.
A more dazzling red than vermilion (the superfine
species of it, called Madame Cenett^Sy is almost too bril-
liant for the eye to endure) is derived from the precipi-
tation of the colouring matter in cochineal, by means
of an acid, usually alum. Various sorts of carmine are
sold at the colour-shops, and numbered in the order of
their relative value, thus ; No. 1 is the best ) No. 2, the
second best, and so on. Some modes of manufacturing
it may be superior to others, but the difference of quality
arises chiefly from an excess of alum employed in the
precipitation, or from the intermixture of a portion of
vermilion. In the first case, the colour is weakened;
in the second, it does not retain the same brilliancy.
it is always easy to detect the proportion of mixture,
by means of a property which pure carmine possesses,
of dissolving in ammonia. All the foreign matters re-
main untouched, and the proportion they bear may be
estimated by drying the residuum.
The preparation of this article is involved in consider-
able mystery ; for, in consequence of the great cost of
the original material, cochineal, the consumption of it is
limited, and the manufacture confined to a few hands.
There are many receipts for the purpose, in scientific
books, but succefis appears to depend on a certain dex-
AND VABNISHER's COMPANION. 27
terity, which habit alone can confer. One of the Kk^
liesf processes seem to me to be the following : —
Boil one pound of powdered cochineal, and three and
a half drams of subcarbonate of potash, in ten gall 009
of water, checking the effervescence from time to time,
by adding a little cold water. When the mixture has
boiled for some minutes, take the boiler off the fire, and
place it on a table so inclined that the liquor may be
easily poured off. Now throw in eight drams of alum,
m powder, and stir the whole well, when the decoction
will instantly assume a very brilliant tint. In about a
quarter of an hour, the cochineal, divested of its colour-
ing matter, will be seen deposited at the bottom, and the
liquor as clear as if it had been filtered. Draw off this
liquor into another boiler, and, after adding three and a
half drams of isinglass dissolved in water and passed
through a sieve, set it on the fire. As soon as it begins
to boil, the carmine will be seen rising to the surface of
the bath, and a coagulum will be formed, similar to that
which takes place in the clarifications made with whites
of eggs. The boiler must then be withdrawn from the
fire, and the bath well stirred with a spatula ; in fifteen
or twenty minutes after which, the carmine will have
all fallen to the bottom The clear fluid is then poured
off, and the precipitate laid to drain on a very fine sieve.
If the whole of this process has been properly per-
formed, the carmine, when dry, will easily break be*
tweeu the fingers.
'^^ THE PAINT£R, GlLbiOly
Jjolee.
There are two sorts of colours knowD under this name
lakes derived from cochineal — ^the richest and finest cf
all dark reds; and lakes prepared from madder — ntn
quite so good.
Cochineal lake is obtained by boiling the fluid which
remains after the precipitation of the carmine^ in the
manner described under the preceding head, along with
potashes and the deposit which was left in the boilet
after the addition of the alum. When all the heavier
matters have fallen to the bottom, the clear fluid is
drawn off, and alum again added. A precipitate is then
thrown down, which, when drained and dried, is cochi-
neal lake.
Madder lakes, or, as they are sometimes called^ mad-
der carmine J are nearly as costly as cochineal lakes, and
not so Qniwh inferior as is generally supposed. They
are very durable, and have the peculiar merit of long
retaining an appearance of great freshness. Madder
being itself abundant and cheap, the costliness of mad-
der lakes has been hitherto entirely owing to the ex-
tremely tedious and complicated methods pursued in the
manufacturing of them ; but, in consequence of certain
scientific researches recently entered into by Messrs.
Colin and Roubiquet, (see Annales de Chim., March,
1827,) 80 much light has been thrown on the subject,
that the same results may now be obtained in three or
AND YARNISHER's COMPANION 29
fi»ur hours only, which formerly required several succes-
sive months, and that, too, in a very simple manner.
" The manipulations/' say Messrs. Colin and Rouhi-
quct, " are so easy in practice, that it is in every per.
son's power to undertake them ; and in a little time, we
have no doubt, the use of these lakes will extend to the
commonest objects."
The new mode consists in mixing one part of madder
with four parts of water, leaving it to macerate for ten
minutes only, and then submitting it to a powerful pres-
sure, till nearly every portion of liquid is squeezed out.
Three times this process is repeated, and to the washing-
liquor, preserved in each instance, there is added five or
six parts more of pure water, and half a pint of pounded
alum. The mixture is then allowed to macerate for two
or three hours, in the heat of a water-bath, and stirred
occasionally with a spatula. It is next strained through
a fine cloth, and afterwards filtered through paper. A
dilute solution of crystals of soda is finally added, when
a precipitate is formed, which is the colouring matter
wanted. Messrs. Colin and Roubiquet recommend that
the dilute solution of crystals of soda should be divided
into three portions, by which means three precipitates
will be obtained, decreasing successively in colour and
richness.
SpanisJi Brown.
This is obtained from an earth dug out of the ground :
it is of a dark, dull-red colour, something like horse-flesh
The deeper the colour, and the freer from gritty parti-
3*
80 THE PAINTER, GILDER,
des, the better it is for use. It is cheap and plentiful,
and works well. It is much employed by painters, foi
ft priming or first colour.
Other Reds.
Besides the above reds, I may mention, among those
in use among painters, English red and Prussian red,
both obtained from oxides of iron, and commonly called
colcothar of vitriol ; red ochre, which is very extensively
employed, especially in distemper ; rose colour , composed
of a portion of white lead mixed with pure lake ; and
realgar, which is formed of fifty-eight parts of arsenic
and forty-two of sulphur.
YELLOWS.
Yellow Ochre.
Of this colour there are two kinds, the bright yellow,
and the dark yellow. The former is sometimes called
plain orhre, and the latter spruce ochre. It will grind
very fine, resists the weather well, and bears a good
body.
Massicot,
The substance known under this name in commerce,
IS produced by the calcination of lead in contact with tht
air ; it is the lead, in fact, in its first state of change,
after being combined with the oxygen of the atmo*
sphere; heated a little longer, it is converted into minium.
AND V-ARNISHER's COBJpANION. BJ
or red lead; longer still, into a brown oxide, whicli is
of no use in the arts. It is a good light-yellow for ge-
neral purposes, and very serviceable, when mixed with
blue, for making greens.
Chrome Yellow,
The mineral called chrome, discovered by M. Vau-
quelin, in 1797, was so called from the peculiar property
it possesses of colouring whatever it combines with —
chrome signifying colour. Of the various compound co-
lours of which it is the basis, the most valuable is that
called chrome yellow, or chromate of leady obtained by
pouring a solution of chromate of potass into a solution
of any of the salts of lead. It is a very rich and brilliant
yellow, and employed to advantage in house and coach
painting. To test its purity, pour a little nitric acid
upon it : if it effervesces, it is adulterated.
Turner's, or Patent Yellow.
When sea-salt is made into a paste with litharge, it is
aecomposed, its acid unites with the litharge, and the
soda is set free. Hence Turner's patent process for
decomposing sea-salt, which consists in mixing two parts
of the former with one of the latter, moistening them
and leaving them together for about twenty -four hours.
The product is then washed, filtered, and evaporated, by
which soda is obtained. A white substance is now left
undissolved; it is a compound of muriatic acid and lead,
which, when heated, changes its colour, and forms Tur'
52 TEEiPAINTER^ OILDER,
w€/'*« Yellow — a very beautiful colour, much in use among
voacb painters.
Orpiment,
Thip colour is more commonly known by the name of
yellow arsenic. It is a compound of about fifty-eight
parts of arsenic, and forty-two of sulphur. It is good
for some purposes, particularly for the production of
straw-colours in painting doors, windows, &c.; but as it is
a stony substance, the grinding of it is a very difficult,
and, from its poisonous nature, an injurious operation. It
likewise, in common with all bodies that contain arsenic,
produces a bad effect on any metallic substances exposed
to its action.
Naples Yellow,
The best of all yellows : it is milder and more unctuous
than either orpiment, massicot, or any of the ochres;
combines readily with other colours, and improves them,
[t is generally supposed to be obtained from the lava of
Mount Vesuvius; but M. de Bondaroy says (Memoirs
of the French Academy j 1766,) that is a composition
known at Naples under the name of giallolini, the mode
of preparing which is known only to one individual. On
afterwards analyzing it, he found it to consist of ceruse
alum, sal-ammoniac, and diaphoretic antimony. It is
necessary to use it with great care. It must be ground
well on a slab of porphyry or marble, and scraped to-
gether with an ivory knife, as both stone and steel have
AND YARNISHER's COMPANION. BS
a tendency to turn it to green. Sometimes it is adulto*
rated by an intermixture of iron; to detect this, fuse a
portion of it along with colourless glass : if free from
iron, it will become of a milk-white colour.
Yellow of Antimony,
A yellow obtained from dissolving crude antimony in
muriatic acid, holds an intermediate place between chrome
yellow and Naples yellow. It is chiefly used for giving
a yellow colour to glass and earthenware.
«
Yellow Pink.
A variety of yellow colours are also obtained from
vegetable substances. The most durable of these is that
extracted from the reseda luteola^ a plant common to most
European countries. It grinds and dissolves in water
easily ; but care must be taken not to bring it in contact
with iron, as the astringent principle which it contains
in abundance, instantly dissolves that metal, which in
its turn destroys the clearness of the colour.
BLUES.
Prussian Bliie.
A Prussian chemist, when making experiments on
iron, happened to pour a solution of one of its salts on a
solution of potashes, which had been kept for some time
on animal matter, and found that a blue substance was
formed. Following up the hint thus accidently ob-
84 THE PAINTER, GILDER,
tained; ho succeeded, after a number of experiments, in
discovering a method of preparing the valuable colour
called Prussian Blue. The process, which was long kept
•ecret, is as follows : Four parts of bullock's blood,
dried by the application of a slight heat, are mixed with
an equal weight of potashes, and again exposed to a strong
heat till the f\imes which are at first given off cease to
appear. The residue is then boiled in about twelve
quarts of water, and strained, and to the solution are
added two parts of green vitriol and eight of alum. A
blue powder is now deposited, which is to be washed by
muriatic acid, and then dried. There are blue colours
superior to this, both in clearness and durability; but
none which, volume for volume, contains so large a quan-
tity of colouring matter. M. Bourgeois, a practical co-
lourman, says that it contains even ten to one more than
any other colour. It is, on this account, much employed
in house-painting, and also in colouring paper-hangings
Unfortunately, it is affected by all the alkalis, and there-
fore is unfit for mixing with any colour which contains
them. When ground with oil, it takes a yellowish tint;
the best method to prevent which is to mix a little lake.
Indigo,
•
Another blue colour, much used in common painting,
IS indigo y extracted from the plant indigofera^ found
in America, Egypt, and the East Indies. None but the
best and purest kind of this colour — that obtained from
the indigofera argentea — is proper for oil-painting:
AND VARNISHJSB'S COMPANION. 35
that of an inferior quality is only fit for distemper, as
the oil renders it black or green.
Indigo grinds fine, and bears a very good body. Its
natural colour, however, being very dark, almost indeed
approaching to black, it is seldom or never used without
a small mixture of white. A preparation from the leave?
of the anillo is sometimes fraudulently substituted for
indigo, but may be at once detected by throwing a piecf
into the fire; as genuine indigo will not burn.
Ultramarine.
Ultramarine is the richest, mellowest, most beautiful
and lasting of all blues ; but its extravagant price —
nearly equal, when pure, to its weight in gold — prevents
it being introduced, unless very rarely indeed, into house-
painting. It is prepared from lapis lazuli, A number
of pieces of this mineral are made red hot, and thrown
into water, to make them pulverize easily; they are
then reduced to a fine powder, and made up into a paste
with a varnish compounded of resin, wax, and boiled
linseed oil. This paste is put into a linen cloth, and
repeatedly kneaded with hot water. The first water is
thrown away; the second gives ultramarine of the best
' quality ; the third a colour of less value. The best test
of the purity of this article is, to throw it into concen-
trated nitric acid ; if adulterated, (as it often is,) it will
be scarcely affected by the acid ; if pure, it will lose vb
colour almost entirely.
86 TH£ PAINT£R^ GILDER;
Smoky Zaffre, Azure, Saxon Blue, or Enamel Bltte,
A compound; known in commerce by all these different
nameS; and bearing a strong resemblance to ultramarinoi
is obtained by dissolving cobalt in nitric acid, and pre-
cipitating it by a solution of potash. It is of a lovely
azure hue ; but if not bought in the form of powder, is
very difficult to grind, and it can be used only in a pe-
culiar manner. It is too sandy to bear any body in oil ;
besides, oil would change its colour, and make it of
a black cast. The only proper, indeed the only practica-
ble method of laying it on, is by strewing it on a ground
of white lead, which is done in the following manner :
Temper white lead with good clear drying oil, as stiff as
you can well use it with the pencil or brush : with this
white cover the surface or the work you intend to strew
with smalt, being sure to cover it completely and equally.
Then strew your smalt thickly over this white ground,
while it is moist, and with the feather-edge of a goose-
quill stroke it over, that it may lie evenly and thickly
alike on all parts, and with a piece of linen cloth dab it
down close, that it may take well upon the ground laid
under it. When you find the ground quite dry, wipe
off the loose colour with a feather, and blow the remain- '
der off with a pair of bellows. A portion of Prussian
blue is frequently mixed up with the genuine cobalt ;
and Prussian blue has been even prepared in such a
manner as to be passed off for cobalt, without containing a
single particle of that ingredient. The property, however
AND VARNIftHEa'S COMPANION. B7
nrliicli Prussian blue possesses, of being discoloured by
alkalis, furnishes an easy security against any imposition
of this sort. Immerse a piece of the suspected article
in clarified lime-water for abeut an hour ; if the water
has then assumed a citron hue, and there is an ochrous
deposit at the bottom, it is a certain proof of the pre-
sence of Prussian blue.
Blue Verditer,
This is a beautiful blue, obtained from the waste
nitrate of copper of the refiners, by adding to it a quan-
lity of chalk ; but it is only proper for distemper : it
does not admit of being used with oil, unless a consider-
ible mixture of white is introduced.
GREENS
Verdigris,
This is the best simple green, and the one most in
use. It b obtained by dissolving common verdigris in
distilled vinegar or sour wine, and then proceeding to
evaporation and crystallization.
It has a bluish tint; but when lightened by the ad-
dition of a little yellow pink, it makes a beautiful grass
green. It grinds very fine, and works easily, and in a
good body.
When delicate paintmg is required, the dross, mixed
with the common verdigris, makes it improper, and it
becomes necessary to use distilled verdigris^ which cau
{
88 THE PAINTER, OlLDEBj
be had at the shops, and is free from all imparities; but
it is too expensive for ordinary purposes.
Italiariy or Verona Ghreen,
According to Hatiy, this is a species of chloride, (a
3ombination of chlorine with a metallic or other sub-
Btance.) It is of the same colour as chlorine, which de-
rives its name from the Greek word cMoros, signifying
a yellowish green. It is very durable, and not acted on
by acids ; but, being obtained from an earth, does not
incorporate well with oil.
Saxofi, or Hungary Green,
The colour which bears this name is a carbonate ot
copper, found in a natural state in the mountains of
Saxony and Hungary, mixed with earthy matters,
which give it a palish hue.
Scheele^s Green,
This colour, called after the celebrated chemist by
whom its composition was first made known, is an arsen-
iteof copper, obtained in the following manner : A pound
of sulphate of copper (blue vitriol) is first dissolved in foui
pints of water; then a pound of carbonate of potass, dis-
solved in eight pints of water, is boiled for some time
with five ounces of white arsenic ; the two solutions arc
now mixed while hot, and a precipitate produced, whicb,
being well washed and dried, is of a light sea-green colour
AND VARNISHER's COMPANION. 8tf
It grinds well with oil, and is in much request for the
painting of the cabins of ships.
Srhweinfurt Grreen.
A green, which has recently obtained great reputation
on the Continent, and which is said to surpass Scheele's,
both in beauty and splendour, may be obtained, accord-
ing to Dr. Liebig, (Annales de Ohimiey) by the following
process : Dissolve, in a copper kettle, by heat, one part
of verdigris in a sufficient quantity of pure vinegar, and
add to it an aqueous solution of white arsenic. A pre-
cipitate of dirty green generally forms ; but you must
add more vinegar, and keep the boiler on the fire till that
precipitate disappears and a perfect amalgamation of
the materials takes place. After boiling this compound
for some time, a granular precipitate will be formed, of
a most beautiful green colour, which has then only to
be separated from the liquid, well washed, and dried.
Should the colour thus prepared have too blue a shade,
boil ten pounds of it in a solution of common potash,
over a moderate fire, and it will soon acquire a rich
yellow tint.
Brunswick Green.
A colour, thus named, is much used for paper-hangings
and coarse kinds of painting in water-colours. It is pre-
pared as follows: A close earthenware vessel is half
filled with copper filings or clippings, and a saturated
solution of sal-ammoniac poured over them. It is al-
40 THE PAINTER; QILDER,
lowed to stand for a few weeks, by which time the whol*
of the copper becomes oxidyzed, (a muriate of copper.)
The oxide being then well washed, and slowly dried io
the shade, is pure Brunswick green. Two parts of cop
per and three parts of sal-ammoniac yield six parts o^
green.
Green Verditer,
This is obtained from the same substance as blue ver
diter, by a process nearly similar. Without the addition
of white lead, or Spanish white, it is unfit for oil-paint-
ing : and, in any way, it is better adapted for distemper.
Its colour may be obtained in oil, by mixing two or
three parts of verdigris with one of white lead.
Green Lake, or Venetian Emerald,
A very simple mode has recently been discovered, at
Venice, of producing a fine unchangeable emerald colour.
A quantity of coffee is boiled in river- water — if spoiled
coffee, so much the better. By means of a proportionate
quantity of pure soda, a green precipitate is obtained,
which is placed to dry, for six or seven days, upon po-
lished marble, stirring it occasionally, in order that every
part may come in contact with the atmosphere, by which
the vivacity of the colour is greatly heightened. Tho
green lake obtained by this process is said to have re-
sisted the action of acids, and even the influence of light
and moisture.
ANP VARNISHER'S COMPANION. 41
BROWNS.
Umher,
Umbo.*, or, as it is sometimes called, brown ochre, is
fti^ impure native oxide of iron and manganese. It is
brought from Umbria, in Italy, whence its name. It is
much employed by painters, and is the only dmple
brown in common use. A species of it has been lately
brought from Cologne, which is a good deal browner and
more transparent than that in common use.
The browns arising from mixture will be mentioned
in speaking of compound colours.
New Broton, discovered hy Mr, Hatchet
The celebrated chemist, Mr. Hatchet, has suggested
to painters that a simple brown colour, far superior in
beauty and intensity to all the browns, whether simple
or compound, hitherto known, may be obtained from the
prussiate of copper, (a combination of prussic acid with
copper.) The following is the process which he recom-
mends : Dissolve the green muriate of copper in about
ten times its weight of distilled or rain-water, and add
a solution of prussiate of lime, until a complete precipi-
tittion is eflfected. The precipitate is then to be washed
with cold water, filtered, and set to dry in the shade
m TH£ PAINTEB, QJhDWXL
COMPOUND COLOURS, OR COLOURS ARISING
FROM MIXTURE.
The vanous colours that may be obtained bj the mix*
tore of other colours, are innumerable. I only propose
here to give the best and simplest modes of preparing
those most frequently required.
Compound colours, formed by the union of only two
colours^ are called by painters virgin tints.
The smaller the number of colours of which any com-
pound* colour is composed, the purer and the richer it
will be.
Light Gray is made by mixing white lead with lamp-
black, using more or less of each material, as you wish
to obtain a lighter or a darker colour.
Buffxs, made from yellow ochre and white lead.
Silvery or Pearl Gray, — Mix white lead, indigo, and
a very slight portion of black, regulating the quantities
by the shade you wish to obtain.
Flaxen Gray is obtained by a mixture of white lead
and Prussian blue, with a small quantity of lake.
Brick colour. — Yellow ochre and red lead, with a little
white.
Oak-wood colour. — ^Three-fourths white lead, and one-
fourth part umber and yellow ochre : the proportions of
the last two ingredients being determined by the re*
quired tints.
AND VARNTSHER's COMPANIOW. ^^
•
Walnut-^ree colattr. — Two-thirds white lead, and one
third red ochre, yellow ochre, and umber, mixed accord
ing to the shade sought. If veining is required, use
different shades of the same mixture, and, for the deepest
places, black.
Jonquil, — ^Yellow, pink, and white lead. This colour
is only proper for distemper.
Lemon Yellow, — ^Realgar and orpiraent. Some object
to this mixture, on account of the poisonous nature of
the ingredients. The same colour can be obtained by
mixing yellow-pink with Naples yellow ; but it is then
only fit for distemper.
Orange colour. — Red lead and yellow ochre.
Violet colour. — Vermilion, or red lead, mixed with
black or blue, and a small portion of white. Yermilion
is far preferable to red lead, in mixing this colour.
Purple, — Dark-red mixed with violet-colour.
Carnation, — Lake and white.
Gold colour, — Massicot, or Naples yellow, with a
small quantity of realgar, and a very little Spanish
white.
Olive colour, — ^This ma;y be obtained by various mix-
tures: black and a little blue, mixed with yellow; yel-
low-pink, with a little verdigris and lampblack ; or ochre
and a small quantity of white, will also produce a kind
of olive colour. For distemper, indigo and yellow-pink
mixed with white lead or Spanir^h white, must be used,
[f veined, it should be done with umber.
Lead colour, — ^Indigo and white.
Chestnut colour, — ^Red ochre and black, for a dark
44 THE PAINTER, GILDER,
cheetnut. To make it lighter, employ a mixture of
yellow ochre.
lAght Timber colour. — Spruce ochre, white, and a
little umber.
Flesh colour. — Lake, white lead, and a little vermilion.
Light Willow Green. — White mixed with verdigris.
Grass Green. — Yellow-pink mixed with verdigris.
An endless variety of greens can be obtained by the
mixture of blue and yellow in different proportions, with
the occasional addition of white lead.
Stone colour. — White, with a little spruce ochre.
Dark Lead colour, — Black and white, with a littlq
indigo.
Fawn colour. — White lead, stone ochre, and a littlo
vermilion.
Chocolate colour, — Lampblack and Spanish brown.
On account of the fatness of the lampblack, mix some
litharge and red lead.
Portland Stone colour. — Umber, yellow ochre, and
white lead.
The variety of shades of brown that may be obtained^
are nearly as numerous as those of green.
To imitate Mahogany. — Let the first%coat of painting
be white lead, the second orange, and the last burned
amber or sienna ; imitating the veins according to your
faste and practice.
To imitate Wainscot. — Let the first coat be white, the
second half white and half yellow ochre, and the third
jrelbw ochre only. Shadow with umber or sienna.
To imitate Satin Wood, — Take white for your first
AND VARNXSHER's COMPANION. 45
ooating, light blue for the second, and dark blue or
dark green for the third.
OILS.
We come, next, to speak of the principal oils which aro
used in the preparation both of colours and varnishes.
OU of SpiJce was formerly much more in use than it
b at present. It is a volatile oil, and has the advantage
of drying more speedily than any of the fat oils ; it is
also free from any offensive odour. It is, however,
generally in a very impure state ; and of this painters
are so thoroughly convinced, that they have pretty gene-
rally renounced it. In all preparations for varnishes,
where it is directed to be employed, oil of turpentine,
which is much cheaper, can be substituted without any
other inconvenience than what may arise from its
stronger smell.
Oil of Lavender is principally used by enamellers, to
whom it is particularly valuable, from its consistency
being such as to prevent the colours that are mixed with
it from running. Its property of drying more equally
and gradually than perhaps any other oil, renders it also
of service to the varnisher.
Oil of Poppies has one advantage possessed by no
other — that of being perfectly colourless For this rea-
son, a decided preference is given to it for delicate kinds
of painting. Being, however, extremely fat, it is liable,
imless very old, to the objection of being insufferably
tedious in drying.
^^ THE PAINTER, OILDER,
Nut Oil and Linseed Oily both in very general use,
rank among the fat oils. Their fatness, indeed, is so
great, that it is mostly found necessary, before employ-
ing them in colouring, to give them a drying quality,
which may be done in the following manner : — Take
three parts of white vitriol, and twelve parts of litharge,
and let them be reduced to as fine a powder as possible ;
then mix them with thirty-two parts of nut or linseed
oil, and place the mixture over a fire just brisk enough
to keep the oil slightly boiling. Let it continue to boil,
till the oil entirely ceases to throw up any sciim. Then
take the vessel off the fire, and let it stand in a cool
place for about three hours, and a sediment, which con-
Utins the fattening part of the oil, will be formed at the
bottom. Pour off the oil which is above (being careful
not to let any of the sediment mix with it) into wide-
mouthed bottles. Let it remain a sufficient time to clear
itself perfectly, before it is used, and you will find it
possessed of the proper drying quality.
Sometimes, when the fire is not kept pretty equal
while the boiling is going on, the colour of the oil is
affected, so as to render it unfit for delicate painting
To avoid this, some persons tie up the litharge and
vitriol, when powdered, in a bag ; but, in this case, the
quantity of litharge must be doubled. The bag must
also be suspended by a piece of packthread to a stick
made to rest upon the edges of the vessel, so as to keep
the bag at the distance of an inch from the bottom.
This method, too, is slower than that of boiling the dry«
Ing material along with the oil.
AND VAKNISHEB's COMPANION. 41
In some kinds of work, such as the preparation of
floor-cloths; and painting large figures or ornaments, in
which clayey colours are employed, an extraordinary
rapidity in drying is sometimes necessary, which could
not be procured by using the proportions of drying ma-
terials above mentioned. In such cases, it is customary
to increase the quantity of litharge in any proportion
that may be requisite. On some occasions, the litharge
employed has amounted to one- fourth part of the whole
quantity of oil.
The process used for giving a drying quality to nut
and linseed oil will not do for oil of poppies, which would
thereby be deprived of its colourless property, the most
valuable one which it possesses.
Many painters consider it a matter of indifference
whether nut or linseed oil be employed in colouring, and
therefore, for the sake of cheapness, give the preference
to the latter. But they labour under a mistake ; for these
two oils should, by no means, be used indiscriminately.
In painting which is allowed to be coarse, or which is
sheltered from the effects of the rain and sun, linseed oil
will answer the purpose. But where any nicety is re-
quired in colouring, in situations exposed to the weather,
nut oil only is proper, as it nourishes and develops the
colour; whereas linseed oil dissipates and destroys it, and
obliges the work to be done afresh in a short time. In
painting exposed to weather, persons aware of the im-
propriety of using linseed oil, are sometimes induced to
mix a portion of oil of turpentine with nut oil, to save
cost; but this mixture has almost as injurious an effect
48 THE PAINTER, GILDER,
in whitening colour which is exposed to the sun, as pure
linseed oil.
I have before said that linseed oil will serve for paint-
ing that is not exposed to the rain and sun. This is not,
however, the case when a pure white is wanted, for lin-
seed oil has the effect of turning the white lead yellow,
and nut oil should therefore be employed. If that is
considered too expensive, one part of turpentine, at least,
ought to be mixed with two parts of linseed oil.
Oil of Turpentine is more used than any of the pre-
ceding oils 5 the varnisher, indeed, scarcely employs any
other. There is a great difference in the quality. The
inferior kinds, though they may serve for mixing coarse
and common colours, can never be used with good effect
in varnish. The best description is that which is the
lightest and least coloured. A simple method of trying
its degree of goodness is with the best spirits of wine,
which will take up about one-third part of the w^ght
of the inferior sort of oil, and only about a seventh or
eighth part of the best kinds.
Fat oils are often mixed with the oil of turpentine,
as well as with other volatile oils— ^a mixture particularly
hurtful in the case of varnishes. There is a remarkable
distinction, however, between the two, by which such
adulterations may be always readily detected. Both
sorts of oil stain paper, — but a stain from a volatile oil
may be easily removed by heat, while one from fixed' oils
remains almost indelible. Thus, if a drop of common
oil be thrown on paper, and held near a fire, a part files
off; but, before the whole of it can be dissipated^ the
AND VARNISHER^S COMPANION. 49
paper is destroyed. If, on the contrary, a few drops of
turpentine (or any other volatile oil) be thrown on paper
and treated in the same way, the stain disappears with-
out the texture of the paper being in the smallest degree
injured. And if paper be stained with an oil com-
pounded partly of a volatile and partly of a fat oil, that
portion only which is volatile will evaporate on exposure
to heat, while the other will remain.
It is owing to the property just mentioned, that vola-
tile oils are sometimes employed to make transparent
paper for copying drawings.
For this purpose, the paper is besmeared with pure
volatile oil of turpentine, and dried for a short time, by
exposure to air ; it is then put on the drawing, the traces
of which are distinctly seen through it. After taking
off the copy by a pencil, the oil is easily expelled by
holding the paper near the fire.
Drying Oils, which are composed of particular sub-
stances mixed with some of the oils before mentioned,
are useful for several purposes. They are most valuable
when so manufactured as to be colourless. They are
much used in preparing varnishes ; and, in oil painting,
are not unfrequently employed as a varnish, either alone
or diluted with a little oil of turpentine. Drying oil ia
easily procured at the shops ; but, if you wish to make
it ygurself, one of the best methods is to take a pound of
aut or linseed oil, (according as it is intended for inside
&v outside work,) to which a drying quality has been
given by the method before mentioned ; dissolve in it
five ounces of rosin by means of a gentle heat ; when
50 THE PAINTER, GILDEE,
this is done, add to it rather more than half an ounce of
turpentine : let the composition rest till a oedimenk \8
formed and is quite cool ; then pour it, free from any
part of the sediment, into proper vessels, and make use
of it while fresh. If at any time it should become too
thick, you may dilute it with a little oil of turpentine.
Some painters of ornaments, and coach painters, in*
stead of using drying oils, content themselves with add-
ing white vitriol in mixing their colours. This method
is bad; the salt of the vitriol will not unite with the
oil, and the painting, in consequence, becomes me^ly,
and sometimes cracks.
When drying oil is colourless, it is of great use to
painters of pictures, by whom, as well as by the house
painter, it is not unfrequently used as varnish, either in
a pure or dilute state.
It has been recently discovered, that when a solutioD
)f yellow soap is added to red, yellow, and black paints,
when ground in oil, before they are casked up, they
acquire no improper hardness, and dry remarkably fast
when laid on with the brush, without having recourse
to any of the usual drying expedients.
Pilchard (HI, which possesses more greasy matter than
any other fish oil, has been used in Cornwall for the last
fifty years, to great advantage, in coarse painting. The
preparation is said, by a correspondent in the Meckauic^
Magazine, (vol. vi., page 471,) to be made in the fol-
lowing manner : Put the oil into a clean iron pot, and
place it over a slow fire, (wood is best,) to prevent it
from burning; when it begms to heat, skim it well; let
AND VARNISHER'S COMPANION. 51
i| remain on the fire till it singes a feather put therein.
For every gallon of oil, add a small table-spoonful of red
litharge. Stir them together well for about threo
minutes; then take the pot off the fire, and let the mix*
ture cool in the open air, after which it is fit for use.
It is said to dry quickly, to incorporate well with any
coloured paint on wood or iron, to have all the appear-
ance of varnish, and to be extremely durable.
VARNISHES.
Strictly speaking, every substance, whether dry or
liquid, is a varnish, which, being spread over any body,
has the effect of giving its surface a brilliant appearance.
But, in its general meaning, the term is only applied to
those substances that are capable of rendering this effect
durable.
The foundation of all varnishes are gummy and resin-
ous substances ; and the only liquids that can be com-
Y/ined with them, so as to form varnishes, are oils and
Mpirit of wine.
For a varnish to be really good, it ought to be limpid,
brilliant, ti-ansparent, and durable. The durability of a
Tarnish is its greatest and rarest excellence.
The principal gums and resins used for varnishes ai*e
gum Arabic, gum elastic, gum anima, copal, dragon's
blood, stick-lac, shelMac, and mastic. The solvents
chiefly employed are spirits of wine and spirits of tur-
pentine.
In choosing gums and resins, those are to be preferred
S2 THE PAINTER, OILDER,
which are quite free from particles of dirt, and of which
the lumps, when held up to the light, present a clear and
transparent appearance.
What is often sold at the shops as gum Arabic — the
best of all the gums — is frequently only the clearer
pieces of the gum Senegal, which, though equally strong
and substantial, is far from being so pure as gum Arabic.
The imposition may be detected by observing one very
obvious distinction. The genuine gum Arabic is always
in small irregular masses, smooth on the outside; the
pieces of the gum Senegal are invariably larger, and
rough on the outside.
A composition of different resins, coloured with brick-
dust or Brazil-wood, or a very small portion of real dra-
gon's blood, is not unfrequently sold as genuine. It is
of a dull red or brick colour, whereas real dragon's blood
is a dark red, and almost brown colour on the outside.
The latter, too, is inflammable; while the imitation,
when put into the fire, does not inflame, but swells up.
The liquid commonly sold under the name of spirits
of loine is in general a highly-rectified spirit, interme-
diate between proof spirit and alcohol, but not suffi-
ciently concentrated for the purpose of making varnish.
The readiest practicable method of determining whether
the alcohol will answer your purpose, is to fill a large
phial with it, and then to drop into it a small lump of
potash or pearlash, which has been heated very hot over
the fire, to expel its moisture, and not afterwards suf-
fered to become cold : the phial is then to be well
shaken, and if the lump remain dry, or nearly so, the
AND VARNISHER's COMPANION. 53
kicohol is good ; if any considerable portion of it remain
undissolved, it is unfit for use.
Spirits of turpentine are always good in proportion to
tb(!ir inflammability — that which burns most readily
being the best. The smell, too, of the inferior kind
is m.)re unpleasant and less powerful than that of the
Ujtter sort.
When doubts are entertained as to its purity, pour
about two table-spoonfuls into a saucer, and place it to
evaporate in the sun, which it ought to do entirely in the
course of two or three hours ; if a greasy residuum or a
soft, sticky mucus is left, it is a proof that the turpentine
is adulterated, and ought to be rejected.
Another method of judging of the comparative good-
ness of different sorts both of spirits of wine and spirits
of turpentine, is by weighing quantities of two kinds,
equal in measure, one against the other : the lightest 's
always the best.
The number of different varnishes to be obtained by
various methods of mixing together the substances from
which they can be manufactured, is endless, and it would
be altogether from the purpose and nature of this little
^ork to attempt any thing like a description of them.
Many of them, indeed, are only useful to the artist, and
arc therefore not entitled to a place here; while others are
merely proofs of the ingenuity of chemical students, and,
from the expense or sacrifice of time attending their pre-
paration, are not adapted for practical purposes. Almost
every vamisher, too, has at least one or two composi-
tions peculiar to himself, the superior value of which
51 THE PAINTRR, GILDER,
rosta chiefly in his own opinion. In large towns and
cities, moreover, the varnishes in common use can easily
be purchased ready made ; but for the benefit of those
who may not have this convenience, or who prefer pre-
paring their own varnishes, I shall here add a few simple
recipes, from modern <ind approved sources, for making
those that are in the most general use.
Shell-lac Varnish,
The best of the common spirit varnishes is that made
with shdl-lac. Hitherto the use of it has been limited, in
consequence of its possessing a brown-yellowish colour,
which made it unfit for all articles which that tint would
injure ; but Professor Hare, of Philadelphia, has made
the arts a valuable present of the following method of
producing it perfectly colourless : Dissolve, in an iron
kettle, one part of pearlash in about eight parts of water ;
add one part of shell-lac, and heat the whole to ebullition.
When the lac is dissolved, cool the solution, and impreg-
nate it with chlorine till the lac is all precipitated. The
precipitate is white, but its colour deepens by washing
and consolidation ; dissolved in alcohol, lac bleached by
the above process yields a varnish which is as free from
colour as any copal varnish. Chlorine (oxy-muriatic
acid) may be formed by mixing intimately eight parts
of common salt and three of the black oxide of manga-
nese in powder: put this mixture into a retort; then
pour four parts of sulphuric acid, diluted with an equal
weight of water and afterwards allowed to cool, upon
AND VARNibUER's COMPANION. 5fi
die saliand manganese; the gas will then be immediately
liberated, and the operation may be quickened by a mo-
derate heat. A tube leading from the mouth of the
retort must be passed into the resinous solution, when
tlie gas will be absorbed, and the lac precipitated.
It is to be presumed that, now that shell-lac varnish
is thus rendered universally applicable, it will be the
most used of any; as it possesses all the properties of a
good spirit varnish in a higher degree than any of the
other resins, and costs at the same time much less.
Shell-lac Varnish of various colours may be made by
using any colour in fine powder with the varnish, in the
following manner : Rub up the colour with a little alco-
hol, or spirits of turpentine, till it becomes perfectly
smooth ; then put it into the cup with the varnish.
Red Shell-lac Varnish
Is best made from good Dutch sealing-wax (which is
itself chiefly composed of seed lac). This is the lac usea
to varnish glass or wood for electrical purposes. Three
or four coats will make a perfect covering.
Turjjtntine Varnish.
'J^ake five pounds of clqar good rosin, pound it well
and put it into a gallon of oil of turpentine ; boil the
luixture over a stove, till the rosin is perfectly dissolved j
and when cool, it will be fit for use
5G THE PAINTER, OILDERj
Linseed Oil Varnish.
Boil auy quantity of linseed oil for an h )ur, and to
every pound of oil add four ounces of good clear rosioi
well powdered; keep stirring it till the rosin is per-
fectly dissolved, and when this is done, add one ounce of
spirits of turpentine for every pound of oil, and when
drained and cool, it will be fit for use.
This varnish is much used for common purposes. It
Is cheap, is a good preservative of wood, and not liable
to sustain injury from the application of hot water.
Copal Varnish.
Take one ounce of copal and half an ounce of shell-
lac; powder them well, and put them into a bottle or
jar containing a quart of spirits of wine. Place the
mixture in a warm place, and shake it occasionally, till
you perceive that the gums are completely dissolved,
5ind when strained, the varnish will be fit for use.
1 have given the above as the simplest, and therefore
the most usual method of making common copal varnish ;
but it may be prepared in a variety of ways, where par-
ticular uses may be required.
GcM-*:oloured Copal Vamis/i.
Take one ounce of powdered copal, two ounces of
essential oil of lavender, and six ounces of essence of
turpentine. Put the oil of lavender into a niatras of a
AND VARNISHER's COMPANION. 57
proper size, placed on a sand bath subjected id a mode-
rate beat. When the oil is very warm, add the copal
from time to time, in very small quantities, and stir the
mixture with a stick of white wood, rounded at the end.
When the copal has entirely disappeared, put in the
turpentine in almost a boiling state, at three different
times, and keep continually stirring the mixture till the
solution is quite completed.
When this varnish is required to be colourless, as h
frequently the case, it will be necessary to use the rec-
tified spirit of turpentine — the common essence sold at
the shops being generally high-coloured
Camphorated Copal Varnish.
Take copal in powder, four ounces; essential oil of
lavender, twelve ounces; camphor, a quarter of an ounce,
and as much spirit of turpentine as will give the varnish
the consistency required. Heat the oil and the camphor
in a small matras, stirring them, and putting in the
copal and turpentine in the manner directed in the
preceding varnish.
This varnish is particularly well adapted for articles
which require transparency and pliability, united to great
durability, such as the varnished wire-gauze used in
ships instead of glass.
Copal Varnish in Imitation of Tortoise- SheU.
Take of amber-coloured copal, six ounces ; of ahell-lac
or Venice turpentine, an ounce and a half; twenty four
58 THE PAINTER, GILDER,
ounces of clear linseed oil, and six ounces of essence of
tui*pentine. Place the copal in a matras, and. expose it
to a moderate heat till it is liquefied; then add the linseed
oil in a boiling state, afterwards the shell-lac or Venice
turpentine, also liquefied, and lastly the spirit of turpen-
tine in small portions. If the varnish prove too thick,
dilute it with spirit of turpentine.
This varnish is principally used for watch-cases, though
it is also applied to other imitations of tortoise-shell.
All the above methods, however, of preparing copal
require long boiling and careful filtering in the prepara-
tion, and consequently are not so convenient as the pro-
sess first mentioned: they are therefore seldom used,
unless where the nature of the substance to be varnished
•enders oil of turpentine decidedly preferable to spirits
>f wine.
An excellent copal varnish may be made by putting
an ounce of copal of an amber colour, finely powdered,
into a flask containing four ounces of ether ; corking the
mixture with a glass stopper, and shaking it for half an
hour; then allowing it to rest till the liquor becomes
perfectly clear.
It is unfortunate that the great volatility of ether and
lUi very high price do not allow the use of this varnish
for common purposes. Indeed, its employment is almost
confined to repairing accidents in enamel, and restoring
tae smooth surface of paintings that have been cracked
or shattered. It has some admirable properties, which
Ulong to no other varnish in existence. It presents
AND VABNISHER's OOMPANiON. 59
great resistance to the friction of hard bodies^ possossea
remarkable solidity, has a peculiar drying quality, and
a very fragrant smell.
Oopal, and other varnishes, prepared with essence of
turpentine, will not admit of being applied to purely
white grounds, unless the turpentine has been highly
rectified; and even then it is not unattended with risk.
For coloured grounds, which require solidity, they are
excellent.
The varnishes prepared with copal are some of the
most useful and valuable known, and their composition
has been much improved of late years. They are rich,
splendid, and solid, bear friction well, and are of great
service in preserving articles exposed to damp or rain.
Mathematical and philosophical instruments are gene-
rally varnished with them.
Amber Varimh.
Put eight ounces of amber, finely powdered, into a
vessel containing half a pint of the best spirits of tur-
pentine ; (if for very fine purposes, rectified spirits of
turpentine should be used;) place the vessel over a
stove or fire till the amber is quite melted; then put
it into two ounces of shell-lac powdered, and place it on
the fire again ; keep stirring it till the gum is completely
dissolved, and then add to the whole an ounce of clear
cold-drawn linseed oil. Stir it well together, and when
strained, it will be fit for use.
Like copal varnish, this varnish may likewise be pre
60 THE PAINTER, GILDER,
pared in various ways ; but the one here given is the
cheapest and readiest^ and the other methods of making
it do not in any case possess advantages over this^
Some varnishers prefer using more spirits of turpentine
and a smaller proportion of linseed oil.
Some years since, amber varnish was in very general
use; but of late, copal, on account of its being lestt
coloured, has obtained a preference.
CaoutclumCy or Gum-dastic Varnish.
Take eight ounces of gum-elastic, pound it well, and
put it upon the fire, in a vessel containing half a pound
of boiling linseed oil. When the gum is dissolved, add
half a pound of spirits of turpentine. Let them continue
boiling together till the mixture becomes clear; and
when it is cool, strain it for use.
This varnish is brilliant and durable ; but it has the
fault of drying very slowly, for which reason it is not
employed.
Mastic Varnish,
This varnish, which is used principally for pictures in
oil, is usually prepared by dissolving the mastic in spirits
of turpentine, by means of a sand-bath, then straining it
through a fine sieve, and afterwards placing it, for two
or three weeks, in a bottle well corked, where the light
of the sun may act freely upon it, which causes a large
precipitation of mucilaginous matter, and leaves the var-
nish as clear as water. But to procure a mastic varnish
AND VARNISHER's COMPANION. 61
that can be perfectly depended upon, the following ob-
servations must be attended to : Let all the mastic bo
bruised by a muller on a grinding-stone ; this will sepa-
rate the soft or oily tears, as they are called, and enable
you to throiii^ them aside : whereas, if the mastic is put in
a mass into the turpentine, the tears remain imbodied
with it, and prevent the varnish from drying hard, leaving
a greasy or tacky surface. The next point of importance
is to make use only of turpentine which has been twice
distilled, or which is at all events quite clear and colour-
less : you must take ca,re not to have it served to you
through an oily measure, (as is too often the case,) but
poured out of the carboy without being shaken or dis-
turbed. When the mastic and turpentine are thus ob-
tained perfectly pure, they may be dissolved in a clean
bottle without heat, and hy half an hour^s shaking in the
hand. I^t them then be strained and treated in the
usual way, as above mentioned.
A varnish similar to this is occasionally made, in
which frankincense or sandrac is employed, instead of
mastic, and is very well adapted for mixing up colours.
The French sometimes prepare this resin in pure alco-
hol ; but mastic varnish thus prepared is liable to chill on
the picture, and produces, in time, a kind of white scale
over it, which injures its lustre.
Varnish for Violins, dec.
Take a gallon of rectified spirits of wine, twelve
'jUDces of mastic, and a pint of turpentine varnish; pufi
• 6
^ THE PAINTER^ GILDER,
them in all together in a tin can, and keep it in a verj
warm place, shaking it occasionally, till it is pcrfectlj
dissolved ; then strain it, and it is fit for use. If joa
find it necessary, you may dilute it with turpentine
varnish.
This varnish is also very useful for furniture of plum-
tree, mahoganv, or rosewood.
White hard Varnish.
Take one pound of mastic, four ounces of gum anima,
and five pounds of gum sandrac : put them altogether,
to dissolve, into a vessel containing two ounces of rec-
tified spirits of wine, which should be kept in a warm
place and frequently shaken till all the gums are quite
dissolved; then strain the mixture through a lawn
sieve, and it will be fit for use.
Varnishes for Paling and coarse Wood-work,
Grind any quantity of tar with as much Spanish brown
as it will bear, without becoming too thick to be used as
a paint or varnish ; then spread it on the wood with a
large brush. It soon hardens by keeping. The work
should be kept as free from dust and insects as possible*,
till the varnish is thoroughly dry.
This varnish is an excellent preserver of the wood
from damp; on which account, as well as its being
cheaper, it is to be preferred to painting, not only foi
paling, but for weather-boarding, and all coarser kinds
of painting on wood.
AND VARNISHER'S .COMPANION 68
The colour may be made a grayish instead of a glossy
ftrown, by mixing a small proportion of white lead, or
of whiting and ivory black, with the Spanish brown.
Varnish for Coloured Drawings.
Mix together one ounce of Canada balsam and two
ounces of spirits of turpentine. Before applying the
composition, size the drawing or print with a solution of
isinglass in water; when this is dry, apply the varnish
with a earner s-hair brush.
The use of this varnish gives to coloured drawings
and prints an appearance resembling that of oil paint-
ings.
Varnish for Glass.
Reduce a 4uantity of gum tragacanth to powder, and
let it dissoh e for twenty-four hours in the white of eggs
well beat up; then rub it gently on the glass with a
brush.
Black Varnish for old Straw or Chip Hats.
Take half an ounce of the best black sealing-wax,
pound it well, and put it into a four-ounce phial con-
taining two ounces of rectified spirits of wine. Place it
in a sand-bath, or near a moderate fire, till the wax is
dissolved ; then lay it on warm, with a fine soft hair
brush, before a fire or in the sun. It gives a good stiff-
ness to old straw hats, and a beautiful gloss equal to
'ftew. It likewise resists wet.
9fk THE PAINTER, GILDEH,
Varnish for Drawings and Card-icork.
Boil some clean parchment-cuttings in water, io ai
glazed pipkin, till they produce a very clear size. Strain
it, and keep it for use.
Changing VarnisJies.
Varnishes of this description are called changing, be-
cause, when applied to metals, such as copper, brasrf, or
hammered tin, they give them a more agreeable colour.
Indeed, the common metals, when coated with them,
acquire a lustre approaching to that of the precious me-
tals ; and hence these varnishes are much employed in
manufacturing imitations of gold and silver.
It would be an endless task to enumerate all the
various kinds of changing varnishes that can be made,
and the methods of preparing them. One simple mode
of mixing I shall, however, mention here, by which all
the different tints that can be required for changing
varnishes may be certainly obtained.
Put four ounces of the best gum gamboge into thirty-
two ounces of spirits of turpentine ; four ounces of dra-
gon's blood, into the same quantity of spirits of turpen-
tine as the gamboge ; and one ounce of anatto into eight
ounces of the same spirits. The three mixtures should
be made in different vessels.
.They should then be kept for about a fortnight, in a
warm place, and as much exposed to the sun as possible.
AND VARNISflER's COMPANION. 65
xVt the end of that time they will be fit for ufee ; and you
^an procure any tints you wish by making a composition
from^them, with such proportions of each liquor as prac-
tice and the nature of the colour you are desirous of
obtaining will point out.
Olianging varnishes may likewise be employed^ with
▼ery good effect, for furniture. — See Lacquers,
Mordant Varnishes^
These are a species of varnishes chiefly employed when
a coating of some other substance is to be entirely or in
part laid over them.
Compositions of this kind ought neither to be too thick
nor too fluid, as either of these faults injures the delicacy
of the gilding.
They should likewise be of rather a fat nature, because
they must be so prepared as not to dry till the gilding
is completed.
Various compositions arc employed as mordants, and
almost every workman has a favourite one of his own.
One of the best is the following : —
Dissolve one ounce of mastic, one ounce of sandrac,
half an ounce of gum gamboge, and a quarter of an ounce
of turpentine, in six ounces of spirits of turpentine.
Another good mordant may be obtained by exposing
boiled oil to a strong heat in a pan, and, when you per-
ceive a black smoke disengaged from it, setting it on
fire, and extinguishing it in a few moments by putting
on the cover of the pan. Then pour the matter, while
66 THE PAINTER, UILDKK,
it is warm, into a heated bottle, and add to it a t.lilv, oil
of turpentine.
Both the above mordants have something of a drying
nature, and are therefore objectionable when the work to
be done, after the application of the mordant, is of a kind
that requires it to be a long time before drying. In such
cases, the best mordant is formed by adding a little red
lead to the copal varnish prepared with camphor and oil
of lavender, as before directed.
The choice of mordants must in some measure be
guided by the tone which you desire to give to your
work, whether deep or light, red or yellow. For bronz-
ing or very pale gilding, a mixture of asphaltum and
drying oil, diluted with oil of turpentine, is much re-
commended.
One of the simplest mordants is that procured by
dissolving a little honey in thick glue. It has the e£fect
of great;ly heightening the colour of the gold, and the
leaf sticks to it extremely well.
GENERAL OBSERVATIONS ON VARNISHES.
It is a common practice, in the manufacture of spirit
varnishes, to mix glass or sand with the gum or resin,
for the purpose of enabling the alcohol to penetiate more
readily into all parts of the mass. M. Ferrari, however,
recommends (^Giomale de Fimca, ix., p. 36) that in
place of those substances, a coarsely-powdered charcoal
should be used ; for the glass or sand generally tends to
AND VARNISHER's COMPANION 67
afi;gregate the gum or resin at the hottom of the vcsselfl
and to protect it from the solvent ; whilst, on the con-
trary, the charcoal rather tends to raise and divide it.
The most advantageous proportion appears to be one
ounce of charcoal to one pound of the spirit or the oil of
turpentine used. The uses to which different varnishes
ve to be applied must, of course, determine the choice
of them. Good varnishes, prepared with spirits of wine,
are very clear, brilliant, and delicate, and may be applied
with success to furniture, and to fancy ornaments
which are kept within doors, and admit of re-varnishing
easily ; but they have not body nor durability enough
for coloured grounds — not even wainscoting, ceiling
ornaments, &c., or any articles exposed to the weather.
If you attempt to renovate them by rubbing, they
become of a mealy appearance. Their inferiority to oil
varnishes, is evident from the circumstance that oils will
of themselves form varnishes by repeated application,
whereas spirits of wine alone, so applied, disappear
without leaving any trace.
Varnishes made with turpentine or other "^ils arc
much superior yi many respects to those prepaied with
spirits of wine. They are pliable and smooth, as wel)
as brilliant and durable. They yield better to the ope
ration of polishing, and are less liable to crack.
Oil of poppips, nut oil, and linseed oil are used for
making fat varnishes ; oil of turpentine, and oil of la-
vender for the drier ones. The other oils are either too
fat, too much coloured, or too dear to answer the purpose
of the varnisher.
68 THE PAINTER, GILDER,
Oil of turpentine might be employed on all o.^casion&
instead of spirits of wine, in the composition of varnishes,
were it not for the strong and disagreeable smell arising
from it. The oil obtained from the coarse or common
turpentine ought never to be used in the preparation of
varnishes. A slight coating of spirits of wine varnish
laid over one coat of turpentine, when dry, is of great
use in removing the offensive odour.
Varnishes are usually kept in large strong glass bottles
with a wide mouth, for the convenience of taking ihem
out } but as the light is frequently found to act strongly
upon them, and render them thick, I would recommend
wrapping up the bottles in sheep-skin, or moist parch-
ment, folding it round the neck, and tying it with seve-
ral turns of pack-thread.
The best vessel for holding your varnish while using
it, is a varnish-pan, which may be had at any colour-
shop. It is made of tin, with a false bottom ; the in-
terval between the two bottoms is filled with sand, which,
being heated over the fire, keeps the varnish fluid, and
makes it flow more readily from the brush. There is a
tin handle to the pan, and the false bottom comes sloping
from one end to the other, which causes the varnish tu
run to one end.
Very great caution is required in the making of var-
nish — a process in which most serious accidents have
frequently occurred.
As heat in many cases is necessary to dissolve the
gums used in making varnish, the best way, when pi-ac-
Ucable, is to use what the chemists call a sand-bathj,
AND VARNISHER's COMPANION. W)
which is simply placing the vessel in which the yarnish
is in another filled with sand and placed on the fire ; this
will generally be sufficient to prevent the spirits catching
fire ; but in case of such accidents, (which not unfre-
qucntly happen,) it will be best to take a vessel so large
that there shall be little danger of spilling any — indeed,
the vessel should never be more than two-thirds filled ;
but in case of accidents, have ready at hand a piece of
board sufficiently large to cover the top of the vessel, in
case of its taking fire, as also a wet wrapper, in case it
should be spilt when on the fire, as water by itself
thrown on it only increases the mischief. The person
who attends the varnishpot should also have his handa
covered with gloves, and if these are made of leather,
hud rather damp, it will effectually prevent injury.
7*) THE PAINTEI^ GILDEB,
POLISHES.
The ccmpositions used for polishing are different, ac«
(*i)rdiDg to the nature of the varnish for which they are
employed. Some of the most useful I shall insert here.
Varnish Polish.
Take two ounces of tripoli, reduced to fine powder;
;^ut it into an earthen pot or basin, with w?ter to cover
it ; then take a piece of fine flannel, four times doubled^
lay it over a piece of cork or rubber, and proceed to
polish your varnish, always wetting it with the tripoli
and water. You will know when the process is com-
pleted, by wiping a part of the work with a sponge and
observing whether there is a %ir and even gloss. Take
a bit of mutton-suet and fi.ie flour, and clean off the
work.
Or, the powdered tripoli may be mixed up with a
little pure oil, and used upon a ball of serge, or of
ehamois leather, which is better. The polishing may
afterwards be completed with a bit of serge or cloth,
without tripoli.
Putty jDowder, and even common, whiting and water,
are sometimes used for polishing ; but they produce a
very inferior effect to tripoli, except in the case of ivory,
AND VARNISHER'S COMPANION. VI
for which pnttj and water, used upon a rubber made of
a hat, forms the best and quickest polish.
Putty and water may likewise be used, in the same
manner as just mentioned for ivory, in finishing off the
polish of pearl-work, after it has first been polished very
smooth with pumice-stone, finely powdered, and well
washed to free it from impurities and dirt.
Polish for Dark<oloured Woods,
Take one ounce of seed-lac, two drams of gum-guai-
acum, two drams of dragon's blood, and two drams
of gum mastic : put them into a vessel containing a pint
of spirit of wine : stop the vessel close, and expose the
mixture to a moderate heat till you find all the gums
dissolved : strain it off into a bottle for use, with a quar-
ter of a gill of linseed oil, to be shaken up well with it.
The dragon's blood, which is apt to give a red tinge,
renders this polish improper for light-coloured woods.
Polish for Tunhridge*ware Goods, <Scc,
Take half an ounce of gum sandrac and two ounces
ef gum benjamin ; put them into a glass bottle, with a
pint of spirits of wine. Cork the bottle, and place it in
a sand-bath, or in hot water, till you find the gums dis-
solved, shaking it in the interim from time to time.
When it IS all dissolved, strain it through a musliB
dcvci and bottle it for use.
'O
• 2 THE PAINTER, QILDEB,
Carvej^s Polish,
In a pint of spirits of wine, dissolve two ounces of
^ed-lac and two ounces of white resin.
The principal use of this polish is for the carved parts
df cabinet-work, such as standards, pillars, claws, ^.
It should be laid on warm; and if the work can also be
warmed at the time, it will be still better; but all
moisture and dampness should be carefully avoided.
French Polish,
Take one ounce of shell-lac, a quarter of an ounce of
gum Arabic, and a quarter of an ounce of gum oopal.
Bruise them well, and sift them through a piece of mus-
lin : then put them, along with a pint pf spirits of wine,
into a closely-corked vessel : place it in a very warm
situation, and shake it frequently every day till the
gums are dissolved : then strain it through a piece of
muslin, and keep it tight corked for use.
Water-proof Polish,
Put two ounces o^ gum benjamin, a quarter of an
ounce of gum sandrac, and a quarter of an ounce of gum
Q-nima, into a pint of spirits of wine, in a closely stopped
bottle. Place the bottle either in a sand-bath or in hot
water, till the gums are dissolved ; then strain off the
mixture, shake it up with a quarter of a gill of the best
clear poppy oil, and put it by for use.
AND "^ARWTSIIER's COMPANION. 73
Plnishing Polish,
Put two drams of shell-lac and two drams of
gum benjamin into half a pint of the very best rectified
spirits of wine, in a bottle closely corked. Keep the
bottle in a warm place, and shake it frequently till the
gums are dissolved ] when cold, shake up with it two
tea-spoonfuls of the best clear poppy oil, and it will be
fit for use.
This polish may be applied with great advantage after
any of those mentioned in the foregoing recipes have
been used. It removes the defects existing in them,
increases their lustre and durability, and give^ the bui<
face a most brilliant appearance.
THE PAINTER, OILDEB,
GILDING MATERIALS.
True Gold Powder.
Put some gold leaf, with a little honey or thick giim-
water, into an earthen mortar, and pound the mixture
till the gold is reduced to very small particles. Then
wash out the honey or gum repeatedly with wjirm water*
and the. gold will be left behind in the state of powder,
which, when dried, is fit for use.
Another, and perhaps better ixethod of preparing gold
powder, is to heat a prepared amalgam* of gold in a
clean open crucible, continuing a very strong heat till
all the mercury has evaporated, stirring the amalgam all
the while with a glass rod. When the mercury has en
tirely left the gold, grind the remainder in a Wedge-
wood's mortar, with a little water; and, when dried, it
will be fit for use. The subliming the mercury is, how-
ever, a process injurious to the health.
Colour-hewhtening Compositions,
For Yellow Gold, dissolve in water six ounces of salt-
petre, two ounces of copperas, one ounce of white vitriol,
^ An amalgam of any metal is formed by a mixture of quick-
ii)vor with that mntal.
AND VARNISHER*S COMPANIOW. 75
and one ounce of alum. If wanted redder, add a small
portion of blue vitriol.
For Green Gold, dissolve in water a mixture consist-
ing of an ounce and a half of saltpetre, vitriol, and sal-
ammoniac, an ounce and a quarter each, and one ounce
of verdigris.
For Red Gold, take an ounce and a half of red ochre
in fine powder, the same quantity of calcined verdigris,
half an ounce of ^calcined borax, and four ounces of
melted yellow wax. The verdigris must be calcined,
or else, by the heat applied in melting the wax, the
vinegar becomes so concentrated as to corrode the sur-
face, and make it appear speckled.
Mosaic Gold.
Mosaic Gold, or Aurum Mosaicum, is used for inferior
articles. It is prepared in the following manner : A
pound of tin is melted in a crucible, and half a pound
of purified quicksilver added to it : when this mixture
is cold, it is reduced to powder, and ground with half a
pound of sal-ammoniac and seven ounces of flower of
stlphur, till the whole is thoroughly mixed. They are
then calcined in a matras ; and the sublimation of the
other ingredients leaves the tin converted into the Aurum
Mosaicum, which is found at the bSttom of the glass, like
a mass of bright flaky gold powder. Should any black
ur discoloured particles appear, they must be removed.
The sal-ammoniac used here must be very white and
elear, and the mercury quite pure and unadulterated.
When a shade of deeper red is required, it can easily do
76 THE PAINTER) GILDEH,
obtained by grinding a very small quantity of red lea(I
along with the above materials.
Dutch or German Gold,
A gilding powder is sometimes made from Dutcb
Gold, which is sold in books at a very low price. This
is treated in the same way as the real gold leaf in making
the true gold powder. It is necessary, when this inferior
powder is used, to cover the gilding with a coat of clear
varnish, otherwise it soon loses its metallic appearance.
The same remark applies, though in a less degree, to
Mosaic gilding.
Ethereal Solution of Gold,
The following mode of effecting this solution (used
chiefly for gilding steel) is recommend by Mr. H. Mill,
in the " Technical Repository," as being superior to any
previously made known. " The instructions," he says,
" given in most elementary works on chemistry for this
purpose are either erroneous or not sufficiently explicit."
The process answers equally well for either gold or
platina.
Dissolve any quantity of gold or platina in nitro-muri-
atic acid, (aqua regigt,) until no further effers^escetice is
occasioned by the application of heat. Evaporate the
solution of gold or platina, thus formed, to dryness, in a
gentle heat, (it will then be freed from all excess of acid,
which is essential,) and re-dissolve the dry mass in as
little water as possible : next take an instrument which
AND VARNISHER'fe COMPANION. 77
18 used by chemists for dropping liquids, known by the
name of a sepnrating funnel, having a pear-shaped body,
tapering to a fine sharp point, and a neck capable of be-
ing stopped with the finger or a cork, which may contain
a liquid ounce or more ; fill it with the liquid about one-
quarter part,- and the other three parts must be filled
with the very best sulphuric ether. If this be rightly
managed, the two liquids will not mix Then place the
tube in a horizontal position, and gently turn it round
with the fihger and thumb. The ether will very soon
be impregnated with the gold or platina, which may be
known by its changing its colour : replace it in a perpen-
dicular position, and let it rest for twenty-four hours ;
having first stopped up the upper orifice with a cork.
The liquid will then be divided into two parts — the
darkest colouring being underneath. To separate them^
take out the cork and let the dark liquid flow out : when
it has disappeared, stop the tube immediately with the
cork, and what remains in the tube is fit for use, and
may be called gilding liquid. Let it be put into a bottle,
and tightly corked.
The muriate of gold or platina, formed by digesting
these metals in nitro-muriatic acid, must be entirely free
from all excess of acid ; because it will otherwise act too
forcibly on the steel, and cause the coating of gold to
peel oflP. Pure gold must be employed : the ether must
not be shaken with the muriate of gold, as is advised in
chemical publications, for it will be sure, then, to contain
acid 5 but if the two liquids be brought continually into
contact by the motion described, the affinity between
7*
78 THE PAINTER, GILDKR.
etber and gold is so strong as to overcome the obstacle
of gravity, and it will hold the gold in solution. The
ethereal solution may also be concentrated by gentle
evaporation.
Gold Oil-colour, or Size.
The English method of preparing the colour in size,
which serves as the ground on which the gold is laid, ia,
to grind together some red oxide of lead with the thick*
est drying oil that can be procured — the older the better.
To make it work freely, it is mixed, before being used,
with a little oil of turpentine, till it is brought to a
proper consistence. (See, also. Mordant Varnishes.^
Gold Water Size,
One pound of Armenian bole, two ounces of red lead,
and a sufficient portion of black lead, are ground sepa-
rately in water, and then mixed, and re-ground with
nearly a spoonful of olive oil. The gold size is tempered
by mixing it in parchment size which is clear and clean,
and has been passed through a fine sieve to clear it of
all foreign matters. The parchment size is made by
boiling down pieces of white leather, or clippings of
parchment, till they are reduced to a stiff jelly.
Preparatory/ Size,
Boil a handful of the leaves of wormwood and two or
(hree heads of garlic in a quart of water, until the liquid
is reauced to one-half; then strain it through a clutkf
AND VARNISHER's COMPANION 79
&U(1 add half a handful of common salt, an i nearly half
a pint of vinegar. The design of th/j composition
(usually employed in gilding looking-gl -.ss and picture
frames) is to obviate the greasiness of the wood, and
prepare it the better to receive the coats which are to be
laid on, and to preserve it from the ravages of worms
When used, it is mixed with a sufficient portion of good
glue, boiling hot. In applying it to the gilding of
plaster or marble, the salt must be left out of its cum-
position; as, in damp situations, this would produce a
white saline efflorescence on the surface of the gold.
White Coating.
A quart of strong parchment size and half a pint of
water are to be made quite hot, and to this are to be
added (in small portions from time to time) two good
handfuls of common whiting passed through a fine sieve;
this mixture is to be left to infuse for half an hour, when
it is to be stirred carefully so that the amalgamation
moy be perfect.
Colouring Yellow,
Half a pint of parchment size is taken, which must be
clean, white, and clear, and of one-half the sj;rength of
that used for the white coating; this is warmed, and
there is mixed with it two ounces of yellow ochre, very
finely ground in water ; it is then left at rest, and the
clear portion decanted, which gives a fine yellow colour,
that serves, in water gilding, to cover those deep recosse?
•SO THE PAINTER, GILDEll,
into which the gold cannot be made to enter : it servea
also as a mordant for the gold size.
VermeiL
This is a liquid which gives to the gold a warm re-
flection. It is composed of two ounces of anotto, one
ounce of gamboge, one ounce of vermilion, half an ounce
of dragon's blood, two ounces of salt of tartar, and
eighteen grains of good saffron. The whole is to be
boiled in a quart of water, over a slow fire, until it if
raduced to one-fourth, when the liquor is passed through
K strainer of silk or muslin.
«
AND VAKNISUEE's COMPANION. 81
MISCELLANEOUS MATERIALS
Painter's Cream.
This is a preparation sometimes employed by paintcrt
^hen they are obliged to leave work unfinished for a
length of time. They cover the parts already painted
with it, which preserves the freshness of their colours^
and can be easily removed when they return to their
work. It is made as follows : —
Take half an ounce of the best mastic, finely powdered,
and dissolve it over a gentle fire,, in three ounces of very
clear nut-oil. Pour the mixture into a marble mortar;
with two drams of pounded sugar of lead at the bottom
of it. Stir this with a wooden pestle, and keep adding
water in small quantities till the whole is of the appear-
ance and thickness of cream, and refuses to admit more
water, so as to mix freely.
Rotten Stone.
Rotten Stone is sometimes harsh and gritty; the best,
way of trying it is to take a little between the teeth,
g^hen the least portion of grit may be detected. Careful
workmen will always wash it before they use it. This
is effected by stirring the fine powder in a considerable
quantity of water, then allowing it to remain at rest for
a few seconds, and pouring the water into a glazed
81i THE PAINTER, OILBBU,'
earthen vessel ; the powder which then precipitates will
be perfectly fine and smooth ; by washing the remainder,
the whole of the finer parts may be separated from the
grit.
Glue and Isinglass.
Good glue should swell when kept in cold water for
three or four days : it should be semi-transparent, of a
brown colour, and free from cloudiness. Before using
it it should be broken into small pieces, covered with
cold water for some hours to soften it, then boiled till
dissolved, and again allowed to congeal by cooling. The
books in general recommend, as a size for gilding and
bronzing, a solution of isinglass ; but one of good clear
common glue is much cheaper, and answers equally well.
Isinglass, though a pur^r gelatine than glue, is not so
easily diss.'^lved.
Common Size,
The size used by painters for most sorts of common
work is prepared by boiling in water pieces of parch-
ment and of the skins of animals and fins of fish, and
evaporating the solution to a proper consistency. It only
differs, however, from a solution of glue in containing
fewer foreign ingredients and in not being so strong.
AND VABNISUEE'S COMPANION. ^'^
GRINDING AND WASHING COLOURS.
The following directions for the grinding of colouri
will be found of use to those who may not find it conve-
nient to have a mill for the purpose, such as that we
have described in a former part of our work.
In grinding, place yourself in such a situation, with
respect to the grinding-stone, that you may be able with
ease to exercise the full length and strength of your
arms in the use of the muller. Then place upon the
stone a small quantity of the colour you are about to
grind, not above two-thirds of a common saucer full at
most. Novices are apt to entertain an idea that the
work would be hastened by grinding a great deal at once,
but this is a mistake. The less you grind at a time the
easier will be the process and the finer the colour. One
of the most essential points in the preparation of a c<>-
lour is its being reduced into as small parts as possible.
The beauty of its appearance and the profit arising from
it equally depend upon this : and a good workman will
not therefore grudge the time employed in the operation
When you have laid your colour on the stone, pour upon
it a little of the oil or varnish with which you intend
to grind it, being careful not to put too much at first
84 THE PAINTER. GILDER.
Mix the oil and the colour together; then place tlui
muller upon them, and turn it a few times about. If
you find there is not oil enough, add a little more, and
continue to grind till the colour becomes of the consist-
ence of an ointment. Be careful not to add too much
oily so as to make the colour too thin and cause it to run
about the stone; for then it will be necessary to add
more solid matter, which would occasion a great waste of
time and labour. When the colour is rendered thinner
than it should be, the grinding is less fatiguing, but it
occupies more time; when thicker, the work is more
laborious, but more speedily executed. Experience will
teach you to judge correctly in this matter.
8hould the colour spread during the grinding, you
must bring it together with your palette-knife or voider.
When you have ground it sufficiently fine, which you
may determine by the difficulty of raising the muller
from the stone, and by the noise occasioned by the grind-
ing at first almost entirely subsiding, take up the muller :
then if you find the colour completely smooth like but-
ter, without any grittiness, take it off the stone with a
palette-knife or spatula, and put it into your pot or pan.
Afterwards lay more colour upon the stone, and continue
grinding in the same manner till the necessary quantity
is ground.
It is always desirable to grind at one time as much
of a 3olour as is required for the work you have in hand :
if you prepare it at intervals, in different quantities, you
will often find some difficulty in procuring exactly the
samue. shade or tint; and if you fail in this, the appear*
AND VARNISHER's COMPANION. 86
ance of tne work will be sadly disfigured. Should any
colour happen to be left which you are desirous of pre-
serving, you have only to cover it with water and deposit
it in a cool place. It is likewise advisable to take the
/3a me precaution with your colours, if you have occasion
to rest for a time, as it will prevent their drying, even
in the hottest weather.
It is not unusual with painters and varnishers, who
have much business, to grind or prepare at once quan-
tities of different colours or varnishes sufficient to serve
them for a long while. These, as the best mode of pre-
serving them, they keep tied up close in ox or sheep
bladders, so as to be always ready when wanted.
Colours that are of a coarse and sandy nature can
seldom be ground to a proper degree of fineness. Where
common work only is required, this is not very material;
but in cases where superior delicacy is necessary, such
colours, after being ground, must undergo the operation
of washing.
The chief of these are yellow ochre, charcoal, bone-
black, Spanish brown, red lead, white chalk, verditer,
and Saxon blue.
In washing colours, put the ouantity you wish to clean
into a vessel of clear water, and stir it till the water be-
comes coloured ; skim off any filth you observe swim-
ming at the top ; and when you think the grossest pari
of the colour is settled at the bottom, pour off the water
into a second vessel, large enough to hold four or five
times as much water as the first ; then pour some more
water into the first vessel, and pr3ceed as before. Keep
S6 THE PAJNTER, GILDER,
repeatiug this till you find all the fine part of the colour
drawn off, and none but the gritty particles remaining
in the bottom of the first vessel. Let the water in thf
larger vessel stand till it be quite clear and all the co-
lour settled at the bottom ; then pour the water off from
it, and the colour at the bottom, when completely driedj
will be fit for use.
Colours, whether you grind them yourself, a.s above
directed, or purchase them ready ground, will, in that
state, be too thick for use, and it will be necessary to
dilute them with the varnish or oil you propose to em-
ploy, in order to bring them to a proper consistence.
In doing this, extremes must be carefully avoided. If
the colour be made too thin, it runs, and does not cover
the article to be painted equally or exactly ; if too thick,
it forms lumps, is hard to spread, occasions more expense,
disfigures the work, and fatigues the hand which applies
it. If, when the brush is taken from the pot and
turned two or three times round in the hand, being held
obliquely, so as to check the thread which is formed, the
colour do not drop from it, it will then be as stiff as it
can be well wrought with ; and this is the proper state
for use, as both expedition and durability are gained by
it. If it be thin enough to allow the ground on which it
is laid to be at all seen through it, it cannot be good ; and
though it may work more easily at the time, it will re-
quire repeated coatings to make it perfect and substan-
tial, when one of a proper thickness would have been
sufficient. I may here remark, that many jobs being
contracted for by painters at so> much a yard, and tbo
ANJ) varnisher's companion. R7
work to be coloured three tnnes over, some are in the
haliit, with a view of sparing paint and labour, of mak-
ing their colounngs so thin as not to be altogether equal
to one good coating. But this is a practice which no
tradesman; who values his own character or that of the
work turned out of his hands, will adopt
^S TIUB PA1NTEK, GlLliJSft,
CLEAJSLINESS IN WORKING.
The principal end aimed at bj the Painter, Varnislicr,
or Gilder, and especially by the last two, is to beautify ^
and, without the strictest cleanliness, it is obvious this
end can never be answered.
Every surface to which colour, varnish, or gilding is
to be applied should first be thoroughly cleaned; it
should be rubbed, brushed, and even washed, if neces-
sary ; in the last case, however, it must be well dried
afterwards.
When any surface which is to be varnished or painted
has been previously varnished, and is found to be in-
crusted with dust or dirt, soap and water must be ap-
plied gently with a sponge, and great care taken every
time, after the sponge has been rubbed over the varnish^
to rinse it in clean water, and to squeeze it th(»:oughlv
out before it be again dipped into the soap and watei.
In grinding colours, after you have ground as much
of any one sort as you want, before you proceed to place
any other kind upon the stone, let it be perfectly cleaned
from the former colour, by first rubbing it with a cloth
and fine dry ashes or sand, and afterwards with a little
spirit of turpentine; then let it bo well wiped with a
rag, or with leather shavings.
AND VARNISHER's COMPANION. 8l>
But of all things in which cleanliness is essential,
brushes and pencils are, perhaps, the most to be con-
Hidered. With regard to the painter, where the very great-
est nicety is required, a separate brush or pencil should be
assigned to each colour, wiped when the work is done,
and preserved by covering it with water. With artists,
this is an invariable rule, but the occupations of the
mechanical painter are hardly ever of such extreme deli-
cacy as to require him to adopt it. In general, it is
sufficient for him to carefully wash out ever}' brush or
pencil after he has done with it, or before he employs it
for any other colour than that with which he has been
previously using it. This washing out should be first
in the oil with which the colour has been ground or
mixed, (but neat linseed oil, or oil of turpentine, will
always sufficiently answer for general purposes,) and
afterwards in warm soap-suds. Brushes that have been
used for varnishing may, on an emergency, be tolerably
washed out with boiling water and yellow soap only.
It is, however, much better to wash them well first with
spirit of wine, if the varnish has been compounded with
spirits, or with oil of turpentine, if it has been prepared
with any description of oil ; and, in either case, to clean
them thoroughly with warm soap and water. The spi-
rits used for washing varnish brushes are not thereby
rendered unfit for use in preparing varnishes for common
purposes. Remember, if either oil or colour be once
allowed to dry in a brush or pencil, it is spoiled for
ever. For coloured varnishes, kept in small quantities,
a brush may be appropriated to each exclusively, and
90 THE PAINTER, GILDER,
left in the bottle ; but in this case the cork ijbould be
perforated so as to fit the handle, and the points of the
hairs should dip into the varnish ; the brush will then
be always ready for ase. A common mustard bottU
will in general answer the purpose.
AND VARNTSHER^S COMPANICN. 91
PRACTICE OF PAINTING.
A Painter will consult durability in preference to
beauty of appearance, or the reverse, according as his
work is to be more or less exposed to the weather. In
out-door work, durability is, of course, of the most
consequence; and as it is likewise the simplest kind
of painting, I shall begin with noticing the manner of
executing it.
Before attempting to lay any colour upon your work,
you must carefully fill up with putty, so as to make the
whole surface perfectly level, all flaws, cracks, openings,
nail-holes, &c. ; for, if this be not done, the rain and snow
will be sure to penetrate into these places, and quickly
destroy the fruits of your labour. All knots and uneven-
nesses must likewise be carefully removed. When these
points are accomplished, proceed to the priming of the
work J that is, laying on the colour which is to serve as
a ground for the succeeding coatings. The nature of the
priming will, of course, be regulated by that which the
surface is ultimately to receive. Sufficient time must be
allowed for this to dry, according to the state of the
weather: from two to three days will generally be
enough. When the wood is new, or great solidity rc-
({uired in the work, it may be proper to repeat the first
priming ; otherwise, when that is dry proceed to put >*
^^ THE PAINTER, GILDEB,
the first coat of your proposed colour, and afterwards tlie
others in succession, as each of the preceding ones be-
comes dry. The number of coats applied will depend
upon the agreement made, and upon how far the work
19 wanted to be finished and substantial.
When the wood you are about to colour is new, the
priming should be laid on as thin as possible ; because,
in this case, the quantity of oil which necessarily sinks
into the wood is very useful in preserving it. This thin-
ness of the priming in new wood is also the reason why.
as before observed, it is proper to repeat it. But as the
thinness tends to delay its drying, if the priming colour
be one that is naturally hard to dry, do not mix it with
plain linseed oil, but with one part of drying oil and two
parts of linseed oil ; or if the priming colour be white oi
blue, mix it with linseed oil as usual, but grind a small
portion of white copperas along with it, because the two
colours just mentioned are afifected in their tints by the
drying oil.
No new coating of colour ought ever to be applied till
the former is perfectly dry, which can never be the case
while the least stickiness is felt on applying the hand to
it. The neglect of this precaution is certain to ruin all
the beauty of painting. Great care should likewise be
taken to brush ofi* any dust which may have settled upon
the former coat before applying a new one ; for, if it be
allowed to remain and mix with the colour, the uni-
formity of the tint will be destroyed, particularly in
bright colours. The workmen ought to be very careful
that every coating is of the same thickness throughout,
AND VARNISHER's COMPANION. 93
or tJie work; when done; will have an unfinished and
Blovenly appearance. This forms an additional reason for
always mixing as much colour at once as is necessary
for the job to which it is to be applied. The proper
thickness of each respective coating can only be learned
by habit and experience. If too thin, it often cracks in
drying; if too thick, it becomes blistered, wrinkled, and
unequal. The first coating, however, may always allow-
ably be made much thinner than any of the succeeding
ones.
Practice, too, is necessary, in order to obtain even the
proper use of the brush, and to learn the art of varying
its strokes according to circumstances. Sometimes long
strokes are to be employed to extend the colour in a.
uniform manner ; at otbci* times the colour should be
laid on in repeated dabs, for the purpose of incrusting
it in recesses and places where the surface is unequal.
The test of the complete workman in this respect is to
leave no marks of the brush behind him.
The same general directions that are given for outside
painting will apply to inside work ; but, in this latter,
more finish and delicacy of execution are necessary than
in the former ; and, as it is not so much exposed to in-
jury from the effects of weather and the state of the
atmosphere as the work done without-doors, the pamte/
is not obliged to pay so much attention to durability,
but, in the choice and application of his colours, prin
cipally to regard beauty and effect. In inside work, the
surfaces to be painted are frequently composed of fir oj
deal, in which kinds of wood, particularly when new,
D-l THE PAINTER, UTLDER,
there are usually a great many resinous knots. If these
be permitted to remain, the colour will run into them
and not adhere. Before beginning to paint, you should^
therefore, saturate these knots with a mixture of red
lead and litharge with a small quantity of oil of tur-
pentine.
The panelling of wainscot, and other similar parts
af inside work, will give you frequent occasion to em-
ploy very small brushes or pencils. In using these, you
should not take your colours out of a pot or pan, but
have those that you want disposed upon a palette.
There is more than one advantage attached to this. In
the first place, if your pencil bo only dipped into a pot
of colour, it brings out with it no more than hangs on
the outside — a quantity, from the small size of the brush,
that will go but a little way in working ; whereas, if you
work and temper the colour by rubbing the pencil about
in it upon the palette, it will imbibe a considerable
quantity of the colour. In addition^ to this, you will
likewise, by this method, be able to work yoiu* pencil to
a point, which is a great advantage in fine painting and
drawing lines, and which you could never obtain by
taking your colour upon it out of a pot.
Painting in Distemper.
The leading difference between oil-painting and paint-
ing in distemper is, that in the latter the colours, instead
of being prepared with oil, are mixed with size and wa-
(<>r. This circumstance renders many colouring sobi
AND VARNISHER's COMPANION. 9h
aianceS; particularly some that contain chalk or clayey
earth; or are extracted from vegetable matter, propei for
the purpose of distemper, which cannot be used ii*
painting in oil.
Almost all colouring substances which can be used iu
oil-painting are applicable in distemper ; but the reverse,
as will appear from the remarks I have just made, is far
from being the case. In speaking of colours, care has
been taken to notice particularly such as, from their
nature, can be employed only in distemper.
In painting in distemper, it is advisable to apply all
Uie coatings, except the last, warm ; not, however, in a
boiling state, for that is injurious, and may cause wood
to split. Besides, if the size be too much heated, it
becomes fat, and will not adhere. In putting on fresh
coatings, be very careful to preserve an equal thickness
throughout.
Without the utmost attention to having the ground
you are to work upon perfectly dean, no pleasing effect
can ever result from distemper. Grease and lime on the
surface that is to receive it would ruin all. They must
be removed by scraping if the surface be a wall, and by
a solution of pearlash if it be wood. Canvas must be
cleaned by means of a ley.
When the wall or surface is very smooth, a coating of
warm glue is first applied ; but if rough, a coat of Span-
ish white, or chalk mixed with a solution of glue, is era^
ployed to render the surface smoother ; and when the
eoating is dry, it is scraped as clean and as oven as pos-
sible. A level surface is indispensable to receive di»
J>G THE PAINTER, GILDER,
temper. If there are any considerable inequalities or
holes, they must be filled up with gypsum, and time
allowed, before applying any coat, for that gypsum to
gain body, which will not be the case before it is
thoroughly dry.
Tu painting in distemper, the thickness of the colour,
contrary to the observation I made on that head in oil-
painting, should be such that it may run or drop from
the brush in a thread when taken from the pot. If the
colour do not form a thread, it is too thick, and the work
is likely to become scaly.
Distemper is much used in the interior of houses, and,
when well executed, has a very delicate and beautiful
appearance. It is likewise free from the disagreeable
smell which usually arises from the turpentine in oil-
painting. It is, however, far inferior to oil, both as to
the durability of the colours and to the preservation of
the surfaces on which it is applied. In some cases, too,
it is attended with the inconvenience of not enabling the
workman to see what effect a particular mixture will
produce when it is dry. When this happens, the only
method of obviating the evil is to try each mixture on
pieces of prepared wood having the same tint as the
ground on which you are working, so as to obtain the
real tint.
A kind of distemper, called by the French badif/eon,
is sometimes used in out-door work, to give a uniform
tint to houses rendered brown by time, and to churches
where it is required to render them brighter. It has
generally a yellow tint. The best kind is made by mix-
AND VAENISHER'b COMPANION. 97
ing the saw-dust or powder of the same kind of stone
and slaked lime, in a bucket of water containing a pot^nd
of alum in solution. The composition is applied with
a brush.
Painting in Milk,
In consequence of the injury which has often resulted
to sick and weakly persons from the smell of common
paint, the following method of painting with milk has
been adopted by some workmen, which, for the interior
of buildings, besides being as free as distemper from any
offensive odour, is said to be nearly equal to oil-painting
in body and durability.
Take half a gallon of skimmed milk, six ounces of
lime newly slaked,* four ounces of poppy, linseed, oi nut-
oil, and three pounds of Spanish white. Put the lime
into an earthen vessel or clean bucket, and having
poured on it a sufficient quantity of milk to make it
about the thickness of cream, add the oil in small quan-
tities at a time, stirring the mixture with a wooden spa
tula. Then put in the rest of the milk, and afterwards
the Spanish white.
It is, in general, indifferent which of the oils above-
mentioned you use ; but, for a pure white, oil of poppy
is the best.
The oil in this composition, being dissolved by the
• Limo is slaked by dipping it into water, then taking the
pieces out immediately and allowing them to slake in the open
liir.
dS THE PAINTER, GILDER,
lime, wholly disappears; and, uniting with the whoU
of the other ingredients, forms a kind of calcareous
soap.
In putting in the Spanish white^ you must be careful
that it is finely powdered and strewed gently over the
surface of the mixture. It then, by degrees, imbibes
the liquid and sinks to the bottom.
Milk skimmed in summer is often found to be cur-
dled ; but this is of no consequence in the present pre-
paration, as its combining with the lime soon restores it
to its fluid state. But it must on no account be sour;
because, in that case, it would, by uniting with the lime,
form an earthy salt, which could not resist any degree
of dampness in the air.
Milk paint may likewise be used for out-door objects
by. adding to the ingredients before-mentioned two
ounces each more of oil and slaked lime, and two ounces
of Burgundy pitch. The pitch should be put into the
oil that is to be added to the milk and lime, and dis-
solved by a gentle heat. In cold weather, the milk and
lime must be warmed, to prevent the pitch from cooling
too suddenly, and to enable it to unite more readily with
the milk and lime.
Time only can prove how far this mode of painting is
to be compared, for durability, with that in oil ; for the
shrinking to which coatings of paint are subject depends
in great measure upon the nature and seasoning of the
wood.
The milk paint used for in-door work dries in about
an hour; and the oil which is employed in preparing it
AND VARNI^HER'S COMPANION. 09
entirely loses its smell in the soapy state to which it is
reduced by its union with the lime. One coating will
be suflScient for places that are already covered with any
colour, unless the latter penetrate through it and produce
spots. One coat will likewise suffice, in general, for
ceilings and staircases; two will be necessary for new
wood.
Milk painting may be coloured, like every other in
distemper, by means of the different colouring substances
employed in common painting. The quantity I have
given in the receipt will be sufficient for one coat to a
surface of about twenty-five square yards.
100 ^<7r>v THE PAINTEB, Q ^C^JSR.
VvV. v A
PRACTICE OF VARNISHING AND POLISHING
Before beginning to varnish, you must fill up an^
knots or blemishes with cement of the same colour as
the ground. Have your varnish in a pan, such as I
have before described, with a piece of wire running dia-
metrically across the top, and slackened downwards, ^o
stroke your brush against. Be careful that the brush
be dean and free from loose hairs; dip it in the varnish,
stroking it across the wire, and give the work a thin re-
gular coat ; soon after that, another ; and so continue ;
always taking care not to pass the brush twice over tho
same place in any one coat, as that would render it
unequal.
The greatest difficulty of the operation consists in
preventing the different strokes of the brush from being
visible. To avoid this, let the brush be perfectly flat
and as large as the nature of the work will permit.
Draw it gently over the surface, in taking your strokes,
and be careful not to load the brush with too much
varnish at once.
Turned articles are always best varnished while in the
lathe, by means of heat ; because the extension of the
varnish is then more uniform and the operation facili-
tates the polishing afterwards.
When varnish is applied to painting in distemper, it
its necessary to allow sufficient time to elapse bctwcoti
AND VARNISHER's COMPANION 101
the application of the distemper and that of the vamlrfh
to let the wood become perfectly dry, if this be not
done, the varnish will penetrate into the size, and at last
bring off the coat of colouring beneath along with it, in
thin pieces.
For ordinary purposes, shell-lac varnish does not re-
quire to be rubbed down and polished ; but, when it is
wished to produce a very even surface, these processes
are necessary : for rubbing down, pumice-stone in fine
powder is used. A piece of woollen rag is made wet,
and a portion of the powder put upon it ; this is rubbed
carefully and equally over every part of the varnished
surface until it appear perfectly even. Great care is
requisite to avoid rubbing through at some parts before
others are rendered smooth, particularly if there are
sharp edges or projecting mouldings. When this takes
place, the whole process of varnishing must be repeated.
A little practice will, however, enable any one to avoid
this, provided the article varnished have an even surface
and the number of coats have been sufficient to give the
I'equisite thickness of resin. When the surface to be
polished is flat, the cloth may, when used, be wrapped
round a piece of cork or wood ; and the same method
may be adopted in rubbing down mouldings.
When a surface is well prepared by the pumice-stone,
it is very easily polished. This is effected by fine rotten -
etone, used exactly in the same way as the pumice-
stone, excepting that sweet oil is used instead of water.
The oil may be removed from the surface by a fine rag
and some dry rotten stone -, and if a little be then rubbed
9»
102 THE PAINTER, GILD'.R,
on by the palm of the hand, this will give a high polish
to the surfi\ce.
The gloss upon the shell-lae which has been polished
IS less brilliant than that of the unpolished varnish, but
this gloss may be given by using a coat of seed-lao
varnish, which will abstract but little from the perfect
surface given by polishing.
In some cases, hard bodies may be allowably employed
in polishing varnishes, but only when these varnishes
are themselves hard, such as those resulting from the
solution of amber and oopal in drying olJ; or even in oil
of turpentine.
When it is required to clean and polish '^Id furniture,
first wash it thoroughly with hot %oft water to get the
dirt off ; then take a quart of stale beer or vinegar, put
in a handful of common salt and a table-rpoonful of
spirits of salt, and boil it for a quarter of an hour ; keep
it in a bottle, and warm it when wanted for use. Thi?
mixture should be applied as long as necessary after the
furniture has been washed with the hot water.
French Polish.
There is a mode of using shelUac varnish which is
sometimes denominated the German, but more commonly
the French mode. It merits to be generally known, a?
the process is easy and economical, and the effect beau-
tiful. It has been much employed by cabinet and mu-
sical instrument makers, but is not yet so extensive!)
practised as it merits to be.
AND VARNISHER'S COMPANION. 103
The varnish is applied by means of what is called a
rubber, made by rolling up a piece of thick woollen oloth,
which has been torn off so as to have a soft, elastic edge.
The varnish, put into a narrow-mouthed bottle, is ap-
plied to the middle of the flat face of the rubber by lay-
ing the rubber on the mouth of the bottle and quickly
shaking the varnish at once, as the rubber will thus
imbibe a sufficient quantity to varnish a considerable
extent of surface. The rubber is then enclosed in a
soft linen cloth doubled, the remainder of the cloth being
gathered together at the back of the rubber to form a
handle to hold it by ) and the face of the linen cloth
must be moistened with a little raw linseed-oil, which
may either be coloured with alkanet root or not, applied
with the finger to the middle of it.
The work to be varnished should be placed opposite
to the light, in order that the effect of the polishing may
be better seen, and a surface of from ten to eight feet
square may be varnished at once.
The rubber must be quickly and lightly rubbed upon
the surface of the article to be varnished, and the rub-
bing continued until the varnish becomes nearly dry.
The coil of woollen cloth must then be again wotted with
the varnish, (no more oil need b< applied to the surface
of the linen cloth,) and the ruLoing renewed till the var-
nish becomes nearly dry as before ] a third coat must be
applied in the same manner, then a fourth with a littlo
oil. which must be followed by two others without oil, as
before. You proceed thus until the varnish has acquired
Bome thiv'kness; which will be after a few repetition*
104 VHi! irAINTER, GILDER,
of tho series. Apply then a little alcoli(yI to the inside
of the linen cluth, and wet the coil with the varnish :
after which, ruh very quickly, lightly, and uniformly,
over every part of the varnished surface, which will tend
to make it even, and very much conduce to its polish.
The linen cloth must now be wetted with a little alcohol
and oil, without varnish; and the varnished surface
being rubbed over, with the precautions last mentioned^
until it is nearly dry, the effect of the operation will be
seen. If it be found not complete, the process must be
continued, with the introduction of alcohol in its turn
as directed before, until the surface becomes smooth and
of a beautiful lustre.
The preceding process is that in general use ; but Dr.
Jones recommends, in the Franklin Journal, a rubber
of a different sort, as well as a simpler mode of em-
ploying it. He takes a piece of thick woollen cloth, six
or eight inches in diameter, and upon one side of this
pours a tea-spoonful of the varnish ; he then collects the
edges together, so as to enclose the varnish in the cloth
and form a handle by which to hold it : this is finally
covered with a piece of oiled linen cloth, and the rubber
is ready for use. More varnish is added as often as it is
required ; and when it becomes occasionally too thick to
ooze through, a little alcohol is poured into the cloth.
Some difficulties may be at first experienced in per-
forming this process ; but Dr. Jones states that a very
little practice will enable any handy person to surmount
them. The peculiar advantage said to attend it is, that a
beautiful polish may be at once obtained by a contiiiuecl
AND VARNISHER'S COMPANION. J 05
%ppjicatk)n of the rubber in this way ; while, according
to the method previously described, successive coats of
varnish, which require considerable time to dry, must be
used, and a great deal of additional trouble incurred.
In varnishing recesses or carved work, where parts
of the surface are difficult to reach with the rubber, r»
spirit varnish, made with or without lac of the usual gum
resins, and considerably thicker than that used for the
rest of the work, may be applied to those parts with a
brush or hair pencil
»
Waxing,
In some instances, the application of wax merely is
preferred to any varnish; particularly in the case of
chairs, tables, &c., of walnut-tree wood, in daily use.
Waxing resists percussion and friction, but it does not
possess, in the same degree as varnish, the property of
giving lustre to the bodies to which it is applied, and of
heightening their tints. The lustre created by wax is
but dull ; but this inconvenience is balanced by the ease
with which any accidents that may have effected its
polish can be replaced by rubbing it with a piece of
fine cork.
In waxing, it is of great importance to make the coat-
ing as thin as possible, in order that the veins of the
wood may be more distinctly seen. I consider the
following preparation the best for performing thw
operation : —
Put two ounces of white and yellow wax over a mode-
rate fire, in a very clean vessel, and, when it is quite
106 THE PAINTER, GILDER,
melted, add four ounces of the best spirits of turpentine.
Stir the whole untilit is entirely cool, and you will have
a pomade fit for waxing furniture, which must be rubbed
over it according to the usual method. The oil soon
penetrates the pores of the wood, brings out the colour
of it, causes the wax to adhere better, and produce a
lustre equal to that of varnish, without being subjoct tc
uiy of its incoQTeniences.
Axv vabnisher's companion. 107
PRACTICE OF GILDING.
Gilding Carved Wood vrith Water Size..
Mix with your preparatory size a sufficient portion of
good glue, boiling hot, and lay it upon the wood with a
brush, the bristles of which are short. Then apply six,
eight, or ten coats, equal in quantity, of the white coat-
ing, and be particularly careful that the projecting parts
are well covered, as the beauty of the burnish on the
gold depends much on this. The first coat should be
laid on quite hot, dabbing it with the brush in such a
way that it may not be thicker in one place than
another. The lower parts of the carving must be covered
by dabbing it with a smaller brush. After putting on
one coat of white, and before following it with a second,
the work should be examined, any lumps in it reduced,
and small hollows filled up by a cement consisting of
whiting and glue kneaded together. Let the whole be
now rubbed with fish-skin, which will remove every sort
of roughness. The second, third, and remaining coats
of white should have the size stronger than in the first
coat, yet all of the same strength, otherwise a strong
superior coat will cause a weaker one under it to scale
oft* : the operation of dabbing with the brush must be
repeated in every successive coat, in order to unite the
whole, so that they may form a single compact body
lOS THE PAINTER, GILDEB.
Each coat must also be perfectly dry before a new one
is laid on. The whitened surface is now to be wetted
with the brush which has been used for putting on the
whiting, dipped in fresh cool water. Only a small portion
should be wetted at once, which should then be rubbed
down with pumice-stone, made flat for the parts which
require to be of that form, and round or hollow, as may
be necessary, for the mouldings. Little sticks are Tased
for clearing out those members of the mouldings which
may have been filled up by the whiting. The whitened
parts are to be rubbed lightly, so as to render the sur-
face smooth and even to the touch. At the same time,
a brush which has become soft by using it with the
whiting is employed to clear out all the dirt which has
been found in the rubbing. The moisture is now to be
dried up with a sponge, and any small grains which may
remain removed by the finger — a delicate and very im*
portant operation. The whole work is finally to bo
wiped with a piece of cle^n linen.
The work should now be returned to the carver, to
have the fine and delicate cutting of the sculptured parts
restored. If the workman be skilful, he will be able to
re-produce on the whiting every characteristic trait which
may happen to have been obliterated. Where bas-re-
liefs cast from moulds are laid on a flat or carved sur-
face, instead of the wood itself being carved, as is now
very commonly the case, this repairing process is un-
necessary.
A moistened cloth is now to be passed over the parts
vhich are to be matted or burnished, and a soft moist-
AND VARNISHER's COMPANION. 109
cDed brush over those which have been repaired. The
whole is then to be washed with a soft sponge, and every
speck and hair carefully removed. All the even parts
should next be smoothed with rushes, taking care not to
rub oflf the whiting. The colouring yellow is now to be
applied very hot, with a soft clean brush, so as to cover
the whole work. This application must be lightly made,
so as not to disturb the whiting. The yellow tint serves
to cover those deep recesses into which the gold cannot
be made to enter : it serves also as a- mordant for the
gold size. When this yellow covering becomes dry, the
whole surface is to be again gently rubbed with rushes,
to remove all specks or hairs which may be found or
it, and to give a uniform surface without the slightesf
inequality.
The gold size, which is the next thing to apply, you
must temper by mixing it with some parchment size
that has been passed through a fine sieve. It is to be
laid on warm, with a small brush, the bristles of which
are fine, long, and soft l theie are brushes made for the
express purpose. Three coats of the size will be suffi-
cient. It is to be applied generally to the work, but
you need not force it into the deeper parts. When the
three coats of size are quite dry, the larger and smoother
parts, which are intended to appear matted, are to be
rubbed with a piece of new dry linen : this will cause
the gold to extend itself evenly, and the water to flow
over the sized surface without forming spots. To those
parts which are not thus rubbed, but which are intended
to be burnished, you must apply two additional c(»ats of
10
110 THE PAINTER, GILDER,
Uie same tempered gold size, to which a little water haa
been added to render it thinner.
The work is now ready for Gilding. — Take a book of
leaf gold, place the leaves upon a cushion, cut them to the
required size, and lay them on the work by means of
hair pencils of different sizes ; first wetting the part (but
that only) on which the gold is to be applied with fresh
and cool water. The deep recesses should be gilt before
the more prominent parts. When the leaf is deposited
in its place, water is applied, to make it spread easily,
by means of a pencil behind it, but so as it may not
flow, as this would occasion spots; it should also be
breathed on gently, and any waste water removed with
the point of a pencil.
Those parts of the gilding which it is wished to pre-
serve of a matted appearance should have a slight coat
of parchment size, which will prevent the gold from
rubbing off. The size should be warm, but not hot,
and its strength half as great as that used with the co-
louring vellow.
The parts to which it is desired to give a more bril-
liant appearance are burnished with a burnisher made
of wolves' or dogs' teeth, or agate, mounted in iron or
wooden handles, which must be kept, throughout the
process, perfectly dry. The operation of burnishing \h
very simple. Take hold of the tool near to the tooth or
Btone, and lean very hard with it on those parts which
are to be burnished, causing it to glide by a backward
and forward movement, without once taking it off the
piece When it is requisite that the hand should pass
ANlJ VARNISHER's COMPAVION. HI
over a large surface at once, without losing its point of
support on the work-bench, the workman, on taking hold
ot the burnisher, should place it just underneath his
•iitle finger ; by this means the work is done quicker,
and the tool is more solidly fixed in the hand.
It will sometimes happen in gilding that small spots
on the deeper parts are overlooked, or that the gold is
removed in some parts in applying the matting size.
When this is the case, small pieces of leaf gold are to
be put on by meann of a pencil, after moistening the
deficient places with a small brush ; when dry, each of
these spots should be covered with a little size.
When it is desired to give the work the appearance
of or niovluj dip a small fine pencil into the vermilion-
ing composition, and apply it delicately into the inden-
tations and such other parts, where it will, by being
reflected, give a good effect to the gold.
To hind and finish the work well, a second coat of the
matting size should be passed over the matted parts, and
hotter than the first.
Gilding Plaster or Marble with Water Size.
The chief difference to be observed when plastei or
marble has to be gilt instead of wood, is to exclude the
gait from the composition of the preparatory size, as in
damp situations this would produce a white efflorescence
upon the surface of the gold. Two coats of this size
should be laid on ; the first weak, that it may sink into
the plaster or marble and moisten it perfectly; the
«e»Hin(l, strong.
112 THE PAINTRR, GILDER
Gilding Wood in (XL
The wood must first be covered, or primed, with twc
ur three coatings of boiled linseed oil and carbonate of
lead ] and, when dry, a thin coating of gold oil size laid
upon it. In about twelve hours this sizing, if good,
will be dry, when you may begin to apply the gold-leaf,
dividing it, and laying it on in the same manner as in
the case of the water-gilding ; with this difference, that
it is to be gently pressed down with a ball of soft cot-
ton, when it will instantly adhere so firmly to the size,
that, after a few minutes, the gentle application of a
large camel's-hair brush will sweep away all the loose
particles of the leaf without disturbing the rest.
The advantages of this oil-gilding are, that it is easih
and quickly done, is very durable, is not readily injured
by changes of weather, even when exposed to the open
air, and, when soiled, may be cleaned by a little warm
water and a soft brush. It cannot, however, be bur-
nished, and is, therefore, deficient in lustre.
To (jild Steel
Pour some of the ethereal solution of gold into a wine-
glass, and dip into it the blade of a new penknife, lancet,
or razor; withdraw the instrument, and allow the ethei
to evaporate : the blade will then be found covered with
a beautiful coat of gold. The blade may be moistened
with a clean rag, or a small piece of very dry sponge
AND VARNISHER*S COMPANION. 113
dipped into the ether, and th? same effect will bo pro-
duced,
To gild Copper, Brass, d^.
The gilding of these inferior metals and alloys of them
is effected by the assistance of mercury, with which the
gold is amalgamated. The mercury is evaporated, while
the gold is fixed, by the application of heat ; the whole
is then burnished, or left mat, in whole or in part, ac-
cording as required.
In the large way of gilding, the furnaces are so con-
trived that the volatilized mercury is again condensed,
and preserved for further use, so that there is no loss in
the operation. There is also a contrivance by which the
volatile particles of mercury are prevented from injuring
the gilders.
Gilding Glass and Porcelain.
Dissolve in boiled linseed oil an equal weight eithei
of copal or amber, and add as much oil of turpentine as
will enable you to apply the compound or size thus
formed, as thin as possible, to the parts of the glaijs in-
tended to be gilt. The glass is to be placed in a stovo
till it is so warm as almost to burn the fingers whei
handled. At this temperature the size becomes adhesive,
and a piece of leaf gold, applied in the usual way, wiL
immediately stick. Sweep off the superfluous portions
ef Ibe leaf; aB^d, when quite cold it may be burnished,
t»*
114 THE PAINTER, GILDEIl,
taking care to interpose a piece of India paper between
the gold and the burnisher.
It oometimes? happens, when the varnish is not very
good, that by repeated washing the gold wears off; on
*his account the practice of burning it in is sometimea
had recourse to. For this purpose, some gold-powde?
is ground with borax, and in this state applieU to the
clean surface of the glass by a camel's-hair pencil; when
quite dry, the glass is put into a stove, heated to about
the temperature of an annealing oven ; the gum bums
off, and the borax, by vitrifying, cements the gold with
great firmness to the glass ; after which it may be bur-
nished.
The gilding upon porcelain is in like manner fixed by
heat and the use of borax; aud this kind of ware, being
neither transparent nor liable to soften, and thus to be
injured in its form in a low red heat, is free from the
risk and injury which the finer and more fusible kinds
of glass are apt to sustain from such treatment. Porce-
lain and other wares may be platinized, silvered, tinned,
or bronzed, in a similar manner.
Gilding Leather.
In order to impress gilt figures, letters, and other
marks upon leather, as on the covers of books, ed^^ings
for doors, &c., the leather must first be dusted ovei with
very finely-powdered yellow resin, or mastic gum. The
iron tools, or stamps, are then arranged on a racK Lcibfc
« clear fire, so as to be well heated, without beet ming
AND VARNISHER^S COMPANION. 115
red hot. Vf the tools are letters, they have an alphabetl
cal arrangement on the rack. Each letter or stamp
must be tried as to its heat, by imprinting its mark on
the raw side of a piece of waste leather. A little prac-
tice will enable the workman to judge of the heat. Tlio
tool is now to be pressed downwards on the gold leaf,
which will, of course, be indented and show the figure
imprinted on it. The next letter or stamp is now to be
taken and stamped in like manner, and so on with the
others; taking care to keep the letters in an even line
with each other, like those in a book. By this opera-
tion the resin is melted ; consequently the gold adheres
to the leather. The superfluous gold may then be
rubbed oflf by a cloth, tlie gilded impressions remaining
on the leather. In this, as in every other operation,
adroitness is acquired by practice.
The cloth alluded to should be slightly greasy to
retain the gold wiped off; (otherwise there will be a great
waste in a few months;) the cloth will thus be soon
completely saturated or loaded with the gold. When
this is the case, these cloths are generally sold -to the
refiners, who burn them and recover the gold. Some of
these afford so much gold by burning as to be wo^'tL
from a guinea to a guinea and a half.
Gilding Writings^ Drawings, dec, on Paper or Parch-
ment,
Letters written on vellum or paper are gilded in three
wayp. In the first, a little size is mixed with the ink
116 THE PAINTER, GILDER,
and the letters are written as usual; when they are dry,
a slight degree of stickiness is produced by breathing
on them, upon which the gold leaf is immediaieiy ap-
plied, and by a little pressure may be made to adhere
with sufl&cient firmness. In the second method, some
white lead or chalk is ground up with strong size, and
the letters are made with this by means of a brush.
When the mixture is almost dry, the gold leaf may be
laid on, and afterwards burnished. The third method
is to mix up some gold powder with size, and to form
the letters of this by means of a brush.
«
Gilding the Edges of Paper,
The edges of the leaves of books and letter paper arc
gilded whilst in a horizontal position in the bookbinder*?
press, by first applying a composition formed of four
parts of Armenian bole and one of candied sugar, ground
together with water to a proper consistence and laid on
by a brush with the white of an egg. This coating,
when nearly dry, is smoothed by the burnisher. It is
then slightly moistened by a sponge dipped in clean
water, and squeezed in the hand. The gold leaf is now
taken up on a piece of cotton, from the leathern cushion,
and applied on the moistened surface. When dry, it
IS to be burnished by rubbing the burnisher over it re-
peatedly from end to end, taking care not to wound the
surface by the point.
AND VARNISUER's COMPANION. lU
ON LACQUERING.
The general nature of the compositions employed for
lacquering has already been explained under the head of
Cnanging Varnishes. I shall in this place give some
particular receipts for preparing the lacquers in most
general use.
Lacquer for Brass.
Seed-lac, six ounces; amber or copal, ground on por
phyry or very clean marble, two ounces; dragon's bloody
forty grains ; extract of red sandal-wood, thirty grains ;
oriental saffron, thirty-six grains; pounded glass, four
ounces; very pure alcohol, forty ounces.
Articles, or ornaments of brass, to which this varnish
is to be applied, should be exposed to a gentle heat and
then dipped into the varnish. Two or three coatings
may be thus applied, if necessary.
Articles varnished in this manner may be cleaned
with water and a bit of dry rag.
Lacquer /or Philosophical Instruments,
Gamboge, an ounce and a half; gum sandrac, four
oances; gum elemi, four ounces ; best dragon's blood,
Hi THE PAINTER; GILDEB,
^wo ounces ; terra merita,'*' an ounce and a half; oriental
saffron, four grains ; seed-lac, two ounces; pounded glass^
six ounces; pure alcohol, forty ounces.
The dragon's blood, gum elemi, seed-lac, and gam-
boge are all pounded and mixed with the glass. Over
them is poured the tincture obtained by infusing the
saffron and terra merita in the alcohol for twenty-four
hours. This tincture, before being poured over the dra-
gon's blood, &c., should be strained through a piece of
clean linen cloth, and strongly squeezed.
If the dragon's blood gives too high a colour, the
quantity may be lessened according to circumstances.
The same is the case with the other colouring matters.
This lacquer has a very good effect when applied to
many cast or moulded articles used in ornamenting fur-
niture.
Gold-coloured Lacquer for Brass Watch-cases, Watch'
keys, &c.
Seed-lac, six ounces; amber, two ounces; gamboge,
two ounces; extract of red sandal-wood in water, twen*
ty-four grains; dragon's blood, sixty grains; oriental
* Terra merita is the root of an Indian plant ; it is of a roc*
colour, and much used in dyeing. In varnishing, it is only eir.-
ploycd in the form of a tincture, and is particularly well adapted
for the mixture of those colouring parts which contribute the
most towards giving metals the colour of gold. In chooting it
00 earoful to observ' that it is sound and compact
AND VARNISHER'S COMPANION. Ill)
saffron, thirty-six grains; pounded 'glass, four. ounces;
pure alcohoi, tbirty-six ounces.
The sc^d-lac, amber, gamboge, and dragon's blood
roust be j;ounded very fine on porphyry or clean marble,
and mixed with the pounded glass. Over this mixture
is poured the tincture formed by infusing the saffron
and tiie extract of sandal- wood into the alcohol, in the
manner directed in the last receipt. The varnishing is
completed as before.
Metal articles that are to be covered wit! *his varnish
are heated, and, if they are of a kind to admit of it, are
immersed in packets. The tint of the varnish may be
varied in any degree required, by altering the propor-
tions of the colouring quantities according to circum-
stances.
To make Lacquer of various Tinta*
For this purpose, make use of the receipt given under
the head of Changing Varnishes.
To clean old Brass Work for Lacquering.
First boil a strong lye of wood-ashes, which you may
strengthen with soap-lees; put in your brass work, and
the lacquer will immediateiy come off; then have ready
a pickle of aqua-fortis and water, strong enough to take
off the dirt; wash it immediately in clean water, dry it
well^ and lacquer it.
120 THE PAINTER, QILDER,
imONZINO.
Tflis art is nothing but a species of painting ; but far
from being of the most delicate kind. The principal
ingredients made use of in it are the true gold powder,
the German gold, the aurum mosaicum, (all before
described,) and copper powder. This last may be pro-
cured by dissolving filings or slips of copper with nitrous
acid in a receiver. When the acid is saturated, the
slips are to be removed; or, if filings be employed, the
solution is to be poured off from what remains undis-
solved. Small bars are then put in, which will preci-
pitate the copper from the saturated acid, in a powder
of the peculiar appearance and colour of copper; and
the liquid being poured from the powder, this is to be
washed clean off the crystals by repeated levigations.
The choice of these powders is, of course, to be deter-
mined by the degree of brilliancy you wish to obtain.
The powder is mixed with strong gum water or isinglass,
and laid on with a brush or pencil; or, a coating of gold-
size, prepared with a due proportion of turpentine, is
first applied; and when not so dry as to have still a
certain clamminess, a piece of soft leather, wrapped
round the finger, is dipped in the powder and rubbed
over the work. When the work has, in either of these
ways, be^n all covered with the bronze, it must be left
AND VARNISHER's COMPANION. 121
to dry, and any loose powder then cleared away by a
hair pencil.
Bronzing in wood may be effected by a process some-
what differing from the above. Prussian blue, patent
yellow, raw amber, lamp-black, and pipe-clay are ground
s(iparately with water on a stone, and as much of them
as will make a good colour put into a small vessel, three-
fourths full of size, not quite so strong as what is called
clean size. This mixture is found to succeed best on
using about half as much more pipe-clay as of any of the
other ingredients. The wood being previously cleaned
and smoothed, and coated with a mixture of clean size
and lamp-black, receives a new coating with the above
compound twice successively, having allowed the first
to dry. Afterwards the bronze-powder is to be laid on
with a pencil, and the whole burnished or cleaned anew,
observing to repair the parts which may be injured by
this operation. Next, the work must be coated over
with a thin lather of Castile soap ; which will take off
the glare of the burnishing, and afterwards be carefully
rubbed with a woollen cloth. The superfluous powder
may be rubbed off when dry.
In bronzing iron, the subject should be heated to a
greater degree than the hand can bear; and German
gold, mixed with a small quantity of spirit-of-wine var-
nish, spread over it with a pencil. Should the iron be
already polished, you must heat it well and moisten it
with a linen rag dipped in vinegar.
There is a method of bronzing casts of plaster of Paris
analogous to that which we have above given for brons-
u
122 THE TAINTER, GILDER,
mg wood ; but it is not in much repute. Such figure
may be beautifully varnished by means of the following
composition, recommended by Dr. Johns, of Manchester,
England, in the Mechanics^ Magazine, vol. iv. pp. 303,
352. Of white soap and white wax, take each half an
ounce; of water, two pints; boil them togther for a
short time in a clean vessel. This varnish is to be
applied when cold, by means of a soft brush. It doer,
not sink in; it readily dries ;Nand its effect may K
neigbtcned by lightly using a silk pocket handkernhiel
AND VARNISHER's COMPANION. I2il
JAPANNINa.
All wood work intended to be japanned muct bo
prepared with size, and some coarse material mixed with
it to fill up and harden the grain of the wood, (such as
may best suit the colour intended to be laid on,) which
must be rubbed smooth with glass paper when dry. In
cases of accident, it is seldom necessary to re-size the
damaged places, unless they are considerable.
Be very careful, in japanning, to grind your colours
smooth in spirit of turpentine ; then add a small quan-
' tity of turpentine and spirit varnish ; lay it carefully on
with a camel-hair brush, and varnish it with brown or
white spirit varnish, according to the colour.
I
Colours required in Japanning.
Flake white, red lead, vermilion, lake, Prussian blue,
patent yellow, orpiment, ochres, verditers, Vandyke,
brown, umber, lamp-black, and siennas raw and burnt
With these you may match almost any colours in gene-
ral use in japanning. For a black japan, it will be
found sufficient to mix a little gold-size with lamp-black j
this will bear a good gloss, without requiring to be var-
nished afterwards.
124 THE PAINTER, Q1LD£A,
To prepare a fine Tortoise-shell Japan (/round by metiru
of Hisat,
Take one gallon of good linseed oil, and half a pound
of umber ; boil them together till the oil becomes very
brown and thick : then strain it through a coarse cloth,
and set it again to boil; in which state it must be con-
tinued till it acquire a consistence resembling that of
pitch ; it will then be fit for use.
Having thus prepared the varnish, clean well the sub-
stance which is to be japanned. Then lay vermilion
tempered with shell-lac varnish or with drying oil very
thinly diluted with oil of turpentine, on the places in-
tended to imitate the more transparent parts of the tor-
toise-shell. When the vermilion is dry, brush the whole
over with black varnish, tempered to a due consistence
with the oil of turpentine. When set and firm, put the
work into a stove, where it may undergo a very strong
heat, which must be continued a considerable time ; if
even three weeks or a month it will be the better.
This tortoise-shell ground is not less valuable for m
great hardness, and enduring to be made hotter than
boiling water without damage, than for the superioi
beauty and brilliancy of its appearance.
AND VARNISHER's COMPANION 125
FOILS.
tYiLS are thin plates or leaves of metal that are put
under stones, or compositions in imitation of stones,
when they are set, either to increase the lustre and play
of the stones, or more generally to improve the colour,
by giving an additional force to the tinge, whether it be
natural or artificial, by a ground of the same hue.
There are two kinds of foils. One is colourless,
where the effect of giving lustre to the stone is produced
by the polish of the surface, making it act as a mirror,
and, by reflecting the light, preventing the deadness
which attends a duller ground under the stone, and
bringing it nearer to the effect of the diamond. The
other is coloured with some pigment or stain, either of
the same hue as the stone, or of some other, which is
intended to change the hue of the stone in some degree;
thus, a yellow foil may be put under green which is too
much inclined to blue, or under crimson, where it is de-
sired to have the appearance of orange or scarlet.
Foils may be made of copper or tin. Silver has been
sometimes used, and even gold mixed with it ; but the
expense of either is needless, as copper may be made to
answer the same end.
Copper intended for foils is prepared by taking cop-
per plates beaten to a proper thickness, passing them
betwixt a pair of fine steel rollers very closely set, and
I2C THE PAINTER, GlLDf.R,
drawing them as thin as possible. They are polished
with very fine whiting, or rotten-stone, till they shine,
and have as much brightness as can be given them, and
then they will be fit to receive the colour. If they are
intended for a purple or crimson colour, the foils should
first be whitened in the following manner : Take a small
quantity of silver, and dissolve it in aqua-fortis ; men
put bits of copper into the solution, and precipitate the
silver ; which being done, the fluid must be poured otf,
and fresh water added to it to wash away all the re-
mainder of the first fluid ] after which the silver must
be dried, and an equal weight of cream of tartar and
common salt ground with it, till the whole is reduced tc
a very fine powder. With this mixture, the foils,
slightly moistened, must be rubbed by the finger, or a
bit of linen rag, till they are of the degree of whiteness
desired.
The manner of preparing foils, so as to give colourless
stones the greatest degree of play and lustre, by raising
80 high a polish or smoothness on the surface as in many
instances to nearly resemble the effect of diamonds, I
shall nut here detail, as it is not one in which the gene-
ral occupations of the Painter, Varnisher, or Gilder,
would be of assistance. The method of colouring these
substances I shall hero describe.
To Colour Foils,
Two methods have been indented for colouring foils ;
the one by tinging the surface of the copper with the
AND VARNISHER's COMPANION. 127
colour required by means of smoke, the other by slain,
ing or paiutiDg it with some cokmring substance.
The colours used for painting foils may be mixeti
with either oil, water rendered glutinous by gum-arabic,
size, or varnish. Whe^^ deep colours are wanted, oil
k most proper, 1}ecause some pigments become wholly
transparent in it, as lake or Prussian blue: the yellow
and green may be better laid on in varnish, as these
colours may be had in perfection from a tinge wholly
dissolved in spirit of wine, in the same manner as in
the case of lacquers; and the most beautiful green is to
be produced by distilled verdigris, which is apt to lo?o
its colour and turn black with oil. In common ca'&es,
however, any of the colours may be, with the least
trouble, laid on with isinglass size, in the same manner
as the glazing colours used in miniature painting.
Where the ruh^ is to be imitated, a little lake used
in isinglass size, carmine, or shell-lac varnish, is to. be
employed, if the glass or paste be of a full crimson,
verging towards the purple 3 but if the glass incline to
the scarlet, or orange, very bright lake, not purple, may
be used alone in oil.
For garnet, redj dragon's blood dissolved in seed-lac
varnish may be used ; and for the vinegar ganiet, the
orange lake, tempered with shell-lac varnish, will be
found excellent.
For the amethystj lake, with a little Prussian blue^
used with oil, and very thinly spread on the foil, will
aiiswer.
For hlue^ where a deep colour or sapphire is wanted,
128 THE PAINTER, BILDER,
Prussian blue, not too deep, should be used in oil, and
be spread more or less, thinly on the foil, according to
the lightness or deepness of the colour required.
For eagU marine, common verdigris, with a little
Prussian blue, tempered in shell-lac varnish.
Where a full ydlow is desired, the foil may be co-
loured with a yellow lacquer, laid on as for other pur-
poses. For light yelloics, the copper ground of the foil
itself, properly burnished, will be sufficient.
For green, where a deep hue is required, the crystals
of verdigris, tempered in shell-lac varnish, should be
used ; but where the emerald is to be imitated, a little
yellow lacquer should be added, to bring the colour to a
truer green, and less verging to the blue.
The stones of more diluted colour, such as the awie-
thystj topaz J vinegar garnet, and eagle marine, may be
very cheaply imitated by transparent white glass or
pa«te, even without foils. This is to be done by tem-
pering the colours above mentioned with turpentine and
mastic, and painting the socket in which the counterfeit
stone is to be set with the mixture, the socket and stone
itself being previously heated. In this case, however,
the stone should be immediately set, and the socket
closed upon it before the mixture cools and grows hard.
The orange lake, mentioned under the head of garnet
red, was invented for this purpose, in which it has a
beautiful effect, and has been used with great success.
The colour it produces is that of the vinegar garnet,
which it affords with great brightness.
The colours before directed to be used in oil should
AND VARI^ISHER's COMPANION. lf?9
bo extremely well ground in oil of turpentine, and tem-
pered with oil — nut or poppy oil ; or, if time can be
given for their drying, with strong fat oil, diluted with
spirits of turpentine, which will gain a fine polish of
itself. The colours used in varnish should be likewise
thoroughly well ground and mixed ; and in the case of
dragon^s blood in the seed- lac varnish and the lacquer^
the foils should be warmed before they are laid out.
All the mixtures should be laid on the foils with a broad
soft brush, which must be passed from one end to the
other, and no part should be crossed or twice gone over
— K)r, at least, not till the first coat be dry ; when, if the
cciuur does not lie enough, a second coat may bo gi\eD
ISO THE PAINTER, GILDEB,
FISH OIL COLOUKS.
Various coarse paints, applicable to out-door work,
and of great cheapness and durability, may be mad a
with fish oil, according to the following processes : —
To prepare the Oil,
Into a cask which will contain about forty gallons, put
fchirty-two gallons of good common vinegar; add to this
twelve pounds of litharge, and twelve pounds of white
copperas in powder : bung up the vessel, and shake and
roll it well twice a-day for a week, when \^ will be fit to
put into a ton of whale, cod, or seal oil, (but the South-
ern whale oil is to be preferred, on account of its good
colour and little or no smell :) shake and mix all to-
gether, when it may settle until the next day; then
pour off the clear, which will be about seven-eighths of
the whole. To clear this part, add twelve gallons of
linseed oil, and two gallons of spirit of turpentine ; shake
them well together, and, after the whole has settled two
or three days, it will be fit to grind white lead and all
fine colours in; and, when ground, cannot bo distin-
guished from those ground in linseed oil, unless by the
superiority of colour.
If the oil be wanted only for coarse purposes, the lin-
seed oil and oil cf turpentine may be added at the same
AND VARNISHER's COMPANION 13 i
time that the prepared vinegar is put in; and, after
being well shaken up, is fit for immediate use, without
being suffered to settle.
The residue or bottom, when settled by the addition
of half its quantity of fresh lime-water, forms an excel-
lent oil for mixing with all the coarse paints for preserv-
ing outside work.
All colours ground in the above oil, and used for in-
side work, must be thinned with linseed oil and oil of
turpentine.
Gain hy the above process.
One ton of fish oil, or 252 gallons . . $151 20
32 gallons of vinegar, at 12 J cents per gallon . 4 00
12 lbs. litharge, at 7 cts. per lb. . • 84
12 lbs. white copperas, at 8 cts. ditto . . 96
12 gallons of linseed oil, at 90 cts. per gallon 10 8C
2 gallons of spirit of turpentine, at 40 cts. 80
$168 6C
252 gallons of fish oil
12 ditto linseed oil
2 ditto spirit of turpentine
32 ditto vinegar
298 gallons, at 90 cts. per gallon $268 20
Deduct the expense . . 168 60
$99 60
132 THE PAINTER, GILDER,
Preparation and Cost of particular Colours,
I. — Subdued Green,
F/esh lime-water, 6 gallons . . . . $ 00
Road dirt, finely sifted, 112 pounds . . 10
Whiting, 112 ditto 1 12
Blue-black, 30 ditto . . . . 1 50
Wet blue, 20 ditto . . . 4 00
Residue of the oil, 3 gallons . . 1 50
Vcllow ochre in powder, 24 pounds . . 1 20
«9 48
This composition will weigh three hundred and sixty-
eight pounds, which is a little more than two and a half
cents per pound. To render the above paint fit for use,
to every eight pounds add one quart of the incorporated
oil, and one quart of linseed oil, and it will be found a
paint with every requisite quality, as well of beauty as
of durability and cheapness, and in this state of prepara-
tion does not cost five cents per pound.
The following is the mode of mixing the ingredients : —
First pour six gallons of lime-water into a large tub,
then throw in one hundred and twelve pounds of whit-
ing ; stir it round well with a stirrer, let it settle for
about an hour, and stir it again. The painter may then
put in the one hundred and twelve pounds of road dirt,
mix it well, and add the blue-black, after which the
AND VARNISHER'S COMPANION. 133
ycllovT ochre ', and when all is tolerably blended, take it
out of the tub, and put it on a large board or platform,
and, with a labourer's shovel, mix and work it about as
whey do mortar. Now add the wet blue, which must bo
previously ground in the incorporated oil, (as it will not
grind or mix with any other oil.) When this is added
to the mass, you may begin to thin it with the incorpo-
rated oil, in the proportion of one quart to every eight
pounds, and then the linseed oil in the same proportion,
and it is ready to be put into casks for use.
IT. — Lead Colour.
Whiting, 112 pounds
Blue-back, 6 ditto
Lead ground in oil, 28 ditto
Road dirt, 66 ditto .....
Lime-water, 5 gallons . • . .
Residue of the oil, 2} ditto ....
Weighs 256 pounds
To the above add two gallons of the incorporated oil.
and two gallons of linseed oil to thin it for use, and it
will not exceed two cents and a quarter.
The lime-water, whiting, road dirt, and blue-black
must be first mixed together; then add the ground lead,
first blending it with two gallons and a half of the pre*
pared fish oil ; after which, thin the whole with the two
gallons of Unseed oil and tvro gallons of incorporated oil,
12
n
12
25
o
24
10
05
1
25
$5
01
1:84 THE PAINTER; QILDER
and it will be fit for use. For garden doors and . .*s..w
work liable to be in constant use, a little spirits ./i tui-
pentine may be added to the paint whilst laving on^
which will have the desired effect.
III. — Bright Green,
112 pounds yellow ochre in powder, at 5 cents
per pound
168 ditto road dust
112 ditto wet blue, at 20 cts. per pound
10 ditto blue-black, at 5 cts. ditto
6 gallons of lime-water ....
4 ditto fish oil, prepared. ....
7 J ditto incorporated oil . . .
H ditto linseed oil, at 90 cts. per gallon
592 pounds weight
$5 60
25
22 40
50
06
2 40
4 28
6 75
42 24
It will be seen that the bright green costs but about
seven cents per pound, ready to lay on; and the inventor
challenges any colourman or painter to produce a green
equal to it for five times the price.
After painting, the colour left in the pot may Iw
covered with water to prevent it from skinning, and th«
brushes, as usual, should be cleaned with the painting-
knife and kept under water.
A brighter green may be formed by omitting the blue
black.
A lighter green may be made by the addition of teir
pounds of ground white lead.
AND VARNISHER'S COMPANION. 135
A variety of greens may be obtained by varying the
proportions of the blue and yellow.
Observe that the wet blue must be ground with the
incorporatedv oil, preparatory to its being mixed with the
mass.
IV. — Stone Colour.
I.ime-water, 4 gallons
. » 04
Whiting, 112 pounds .
. 1 12
White lead, ground, 28 pounds .
2 24
Road dust, 66 pounds .
10
Prepared fish oil, 2 gallons
1 20
Incorporated oil, 3} gallons .
. 2 00
Linseed oil, 3 J ditto ....
8 15
Weighs 293 pounds
»9 85
The above stone colour, fit for use, is not three and
a half cents per pound-
V. — Brown Red,
Lime-water, 8 gallons
« 08
Spanish brown, 112 pounds .
. 3 36
Road dust, 224 pounds .
40
4 gallons of fish oil ... .
. 2 40
4 ditto incorporated oil .
2 28
4 dil to linseed oil .
. 3 60
W'ighs 501 pounds
$12 12
18]5 THE PAINTER, GILDER,
This paint is scarcely two and a half cents per pound
The Spanish brown must be in powder.
VI. — A good chocolate colour is made by the addition
of blue-black, in powder, or lamp-black, till the colour
is to the painter's mind ; and a lighter brown may be
formed by adding ground white lead. By ground lead,
is meant white lead ground in oil.
Vn. — Yellow is prepared with yellow ochre in pow-
der, in the same proportion as Spanish brown.
Viil. — Black is also prepared in the same proportion
asing lamp-black or blue-black.
AND VAHNTsHER's COMPANION. 137
GLASS-STAININa.
In the production of figures on glass; fragmeiits of
Ov-loured glass are used, which are cut in pieces of the
proper shape, and united by lead. In this way are
formed the ground tints, skies, draperies, ornaments,
&c. The shades, heads, hands, &c., are then painted
in vitrifiable colours, which, after being laid on, are burnt
or fired into the glass. The precaution should be ob-
served in joining the pieces of coloured glass, that the
lead joints do not interfere with the effect of the picture.
That which characterizes painting on glass, and dis-
tinguishes it from painting on porcelain, is that the
artist makes use of both surfaces of the glass. The sui*
face placed towards the spectator receives all the shades,
^hich are thus rendered more life-like and better de-
fined. All the shading colours are likewise placed on
this side; all the lights of the picture are thrown on
the other side. By this means colours may be used
which would be injured by contact with each other,
and the superposition of which would produce peculiar
tints not desirable.
The pigments used in painting on glass are principally
metallic oxides and chlorides, and as, in most of these,
ihe colour is not brought out until after the painting
is submitted to heat, it is necessary to ascertain before-
hand if the colours are properly mixed, by painting on
12*
188 THE PAINTER, GILDER.
slips cf glass, and exposing them to heat in the muffle.
The painter is guided by these trial pieces, in laying on
his colours. As the effect of a picture on glass is pro-
duced by transmitted and not by reflected light, it is
necessary that the colours, after being burnt on^ should
be more or less transparent.
As the coloured glass which forms tlie ground on
which the artist works is manufactured in glass-works,
and is an article of commerce, it is necessary to consider
here only the colours which are burnt on in the muffle.
The temperature at which these are burnt on is never
raised above the melting point of silver.
In oil and water-colour paintings, the pigments ar^i
rubbed up with oil, solutions of gum, water, &c. In
painting on glass, it is necessary to have a proper vehicle
for the colours, which will become liquid at a red heat,
and which performs the same function as oils, &c., in or-
dinary painting. This vehicle is called a flux. It en-
velops the colour which is mechanically mixed with it,,
and glues it, as it were, to the glass. The colour and
the flux are often confounded, however, under the name
of vitrlfiahle colour Sy which are mixtures of colour and
flux. The vehicle or flux varies with colour, but these
variations are very limited, as the colours ought to be
capable of mixing with each other. The flux ordinarily
employed is a simple silicate of lead, or a mixture ot
silicate of lead and borax. Experiment has shown that
potash and soda cannot be substituted for borax. The
following are the proportions of the ingredients of varb
ous fluxes: —
AND VARNISHER's COMPANION. 13J^
Ko, 1.
Minium or red lead . . ,3 parts
White sand washed . . . 1 part.
This mixture is melted, by which it is converted ink
« greenish-yellow glass.
No. 2. — Gray Flux,
Of No. 1 8 parts.
Fused borax in powder , 1 part.
This mixture is melted.
No, 3. — Flux for Carminns and Greens
Fused borax . . . . 5 parts.
Calcined flint .... 3 *^
Pure minium .... 1 part
This mixture is also melted.
The various colours used in glass-painting are obtained
from the following substances : —
The hliie on glass is produbed with cobalt; the purplcsj
violetSy and carmines, with the purple of Cassius; the
redsy browns, &c., with the peroxide of iron ; the greenk
with the silicate of copper, sometimes with the oxide of
chromium, (in glass-painting, greens of copper are pre-
ferred to those of chromium, on account of their greater
transparency,) often with a mixture of blue and yellow ;
the Hacks, grays, &c., with the oxides of manganese.
140 THE PAINTEE, GILDER.
cobalt, and iron ; the yellows with the oxide of uianium,
the chromate of lead, certain combinations of silver;
6nally, the compounds of antimonious acid, and of ox-
ide of lead, or of the subsulphate of iron.
Beautiful yellow tones may be produced on glass by
placing on its surface a layer of three parts of pipe-clay,
well burnt and pounded, and rubbed up with one part of
chloride of silver. The glass is then submitted to heat
in a muffle. After cooling, the layer of clay is removed,
and the glass is stained yellow. The tint depends on
the nature of the glass and the proportion of chloride
of silver. Glass, containing about eight or, ten per cent,
of alumina, takes a more beautiful tint than glass con-
taining only two or three per cent.
The following are some of the colours used in the
celehrated porcelain manufactory of Sevres, and the pro-
portions in which they are compounded. These colours,
though intended for painting on porcelain, are nearly all
applicable to painting on glass.
Blues are obtained with the silicate of cobalt
The oxide of cobalt must be in the state of silicate, .o
order that the blue colour be developed. The colour,
DDce produced, is unalterable at all temperatures.
No. 1. — Indigo Blue.
Oxide of cobalt ... .1 part.
Flux No. 3 . . . 2 parts
\
AND VARNISHER's COMPANION. 141
JVb. 2. — Turqiioise Blue.
Oxide of cobalt . . '. . 1 part.
Oxide of zinc , . , 3 or 4 parts.
Flux No. 3 . . . . 6 "
Melt and pour out. If it is not sufficiently gre«4i,
increase the zinc and flux.
No. 3. — Azure Blue,
Oxide of cobalt .... 1 part.
Oxide of zinc .... 2 parts
Flux No. 2 8 "
Melt them together,
iV^. 4. — Deep Azure Blue,
Oxide of cobalt . ... 1 part.
Oxide of zinc . . . .2 parts.
Flux No. 2 5 "
The beauty of this colour depends on the proportion
of flux. As little as possible is to be used ; it must,
however, be brilliant. Sometimes less is used than tho
proportion indicated.
No. 6. — SIcy Blue, for the Browns.
Oxide of cobalt .... 1 part.
Oxide of zinc .... 2 parts.
Flux No. 2 12 «
Pound up, melt^ and pour out.
H2 THE PAINTER, GILDEB,
No 6. — Violet BluBy for ground colour.
Blue No. 5 4 parts.
Violet:ofgold, No. 31 . . 2 «
More or less of the violet of gold is added. Triturate
ivithout melting.
iVb. 7. — Lavender Blue, for ground tint.
Blue No. 5 4 parts.
Violet of gold, No. 31 . . 3 «
Sometimes a little carmine is added. Pulverize with-
out melting.
Greens are obtained with the oxide of chromium;
or with the deutoxide of copper, or with mixtures of
oxide of chromium and silicate of cobalt, when bluish
tones are wished. When these greens contain the oxide
of copper, they require a previous fusion, for it is only
in the state of silicate or of salt that this oxide gives a
green. The greens of copper disappear entirely at a high
heat.
When the colours are required to be transparent,
'Jie oxide of copper is used instead of the oxide of
ahromium.
No. 8. — Emerald Green,
Oxide of copper .... 1 part.
Antimonic acid . . . 10 parts.
Flux No. 1 . . ,30 "
J'ulverize together, and melt.
AND VARNISnER'S COMPANION. 143
No, 9. — Bluish Green,
Green oxide of chromium . . 1 part.
Oxide of cobalt . . .2 parts.
Triturate^ and melt at a high heat. The product is a
outton slightly melted, from which is removed the por-
tion in contact with the crucible. This button is pounded
up, and three parts of flux No. 3, for one of the button,
are added to it.
No. 10. — Grass Green.
Green oxide of chromium . . 1 part.
Flux No. 3 .... 3 parts.
Triturate, and melt.
Nos. 10, 11, 12. — Drayon, Pisiache, and Olive Green
They are prepared with the oxide of chromium, mixed
with flux No. 3, with additions of deep or clear yellow
No. 15 or 16, ascertaining the proportions by trial.
Yellows are commonly obtained by means of
antimonic acid and the oxide of lead, (litharge.) It
is the Naples yellow, or very nearly so. Sometimes
stannic acid (peroxide of tin) is added, and oxide of
sine, and often also some subsulphate of the peroxide of
iron, prepared by exposing to the air weak solutions of
the protosulphate of iron, (copperas.)
These colours do not change in the muflle, but thcj
disappear almost entirelv at a high heat. They arc
144 THE PAINTER, GIIJ>ER,
easily altered by smoke, by which the oxide of lead ii
reduced; which produces a dirty gray.
Yellows are made with the chromate of lead, but
their use is too uncertain. In Germany, the oxide of
uranium is employed, which gives a beautiful yellow ; but
in France it is found to produce no better yellow tMau
^hose already known.
No, 13. — Sulphur Yellow,
Antimonic acid .... 1 part.
eSubsulphate of the peroxide of iron 8 parts.
Oxide of zinc . . . 4 "
Flux No. 1 . . . . 36 "
Rub up together, and melt ; if this colour is too dc^p,
the salt of iron is diminished.
No. 14. — Fixed Yellow /or touches.
Yellow No. 13 . . . .1 part
White enamel of commerce . 2 parts.
Melt, and pour out. If it is not sufficiently fixed, a
little sand may be added.
No. 15. — Yellow for Browns and Greens.
Antimonic acid . . . .2 parts.
Subsulphate of iron ... 1 part.
Flux No. 1 . •. . . 9 parts.
This colour is melted, and sometimes a little Naples
yellow is added if it is too soft, (i. e. melts too easily.)
AND VARNISHER's COMPANION. 145
No 16. — Deep Tellmoj to mix with the Chromium
Greens,
Antimonic acid .... 2 parts.
Subsulphate of iron . . 1 part.
Flux No. 1 .... 10 parts.
Melt, and pour out. The subsulphate of iron maj U
*» creased a little : the proportions of flux vary.
No, 17. — Jonquille Yellow for flowers.
Litharge . . .18 parts.
Sand ..... 6 "
The product of the calcination of
equal parts of lead and tin . 2 "
Carbonate of soda ... 1 part.
Antimonic acid ... 1 "
Rub together or triturate, and melt.
No. \^,— Wax Yellow,
Litharge . . . . .18 parts
Sand 4 "
Oxide of antimony . . . 2 *'
Sienna earth . . . 2 "
Molt. If it is too deep, the proportion of Sienna
earth may be decreased.
No. 19. — Fixed Wax Yellow.
No. 18 mixed, without melting, with white enamel or
sand; in order to harden it. The quantity depends en
the greater or less fusibility of the yellow.
13
1
14G Ta£ PAINTEK, OILDEU,
No, 20. — Nankin Yellow for grounds.
Subsulphate of iron . • . 1 |iait.
Oxide of zinc . . . 2 parU
Flux No. 1 . . . . 10 "
Triturate.
No, 21. — Deep Nankin Yellow,
Subsulphate of iron ... 1 part.
Oxide of zinc ... 2 parta.
Flux No. 2 . . . . 8 "
Triturate without melting.
No, 22.— Pale Yellow Ochre.
Subsulphate of iron . . . 1 part.
Oxide of zinc . . . 2 part».
Flux No. 2 . . . 6 "
Triturate without melting.
No, 23. — Deep Yellow Ockre^ called YeUcw Br&wn
Subsulphate of iron ... 1 part.
Oxide of zinc ... 1 "
Flux No. 2 .... 5 parts.
Triturate without melting.
No, 24. — Brown Yellow Ochre.
Yellow ochre, No. 23 . . 10 parts.
Sienna earth . . .1 part.
Mix without melting.
ANI> VARNISHER's COMPANION. 147
No. 25. — Isabella Yellow^ for grounds.
Vellow for browns, No. 15
20 parts
Blood red, No. 28
1 part.
No. 26. — Orange YdJoto^ for grot^ivds.
Chromate of lead
1 part
Minium .....
3 parts.
No. 21,— Brick Red,
Yellow No. 23 .
12 parts.
Red oxide of iron .
1 part
No, 2S.—I)eep Blood Red.
»
Bubsulphate of iron, calcined in a
muffle until it becomes a beauti-
ful capucine red
1 part.
Flux No. 2 ....
3 parts.
Mix without melting.
Colours of Gold. — ^These are carmine reds, purples,
and violets, made by means of the precipitated purple
of Cassius. These colours are very delicate, and are
the only ones which change their tints in the fire. Un-
burnt, they are of dirty violet tint, but are changed into
I. lively and pure tone by a moderate burning. In a
stronger fire, these colours become yellowish, and even
completely disappear. It is necessary to mix the purple
of Cassius with considerable flux, and this mixture must
148 THE PAINTER, GILDER,
be made while the purple precipitate is still moist. It
it was suflfered to dry, the colour would be spoiled.
With one part of purple of Cassius, six parts of flux
arc mixed. The purple powder of Cassius gives a purple
by itself. Mixed with chloride of silver, which gives
to it a yellow, a carmioe tone is produced. With a
little cobalt blue, it is rendered violet.
No. 29. — Hard Carmine.
It is the purple of Cassius mixed with flux No. 8, and
chloride of silver, previously melted with ten parts of
flux No. 3. The proportions vary. The whole is ground
on a glass, the precipitate of gold being still moist.
No. 30. — Pare Purple.
The purple powder of Cassius mixed while moist
with flux No. 3, and sometimes a little chloride of
silver previously melted with flux No. 3. If the purple,
when prepared, does not melt sufficiently easy, some flux
may be added when it is dry.
No. 31. — Deep Violet.
The purple of Cassius ; in place of flux No. 3, flux
No. 1 is mixed with it. Sometimes a little of blue
No. 6 is added.
Colours of Iron. — Besides the subsulphate of the
peroxide, the peroxide itself is employed to produce rose
tints, reds, violet tones, and browns. The pure peroxide
AND VARNISHER's COMPANION. 149
can produce the first three tones, and it is easily imagined
when we know that its shade varies from rose to deep
violet, according to the temperature to which it has been
submitted. Slightly heated, it is rose or red 3 at a forge
heat, it becomes violet. As to the browns of iron,
they require some mixtures. These colours are unalter-
able in the muffle, but they disappear in great part at a
bign heat. In the first case the oxide remains free,
and in the second it is united with the silica. A too
fusible flux or glass produces the same effect.
No. ^2.— Flesh Red,
The sulphate of iron, put in small crucibles and lightly
calcined, produces a suitable red oxide. Those which
have the desired tone are selected. All the flesh reds
are made in this way, and vary only in the degrees of
heat which they receive.
Browns may be obtained with various mixtures of
peroxide or subsulphate of iron with the oxide of man-
ganese, silicate of cobalt, or silicate of copper. These
colours, unalterable in the heat of the muffle, lose their
intensity at a high heat.
No. 33. — Clove Brown,
The basis of this brown is yellow ochre No. 23, to
which is added either the oxide of cobalt in smaUq^ian-
titles, or umber or sienna earth. Proportions are tried
according to the tone required.
13*
150 THE PAINTER, GILDER,
No. 34. — Wood Brovm.
The same process as the clove brown, only without
•.he oxide of cobalt.
No. 35. — Hair Brmon»
Yellow ochre, No. 23 . . 16 parts.
Oxide of cobalt ... 1 part.
Well triturated and calcined, in order to give the
tone to it.
No. 36. — Liver Brown,
Oxide of iron made of a red brown, and mixed with
three times its weight of flux No. 2. A tenth of sienna
earth is added to it, if it is not sufficiently deep.
No. 37. — /Sfepia Brovm.
Deep yellow ochre . . .16 parts.
Oxide of cobalt . • . .1 part.
A little manganese is added if it is not sufficiently
deep. All the ingredients are well mixed, and calcined
m order to produce the tone.
No. 38.— White.
The white enamel of commerce in cakes.
No. 39.
Another white is prepared by mixing equal parts of
fluxes No. 1 and No. 3.
AND VARNISHER's COMPANION. 151
No, 40. — Tdlowish- Gray for Browns and Reds,
Yellow, No. 16 . . . 1 part.
Blue, No. 5 . . . . 1 "
Oxide of zinc . . . 2 or 3 parts.
Flux, No. 2 . . . . 5 '*
Sometimes a little black is added, according to tlie
tone which the mixture produces. The proportions of
the blue and yelld^ vary.
No. 41. — Bluish- Gray for Mixtures.
Blue previously made by melting
together three parts of flux No.
1, and one part of the mixture of
Oxide of cobalt ... 8 parts.
Oxide of zinc . • . . 1 part.
Sulphate of iron calcined at a forge
heat 1 "
Flux, No. 2 3 parts.
Triturate, and add a little manganese in order to ren-
der it more gray.
No, 42. — Grayish'hlaclc for Mixtures.
Yellow ochre. No. 23 . .15 parts.
Oxide of Cobalt .... 1 part.
Triturate and calcine in a crucible until it has ♦he
desired tone. A little oxide of manganese is added in
order to make it blacker; sometimes a little more of
3xido of cobalt.
152 THE PAINT£a, GILDER,
J^o. 43,— Deep
Black.
Ojcide ol cobalt
2 parti
" " copper .
. 2 "
" " manganese .
. 1 "
Flux, No. 1.
. 6 "
Fused bofAX
i part
Melt, and add
Oxide of manganese .
1 "
• *
" " copper .
. 2 parts.
Triturate without melting.
•
The colours thus prepared, after having been rubbed
up on a plate of ground glass with the spirits of turpen-
tine or lavender, thickened in the air, are applied
with a hair pencil. Before using them, however, it is
necessary to try them on small pieces of glass, and ex-
pose them to the fire, to ascertain if the desired tone of
colour is produced. The artist must be guided by these
proof pieces in using his colours. The proper glass for
receiving these colours should be uniform, colourless, and
difficult of fusion. For this reason, crown glass made
with a little alkali or kelp is preferred.
A design must be drawn upon paper, and placed beneath
Jie plate of glass ; though the artist cannot regulate his
lints directly by his palette, but by specimens of the
•solours producible from his palette pigments after they
*re fired. The upper side of the glass being sponged
over with gum-water, afibrds, when dry, a surface proper
I
AND VARNISHER's COMPANION. 1 5^
for receiving the colours, without the risk of their run-
ning irregularly, as they would be apt to do on the
slippery glass. The artist first draws on the plate, with
a fine pencil, all the traces which mark the great outlines
and shades of the figures. This is usually dope in
black, or at least some strong colour, such as brown,
blue, green, or red. In laying on these, the painter is
guided by the same principles as the engraver, when he
produces the effect of light and shade, by dots, lines, or
hatches; and he employs that colour to produce the
shades which will harmonize best with the colour which
is afterwards to be applied ; but for the deeper shades,
black is in general used. When this is finished, the
whole picture will be represented in lines or hatches
similar to an engraving, finished up to the highest efiect
possible ; and afterwards, when it is dry, the vitrifying
colours are laid on by means of larger hair pencils ;
their selection being regulated by the burnt specimen
tints. When he finds it necessary to lay two colouri
adjoining, which are apt to run together in the muflle
he must apply one of them to the back of the glas?
The yellow formed with chloride of silver is generally
laid on the back of the glass. After colouring, the artist
proceeds to bring out the lighter efiects by taking off the
colour in the proper place, with a goosequill cut like a
pen without a slit. By working this upon the glass,
he removes the (jolour from the parts where the lightg
should be the strongest ; such as the hair, eyes, the re-
flection of bright surfaces and light parts oi draperie?
151 TEIE PAINTER, GILDEB,
The blank pen may be employed either to maka th«
lights by IJQeB, or hatches and dota, as is most suitable
to the subject.
Tu tire the paintiDgs, a furnace' with a muffle is used.
Tlie muffles are made of refractory clay. They have
been made of cast iron, but these are no longer employed.
Pig. 4 is an elcTation and transverse section of the fiir-
Fig. 4.
d its muffle in place. Fig. 5 is a longitndiiml
Figr. 6 and 7, views of the muffle ; n is tbo
< V^ARMSUER S COMPANION.
iloor of llie ashpit e; p the door of the furnace/; y, f
*re the small arches of the dome of the fnrnaco woii-l
15C THE PAINTER, GILDER,
Bupports the mufile. c, c are the flues through whick
the flame escapes ; n is a pipe or tube on the top of the
muffle to allow vapours to escape ; r, r, tubes in the door
©f the muffle, through which the proof pieces are passed.
In the interior of the muffle, small brackets or projec^-
tions t, i are placed, which support bars of iron encased
in porcelain, on which the plates of glass which are to be
burned rest. Dry pulverized lime is sometimes laid on
the bottom of the muffle and the glass rested on the lime.
Several layers of glass may be placed in the muffle to-
gether, with layers of lime between them. This is the
better arrangement. As the paintings retain consider-
able oil, it is necessary, when the muffle is first charged,
to heat gently, in order to volatilize or decompose this
oil, leaving the muffle open. When the oil is driven oflF,
the muffle is closed, and the fire increased. A greater
or less intensity of heat is directed from one part to
another of the muffle, by opening or closing the flues c,
so as to cause the flames to pass over any point desired.
The temperature suitable for burning is judged of by
placing in the muffle pieces of glass painted with a little
,:armine. The heat should not be carried beyond the point
at which the carmine is well developed. These pieces
arc fastened to iron wires, by which they may be passed
in or out of the muffle through the tubes r, r. In this
way the progress of the burning may be closely watched.
When the carmine is well developed, the fire should be
arrested, and the muffle allowed to cool. When the
muffle has entirely cooled, the glass is withdrawn. If
ANi> vaunisher'r companion. 157
any parts are defective, they may be retouched and put
in the muffle a second time. Sufficient time should be
allowed for the glass to become entirely cool, before
withdrawing it.
158 TU£ PAINTER. QILrBR.
HARMONY OF COLOURS.
Every one must have observed that certain colours,
when brought together, mutually set each other off tc
advantage, while others have altogether a different effect.
This must be carefully attended to by every painter who
would study beauty or elegance in the appearance of his
work.
Whites will set off wcil w.rh any colour whatever.
Reds set off best with whites, blacks, or yellows.
Elites with whites or yellows.
Greens with blacks and whites.
Gold sets off well either with blacks or browns.
In lettering or jedging with gold, a white ground has
a delicate appearance for a time, but it soon becomes
dingy. The best grounds for gold are Saxon blue, vcr
mil ion, and lake.
ANJ> VARNISHES'S COMPANION. 159
MISCELLANEOUS SUBJECTS
AND
USEFUL RECEIPTS.
Though the whole of the following subjects and re-
ceipts cannot be strictly said to relate to the trades of
the Painter, Gilder, or Varnisher, yet most of them are
so intimately connected with them, and also so useful to
him, that the present Manual could not be considered
complete without their being introduced.
To increase the Strength of common Rectified Spirits of
Winej so as to make it equal to that of the best.
Take a pint of the common spirits, and put it into a
bottle which it will only fill about three-quarters fall.
Add to it half an ounce of pearlash or salt of tartar,
powdered as much as it can be without occasioning any
great loss of its heat. Shake the mixture frequently for
about half an hour, before which time a considerable
sediment, like phlegm, will be separated from the spirits,
and will appear along with the undissolved pearlash oi
IriO THE PAINTJ3R, GILDEB,
Bait at the bottom of the bottle. Then pour the spirit
off into another bottle^ being careful to bring none of the
sediment or salt along with it.'*' To the quantity just
poured off add half an ounce of pearlash, powdered and
heated as before, and repeat the same treatment Con-
tinue to do this as often as you find necessary till you
perceive little or no sediment : when this is the case, an
ounce of alum, powdered and made hot, but not burned^
must be put into the spirits, and suffered to remain some
hours, the bottle being frequently shaken during the
time } after which the spirit, when poured off, will be
found free from all impurities, and equal to the best
rectified spirits of wine.
To Silver hy Heat.
Dissolve an ounce of pure silver in aqua fortis. and
precipitate it with common salt ; to which add half a
pound of sal-ammoniac, sandever, and white vitriol, and
a quarter of an ounce of sublimate.
Or dissolve an ounce of pure silver in aqua fortis, and
precipitate it with common salt; and add, after washing,
six ounces of common salt, three ounces each of sandever
and white vitriol, and a quarter of an ounce of sublimate.
These are to be ground into a paste, upon a fine stone,
with a muUer; the substance to be silvered must 1?€
rubbed over with a sufficient quantity of the paste, and
* For this purpose, you had better use what is called a wparat
%ng funnel, if you can procure it
AND VARNTSHER's COMPANION. 16)
C'Zposed to a proper degree of heat. When the silver
runs, it is taken from the fire and dipped into weskk
spirits of salts to clean it.
To Tin Copper and Brass.
Boil six pounds of cream of tartar, four gallons oi
water, and eight pounds of grain tin or tin shavings.
After the materials have boiled a sufficient time, the
substance to be tinned is put therein, and the boiling
continued, when the tin is precipitated in its metallic
form.
To Tin Iron and Copper Vessels.
Iron which is to be tinned must be previously steeped
in acid materials, such as sour whey, distiller's wash,
Ac. ; then scoured and dipped in melted tin, having been
first rubbed over with a solution of sal-ammoniac. The
surface of the tin is prevented from calcining by cover-
ing it with a coat of fat. Copper vessels must be well
cleansed ; and then a sufficient quantity of tin with sal-
ammoniac is put therein, and brought into fusion, and
the copper vessel moved about. A little resin is some-
times added. The sal-ammoniac prevents the copper
from scaling, and causes the tin to be fixed wherever it
touches. Lately, zinc has been proposed for lining ves-
sels instead of tin^ to avoid the ill consequencefi which
bave been unjustly apprehended.
14*
162 THE PAINTER, GILDER,
To paint Sail' Oloth, so as to maJce it Pliant j Durahle^
and Water-proof.
Grind ninety-six pounds of English ochre with boiled
oil; and add to it sixteen pounds of black paint. Dis-
solve a pound of yellow soap in one pail of water on the
^Q, and mix it while hot with the paint. Lay this
composition, without wetting it, upon the canvas, as stiff
ap can conveniently be done with the brush, so as to
form a smooth surface ; the next day, or the day after,
(if the latter, so much the better,) lay on a second coat
of ochre and black, with a very little, if any, soap; allow
this coat a day to dry, and then finish the canvas with
black paint.
To make Oil- Cloth,
The manner of making oil-cloth, or, as the vulgar
sometimes term it, oilskin^ was at one period a mys-
tery. The process is now well understood, and is equally
simple and useful.
Dissolve some good resin or gum-lac over the fire in
dicing linseed oil, till the resin is dissolved, and the oil
brought to the thickness of a balsam. If this be spread
upon canvas, or any other linen cloth, so as fully to
drench and entirely to glaze it over, the cloth, if then
suffered to dry thoroughly, will be quite impenetrable
ro wet of every description.*
* This preparation will likewise be found both useful and ccodu
mica] in securing timber from the efiects of wet.
AND varnisher's ^mpanH)N. 163
This varnisli may either be worked by itself or with
Bome colour added to it : as verdigris for a green ; umber
for a hair colour; white lead and lamp-black for a gray;
indigo and white for a light blue, &c. To give the
colour, you have only to grind it with the last coat of
varnish you lay on. You must be as careful as possible
to lay on the varnish equally in all parts.
A better method, however, of preparing oil-cloth is
first to cover the cloth or canvas with a liquid paste,
made with drying oil in the following manner: Take
Spanish white or tobacco-pipe clay which has been com-
pletely cleaned by washing and sifting it from all impu-
rities, and mix it up with boiled oil, to which a drying
quality has been given by adding a dose of litharge
one-fourth the weight of the oil. This mixture, being
brought to the consistence of thin paste, is spread over
the cloth or canvas by means of m iron spatula equal
in length to the breadth of the cloth. When the first
coating is dry, a second is applied. The unevennesses
occasioned by the coarseness of the cloth or the unequal
application of the paste are smoothed down with pumice-
stone reduced to powder, and rubbed over the cloth with
a bit of soft serge or cork dipped in water. When the
last coating is dry, the cloth must be well washed in
water to clean it ; and, after it is dried, a varnish com
posed of gum-lac dissolved in linseed oil boiled with tur
pentine is applied to it, and the process is complete
The colour of the varnished cloth thus produced is yel
low ; but difi*erent tints can be given to it in the mannai
already pointed out.
104 THE PAINTER, GILDER,
An improved description of this article, intended fo?
figured and printed varnished cloths, is obtained by using
% finer paste, and cloth of a more delicate texture.
To prepare Varnished Silk.
Varnished silk, often employed for umbrellas, cover*
ing to hats, &c., J)eing impenetrable to wet, is prepared,
and the operation performed, in the same manner as I
have described in the second method of preparing oil-
cloth, but with a different kind of varnish or paste.
The paste used for silk is composed of linseed oil
boiled with a fourth part of litharge ; tobacco-pipe clay,
dried and sifted, sixteen parts ; litharge, ground on por-
phyry or very fine marble, and likewise dried and sifted,
three parts ', lamp-black one part. After the washing
of the silk, fat copal varnish is applied instead of that
used for oil-cloth.
To paint Oloth, Cambric^ Sarcenet, &c., so as So render
them Transparent.
Grind to a fine powder three pounds of clear white
resin, and put it into two pounds of good nut oil, to
which a strong drying quality has been given ; set the
mixture over a moderate fire, and keep stirring it till
all the resin is dissolved ; then put in two pounds of
the best Venice turpentine, and keep stirring the whole
well together ; and, if the cloth or cambric be thorough-
ly varnished on both sides with this mixture, it will b«
quite transparent.
AND VABNISHER'S COMPANION. 165
I ghould remark that in this openition, as well as in
the preparation of oil-cloths and varnished silks, the
surfaces upon which the varnish or paste is to be applied
must be stretched tight, and made fast during the ap-
plication.
This mode of rendering cloth, &c. transparent is ex-
cellently adapted for window-blinds. The varnish will
likewise admit of any design in oil colours being exe-
cuted upon it as a transparency.
To thicken Linen Cloths for Screens,
Grind whiting with flowers of zinc, and add a little
honey to it ; then take a soft brush, and lay it upon the
cloth, repeating the operation two or three times, and
giving it time to dry between the different coatings.
For the last coat, smooth it over with linseed oil nearly
boiling, and mixed with a small quantity of the litharge
of gold — the better to enable the cloth to stand the
weather.
Printers^ Ink.
Printers' ink is a real black paint, composed of lamp-
black, and linseed oil which has undergone a degree ol
heat superior to that of any of the common drying oils.
The manner of preparing it is extremely simple. Boil
linseed oil in a large iron pot for eight hours, adding to
it bits of toasted bread, for the purpose of absorbing
the water contained in the oil. Let it rest till the fol-
lowing morning, and then expose it to the same de^^ree
166 THE PAINTER, biLDER,
of heat for eight hours more, or till it has acquired the
consistence required ; then add lamp-black worked up
with a mixture of oil of turpentine and turpentine.
The consistence depends on the degree of heat givcL
Co the oil; and the quantity of lamp-black mixed up with
it; and this consistence is regulated by the strength of
the paper for which the ink is intended.
The preparation of printers' ink should take place in
the open air, to prevent the bad effects arising from the
vapour of the burnt oil, and, in particular, to guard
against accidents by fire.
Sticking, or Court Plaster,
This plaster is well kpown from its genei-al use and
its healing properties. It is merely a kind of varnished
silk, and its manufacture is very easy.
Bruise a sufficient quantity of isinglass, and let it
soak in a little warm water for four-and-twenty hours:
expope it to heat over the fire till the greater part of
the water is dissipated, and supply its place by proof
spirits of wine, which will combine with the isinglass.
Strain tbe whole through a piece of open linen, taking
care that the consistence of the mixture shall be such
that, when cool, it may form a trembling jelly.
Extend the piece of black silk, of which you propose
making your plaster, on a wooden frame, and fix it in
that position by means of tacks or pack-thread. Then
upply tho isinglass (after it has been rendered liquid by
A goutlo heat) to the «ilk with a brush of fine hair,
AND VARNISHER's COMPANION. IGT
(badger's is the best.) As soon as this first coatin^r Js
dried, which will not be long, apply a second ; and af-
terwards, if you wish the article to be very superior, a
third When the whole is dry, cover it with two or
three coatings of the balsam of Peru.
This is the genuine court plaster. It is pliable, ami
never breaks, which is far from being the case with many
of the spurious articles which are sold under that name.
Indeed, this commodity is very frequently adulterated
A kind of plaster, with a very thick and brittle cover-
ing, is often sold for it. The manufacturers of this,
instejid of isinglass, use common glue, which is much
cheaper; and cover the whole with spirit varnish, in
stead of balsam of Peru. This plaster cracks, and hag
none of the balsamic smell by which the genuine court
plaster is distinguished. Another method of detecting
the adulteration is to moisten it with your tongue on
the side opposite to that which is varnished ; and, if the
plaster be genuine, it will adhere exceedingly well.
The adulterated plaster is too hard for this : it will not
stick, unless you moisten jt on the varnished side.
To imitate Tortoise-shell toith Horn.
Mix up an equal quantity of quicklime and red lead
with strong soap-lees ; lay it on the horn with a small
brush, in imitation of the mottle of tortoise-shell ; when
it is dry, repeat it two or three times.
Or, grind an ounce of litharge and half an ounce of
quicklime together, with a sufficient quantity of liquid
168 THE PAINTER, OILDER,
salt of tartar to make it of the consistence of paint. Pui
It on the horn with a brush, in imitation of tortoise*
shell, and in three or four hours it will have produced
the desired effect 3 it may then be washed off with clean
water ; if not deep enough, it may be repeated.
There is still another mode of effecting this imitation.
Take a piece of lunar caustic, about the size of a pea,
grind it with water on a stone, and mix with it a suffi-
cient portion of gum-arabic to make it of a proper con-
sistence, then apply it with a brush to the horn in imi-
tation of the veins of tortoise-shell. A little red lead,
or some other powder, mixed with it to give it a body,
is of advantage. It will then stain the horn quite
through, without hurting its texture and quality. In
this case, however, you must be careful, when the horn
is sufficiently stained, to let it be soaked for some hours
in plain water, previous to finishing and polishing it.
A Vaimuh to preserve Glass from tTie Rays of the Sun
Reduce a quantity of gum-tragacantb to fine powder,
and let it dissolve for twenty-four hours in white of
eggs well beat up ; then rub it gently on the glass with
a brush.
To imitate Rosewood.
Take half a pound of logwood, boil it with three pints
of water till it is of a very dark red, to which add about
half an ounce of salt of tartar; and, when boiling hct^
gtain your wood with two or three coats, taking care
A.VD VARNISHER's COMPANION. 169
tiiat il is nearly dry between each ; then with a stiff flat
brush, such as you use for graining, make streaks with a
Tcry deep black stain, which, if carefully executed, will
he very near the appearance of dark rosewood.
The following is another method : Stain your wood
all over with a black stain, and when dry, with a brush
as above, dipped in the brightening liquid, form red
veins in imitation of the grain of rosewood ; which will
produce, when well managed, a beautiful effect.
A han4y brush for the purpose of veining may be
made by taking a flat brush, such as you use for varnish-
ing, and cutting the sharp points off the hairs, and ma-
king the edge irregular; by cutting out a few hairs here
and there, you will have a tool which, without any
trouble, will imitate the grain with great accuracy.
To Imitate Black Rosewood.
The work must be grounded black 3 after which take
some red lead well ground, and mixed up as before di-
rected, which lay on with a flat stiff brush, in imitation
of the streaks in the wood ; then take a small quantity
of lake, ground fine, and mix it with brown spirit-varnish,
carefully observing not to have more colour in it than
will just tinge the varnish j but should it happen, on
trial, to be still too red, you may easily assist it with a
little umber, ground very fine, or a small quantity of
Vandyke-brown, which is better j with which pass over
the whole of the work intended to imitate black rose-
wood, and it will have the desired effect : indeed, if well
15
170 THE PAINTER, GILDER,
done, when it is varnished and polished, it will scared)
be known from rosewood.
A fine Black Varnish for Coaches and Iron work.
Take two ounces of bitumen of Palestine, two ounco5
ff resin, and twelve ounces of umber ; melt them sepa-
rately, and afterwards mix them together over a moderate
iire. Then pour upon them, while on the fire, six ounce?
of clear boiled linseed oil, and keep stirring*the whole
from time to time; take it off the fire, and, when pretty
cool, pour in twelve ounces of the essence of turpentine.
A Varnish to Imitate the Chinese,
Put four ounces of powdered gum-lac, with a piece of
camphor about the size of a hazlenut into a strong bottle,
with a pound of good spirits of wine. Shake the bottle
from time to time, and set it over some hot embers to
mix for twenty -four hours, if it be in winter; in sum-
mer time, you may expose it to the sun. Pass the whole
through a fine cloth, and throw away what remains upon
it. Let it settle for twenty-four hours, and you will find
a clear part in the upper part of the bottle, which you
must separate gently, and put into another vial ; and
the remains will serve for the first layers or coatings.
•
To clean Silver Furniture.
Lay the furniture piece by piece upon a charcoal
fire ; and when they are just red, take them off and boil
AND VARNISHER's COMPANION. 171
them in tartar and water, and your silver will have the
same beauty as when first made.
To colour the Backs of Ghimnei/s with Lead Ore,
Clean them with a very strong brush, and carefully
rub off the dust and rust 3 pound about a quarter of a
pound of lead ore into a fine powder, and put it into a
vessel with half a pint of vinegar; then apply it to the
back of the chimney with a brush. When it is made
black with this liquid, take a dry brush, dip it in the
same powder without vinegar, then dry and rub it with
this brush, till it becomes as shining as glass.
To clean Marhky Sienna, Jasper, Porphyry, dec.
Mix up a quantity of the strongest soap-lees with
quicklime, to the consistence of milk, and. lay it on the
stone, &c., for twenty-four hours; clean it afterwards
with soap and water, and it will appear as new.
This may be improved by rubbing or polishing it
afterwards with fine putty powder and olive oil.
A white for inside Painting, which, in ahovifour hours
dries and leaves no smell.
Take one gallon of spirits of turpentine and two
pounds of frankincense ; let them simmer over a clear
fire till dissolved, then strain and bottle it. Add one
quart of this mixture to a gallon of bleached linseed
oil, shake them well together, and bottle them likewise
Grind any quantity of white lead very fine with spintii
172 THE PAINTER, GILDER,
of turpentine, then add a sufl&cient quantity of the lasi
mixture to it till you find it fit for laying on. If it
grows thick in working, it must be thinned with spirit
of turpentine : it gives a flat or dead white.
To take Ink Spots out of Mahogany.
Apply spirits of salt with a rag, until the spot disap-
pears, and immediately wash with clear water. Or, to
half a pint of soft water put an ounce of oxalic acid, and
half an ounce of butter of antimony ] shake it well, and
when dissolved it will be very useful for extracting stains
out of mahogany, as well as ink, if not of too long stand-
ing
To make Paste for Furniture,
Scrape four ounces of beeswax into a pot or basin ]
then add as much spirits of turpentine as will moisten it
through ; at the same time, pound a quarter of an ounce
of resin and add to it : when it is dissolved to the con-
sistence of paste, add as much Indian red as will bring
it to a deep mahogany colour : stir it up, and it is fit
for use.
Another sort of paste may be made as follows : —
Scrape four ounces of beeswax as before ] then take
a pint of spirits of turpentine in a clean glazed pipkin,
to which add an ounce of alkanet root; cover it close, and
put it over a slow fire, attending it carefully, that it may
not boil or catch fire ; and when you perceive the colour
1-0 be drawn from the root, by the liquid being of 8 deep
AND VARNISHER'S COMPANION. 178
red, add as much of it to the wax as will moisten it
through; at the same time, add a quarter of an ounce of
powdered resin, cover it close, and let it stand six hours,
and it will be fit for use.
To make Oil for Iktmtture.
Take linseed oil ; put it in a glazed pipkin, with ah
much alkanet root as it will cover; let it boil gently, and
you will find it become of a strong red colour ; let it
cool, and it will be fit for use. Or, boil together cold
drawn linseed oil and as much alkanet as it will cover,
and to every quart of oil add two ounces of the best rose
pink ; when all the colour is extracted, strain it oiF, and
for every quart add a gill of spirits of turpentine ; it will
be a very superior composition for soft and light maho-
gany.
To brown Gun Barrels,
Rub the barrel, after it is finished, with aqua-fortis, or
spirit of salt diluted with water. Lay it by for a week,
till a complete coat is formed. Then apply a little oil
and, after rubbing the surface dry, polish it with a hara
brush and a little beeswax.
To clean Pictures.
Having taken the picture out of its frame, take a
?.lean towel, and making it quite wet, lay it on the face
«»f your picture, sprinkling it from time to time with clear
joft water : let it remain wet for two or three days ; take
16*
174 THE PAINTER, GILDER,
the cloth oflf, and renew it with a fresh one ; atW wip.
ing your picture with a clean wet sponge, repeat the
process till you find all the dirt soaked out of your pic-
ture ; then wash it well with a soft sponge, and let it
get quite dry ; rub it with some clear nut or linseed oil,
and it will look as well as when freshly done.
Another Method.
Put into two quarts of strong lye a quarter of a
pound of Genoa soap rasped very fine, with about a pint
of spirits of wine ] let them simmer on the fire for half
an hour, then strain them through a cloth; apply it
with a brush to the picture, wipe it off with a sponge,
and apply it a second time, which will effectually removo
all dirt; then, with a little nut oil warmed, rub the pic-
ture, and let it dry ; this will make it look as bright as
when it came out of the artist's hands.
Varnish for Clock Faces j &c.
Take of spirits of wine one pint ; divide it into four
parts ; mix one part with half an ounce of gum mastic,
in a bottle by itself; one part of spirits and half an
ounce of gum sandrac in another bottle; and one part of
spirits and half an ounce of the whitest part of gum ben-
jamin; mix and temper them to your mind ; if too thick,
add spirits ; if too thin, some mastic ; if too soft, some
sandrac or benjamin. When you use it, warm the sil-
<rered plate before the fire, and with a flat camel-hair pen-
cil stroke it over till no white streaks appear; which will
preserve the silveiiing for many years.
AND VARNISHER'S COMPANION. 175
Varnish for Balloons.
Take some linseed oil, rendered drying by boiling \{
with two ounces of sugar of lead and three ounces «jf
litharge for every pint of oil till they are dissolved,
which may be in half an hour. Then put a pound of
Dirdlime and half a pint of the drying oil into an iron oi
copper vessel, whose capacity should equal about a gal-
ion, and let it boil very gently over a slow charcoal fire,
till the birdlime ceases to crackle, which will be in about
half or three-quarters of an hour; then pour upon it two
pints and a half more of the drying oil, and let it boil
about an hour longer, stirring it frequently with an iron
or wooden spatula. As the varnish, whilst boiling, and
especially when nearly ready, swells very much, care
should be taken to remove, in those cases, the pot from
the fire, and to replace it when the varnish subsides j
otherwise, it will boil over. Whilst the stuff is boiling,
the operator should occasionally examine whether it has
boiled enough, which may be known by observing whe-
ther, when rubbed between two knives, which are then
to be separated from one another, the varnish forma
threads between them, as it must then be removed from
the fire. When nearly cool, add about an equal quantity
of oil of turpentine. In using the varnish, the stuff
must be stretched, and the varnish applied lukewarm
In twenty-four hours, it will dry.
As the elastic resin, known by the name of Indian
rubber, has been much extolled for a varnish for ba^-
176 THE PAINTEfe, GILDEE,
loons, the following method of making it, as practised
by M. Blanchard, may not i)rove unacceptable : Dissolve
elastic resin cut small in five times its weight of recti-
fied essential oil of turpentine, by keeping them some
days together. Then boil one ounce of this solution in
eight ounces of drying linseed oil for a few mixtufjea j
iirain the solution, and use it warm.
AND VARNISHER'S COMPANION, 177
DISEASES AND ACCIDENTS
TO WHICH PAINTERS AND VARNISHERS ARE PARTICU-
LARLY LIABLE.
The business of a paioter and varnisher is generally
and not without reason, considered an unhealthy one.
Many of the substances which he is necessarily in the
habit of employing are of a nature to do injury to the
constitution ; and great caution and care are required to
prevent these from producing serious consequences.
Much, however, of the mischief that is done arises from
the want of proper precaution ; the being ignorant of the
symptoms of disorder, or want of due attention to them
in the beginning; and, more than all, the use of improper
remedies, from being unacquainted with those that ought
to be used. I think, therefore, that I shall be rendering
an acceptable service to the painter and varnisher by
mentioning the principal diseases to which their occupa-
tions render them more liable than persons differently
employed, with the proper means of remedy.
Painters Colic,
This disease, the most common and the most danger-
ous to which painters are liable, arises with them from
breathing in the fumes and handling the different pro
I 73 THE I'AINTER, GILDER,
parations of white lead. It is a violent species of colio,
and may be produced by other causes ; but when it
proceeds from lead, it is always the most obstinate, and
the most tedious and difficult of cure.
The first symptoms are a pain at the pit of the stomach,
gradually increasing and proceeding downwards to she
bowels ; it is particularly violent round the navel. Thf*.
person is likewise afflicted with frequent belching, slight
sickness at the stomach, continued thirst, a quick short
pulse, a confinement of the bowels, and repeated attempts
to obtain a stool without effect.
When some or all of these symptoms are experienced,
a strong dose of castor oil should be immediately taken
and repeated till it opens the body freely. If it will not
act, calomel pills must be taken in turn with the castor
oil ; and should both these fail to purge eflfectually, a
clyster must also be employed, composed of ten ounces
of senna and three grains of opium in solution. The
warm bath, as well as warm fomentations in flannel cloths
of the lower part of the stomach, are extremely service-
able in relieving the spasms ; and should the symptoms
continue, a blister applied to the abdomen may prove
useful.
The person affected should be kept as quiet as possible^
both in body and mind : he should take no wine, spirits,
malt liquor, nor any kind of solid food ; but should con-
fine himself to broth diet, and copious draughts of weak
diluting drinks, such as barley-water.
Where the bowels are very obstinately confined, anU
the person is joung and of a full habit, it may be advii
AND VARNISHEE'S COMPANION. 170
able to begin with taking from bini a quantity of blood,
according to circumstances, in order to prevent inriam*
mat ion.
I have not mentioned the strength of the doses lo '»e
employed as purgatives, because that must be detei mined
by the constitution of the sick person and the manner iu
which the medicines operate. In a general way, re-
member never to give too strong a dose at once, as it can
always be repeated as often as may be found necessary.
If the remedies I have mentioned prove successful in
removing the early symptoms of the dry belly-ache,
which will generally be the case, the person who has
suffered, on returning to his work, should, if possible,
entirely avoid, for some time, all parts of his business in
which preparations of lead are employed. He should,
also, long after he may seem to feel quite well, keep to
the light diet I have mentioned above, or he may bring
on a relapse worse than the first attack of the disorder.
Few distempers grow more rapidly worse, and it is of
the utmost importance to attend to its first symptoms,
for if these are neglected, the most frightful consequences
ensue. The violence of the pains increases beyond de-
scription; the outside of the belly feels pain at the slight-
est touch, and the muscles inside become wrapped into
knots; a difficulty of making water, sometimes amount-
ing to almost a total stoppage, takes place; and the
bowels are so contracted by spasms as scarcely to admit
a clyster. If these symptoms proceed, the spasms become
more frequent and violent ; and either the costiveness
'sannot be o^rcome, (in which case inflammation in th«
180 THE PAINTER, GILDER,
bowels succeeds, and the patiences death is certain,) or,
if his life be saved, he generally remains a victim, in a
(greater or less degree, to the palsy.
I have mentioned these fatal circumstances to show
the necessit} of immediately attending to the first ap-
pearance of this dangerous disorder. In an advanced
state of it, I do not pretend to prescribe — the best medi-
cal assistance must immediately be obtained. The re-
medies I have recommended are only designed for that
2arly stage of the distemper of which the symptoms
have already been described. They may then be used
with advantage, and, if persevered in, will prevent the
danger of severer suffering.
Weakness of tJie Wrists,
This is a partial kind of palsy, which sometimes re-
mains after the painter's colic is cured. In some case?,
too, it comes on without any previous attack of that dis-
order, where the injury has been more owing to handling
lead than inhaling its fumes.
Where this weakness of the wrists is experienced by
a painter, let him take, three or four times a-day, a dose
of nitrate of silver, of from one to three grains, according
to the manner in which it may operate. Before taking
each of these doses, he should also take some castor oil.
If it purge him too violently, let a little opium be mixed
with the dose, lest bloody stools should be brought on.
It is better to give the nitrate of silver in solution than
in a solid form
AND VARNISHER's COMPANION. 181
Where the Dowels are so weak as to make any strong
pargc dangerous, this weakness of the wrists has often
been cured by rubbing a drachm of strong mercurial
ointment upon them every night and morning till the
Qiouth became sore. Indeed, this will always be found
a useful application.
One of the best methods in the weakness of the wrista
arising from the handling of lead is, in addition to the
taking of medicine or the application of mercurial oint-
ment, to make use of a splint, made something like a
battledore, fastened under the forearm, and continued
to the extremities of the fingers. This has, in many in*
stances, restored the strength of the wrists, even where
the weakness amounted to complete palsy.
I have already observed that confirmed palsy may bo
nhe effect of a violent attack of the painter's colic. The
remarks, however, which I made under that head apply
here. I shall not venture to prescribe for that melan-
choly state of disease. My object is not to point out
remedies for those extreme cases, but to suggest the best
means of preventing them.
Effects of Poisonous Substances used in Pointing and
Varnishing.
These are principally lead, quicksilver, arsenic, and
verdigris. Of the injurious effects of lead I have already
Bp(»ken. Arsenic is found in some particular colours,
especially in orpiment and realgar; and the circumstance
is a strong objection to the use of them. Quicksilver
16
182 THE PAINTER, GILDER,
enters into the composition of various amalgams em*
ployed in lacquering and gilding. The poisonous pro-
perties of verdigris are well known.
It cannot be too strongly impressed upon the mind of
the painter or varnisher that mineral poisons of every
description are as effectually taken into the system of the
body by handling them, or inhaling their fumes, as by
actually swallowing them; and that the consequences^
though not so immediately fatal, are as certainly inju-
rious. Care should therefore be taken not to handle
them more than is absolutely necessary ; and likewise,
by keeping a thorough draft of air, and leaning as little
as possible over such substances during their preparation,
to avoid, as much as in your power, the breathing in the
fumes arising from them.
But as you cannot entirely escape these, it will be
well to know how to distinguish their respective cha-
racters. The effects of lead are sufficiently distinguished
by the peculiar diseases it produces, which have been
noticed before. Arsenic and quicksilver are attended
with different consequences. When the former has
found its way into the stomach, it will occasion a prick-
ing and burning sensation, with thirst and sometimes
vomiting. A pain will likewise be felt in the bowels,
but without producing purging. K, after using colonra
which contain a mixture of arsenic, you experience any
of these symptoms, a little fresh charcoal, powdered fine,
in small doses repeated, will be found very serviceable
An emetic should also be taken, and the body kept wel
open.
AND VARNISHER'S COMPANION 183
- The fume? or handling of quicksilver produce, besidoa
the symptoms mentioned in speaking of arsenic, saliva-
tion in a greater or less degree, bad breath, griping
pains in the stomach, and severe purging. White of
egg, dissolved in water and filtered, and diluted as cir-
cumstances require, is one of the best remedies when
these symptoms are violent. A very good emetic, in
euck cases, is one ounce of sub-carbonate of magnesia
dissolved in a pint of water; a glassful of the mixture
being taken every few minutes, at such intervals as are
needful to promote vomiting.
Verdigris is readily distinguished by its nauseous and
corroding effects upon the stomach. If you have reason
to think you have suffered from the frequent use of this
colour, common sugar, taken in such quantities as to
open the bowels frequently, will be found the very best
remedy.
I strongly recommend to every painter andvamisher,
when engaged in any part of his business which requires
him to employ a poisonous substance, whether lead or
any other, the use of tobacco — T mean cheiohig it. It is
the most powerful check to a substance acting to pK)duce
spasms, by suspending the muscular action in the sto-
mach. In short, tobacco possesses in this respect the
advantages without the danger of opium, and has been
found of the greatest service to persons in the trades
above mentioned. At the same time, persons who use
it for the purpose I have stated, should be careful not to
indulge in the practice too freely; for the excessive
chewing of tobacco will not onl}' occasion a fe ^ling of
184 THE PAlNi^ER, GILDER,
Rtupid languor^ which unfits a man for exertion^ hufc maj
in time bring on a disease almost as much to be dreaded
as the evils which it is intended to guard against.
Nausea.
Oil of turpentine, burnt oils of several descriptions,
and some other substances used in painting and varnish-
ing, give out fumes, which, though not of a poisonous
nature, are apt to occasion a slight sickness at the sto-
mach, accompanied with a headache and a fainting sen-
sation, to persons whose nerves are not strong: and
these effects are frequently felt by young people before
they become accustomed to the business. In many
cases, removing for a short time from the offensive fumes
into a pure air, and drinking a very little spring water,
will dissipate these feelings. If they return, some open-
ing medicine, or an emetic should be taken, which, if a
foul stomach, as often happens, has been the cause, will
remove it. But if you are a beginner in the business,
and find yourself constantly affected in this manner on
such occasions, I would advise you to turn to some other
occupation ; for a person of decidedly weak nerves will
be subject to constant ill health as a painter.
Bums and Scalds,
In no business are these accidents more liable to occur
to the persons engaged in it than in painting, varnish-
ing, and gilding.
In all scalds and burns, it is of the first importance to
AND VARNTSHER's COMPANION. 185
upplj a remedy at the instant. Spirit of wine or turpen-
fme, applied at the moment, generally prevents the rising
of blisters ; if it be rectified spirits, it is so much the
better. Spirit of wine or turpentine is decidedly the best
immediate remedy when the skin is broken. If the vio-
lence or size of the bums or scalds render the application
cf the spirit in the common way too painful, cover the
injured parts with pieces of bladder softened by dippinir
them in warm water, and keep the outer surface con-
stantly wetted with the spirit.
When the burn is considerable, fresh yolk of egg (if
spirit is not at hand) applied to it will relieve the pain
and forward the cure. A salve composed of one part of
yellow wax and three parts of olive oil, which you can
easily make yourself and carry about you, in case of an
accident, will likewise be extremely useful if applied at
the moment of its happening.
Scraped potato is very often applied to a scald or
burn. Some have pronounced it a certain cure, others
have called it injurious : both parties are wrong. The
feet is, it does nothing towards curing the burn ; hut if
applied at the first moment y it prevents its becoming
worse, and relieves the pain. It is therefore very right
to apply it, if no other remedy be near, till a better can
be procured. Water, however, is almost always to be
obtained, and, in the absence of other remedies, should
instantly be had recourse to. The part or parts which
have been injured should, without a moment's delay, be
plunged into very cold water, or plentifully pumped
upon, and an astonishingly rapid change from torture to
186 THE PAINTER, GILDER,
ease will take place. After the immersion has coofciDued
a proper length of time, the parts injured should be co-
vered with linen rags continually kept wetted with water
and streams of air passed over them from time to time
by a pair of bellows, till the person feels a freezing
sensation.
Water is always serviceable in burns; and where tha
skin is not broken, many eminent surgeons considcor ii
aa the best of remedies.
AND VABNISHER's COMPANION. 187
GENERAL OBSERVATIONS.
I SHALL conclude this subject with a few gejeral re«
niark^; principally respecting the diet and manner of
living of the painter ; on which^ indeed, his exemption
from the diseases which so severely affect many in hia
trade mainly depend.
He should avoid all acid drinks; such as cider and
effervescing liquors ; and abstain as much as possible
from sours both in food and drink^even the use of vine-
gar ; for acids have a particular tendency to combine
with any portion of lead that he may have imbibed, and
will act upon the stomach in a most inj urious manner.
When a griping feeling is experienced by the painter,
he often has recourse to a glass of raw spirits, with the
idea of obtaining relief. Now, he cannot commit a
greater error. This feeling indicates the commencement
of that dangerous disorder, the dry belly-ache, and spirit-
uous liquors will both bring it on more rapidly and ag-
gravate the symptoms. There is, besides, a vulgar bul
most mistaken notion that spirits taken inwardly are
useful in guarding against the fumes of lead and other
poisonous substances. And it is melancholy to see the
number of persons engaged in the painting and varnish-
ing line who, from this false idea, are led to adopt the
pernicious practice of drinking drams in 'he moraing ;
188 THE PAINTER, GlIil)ER,
and not unfrequently, from the hold this destructive habit
gains upon thejn, at other times of the day too. Now,
so far from this practice being serviceable, I can assure
the dram-drinking paintor that^ whenever he is attacked
by that disease, so dangerous to those in* his trade, he
will find it rendered far more violent by his previous use
of spirituous liquors and more likely to terminate in in-
flammation or palsy. Ardent spirits in a raw, state
should never be touched by the painter; and when
taken mixed, they should rather be weak than otherwise.
I have had frequent occasion to observe that painters
in general are partial to a great deal of solid and high-
seasoned food. Now, it will be perceived that the disor-
der from which they have most to fear, and which is
most common among them, is always attended by a con-
fined state of the bowels, from which its principal danger
arises. A painter who regards his health should always
prefer such food as is light and easy of digestion ; and
if he take any solids, it should be in small quantities, and
not frequently. For the same reason, though I do not
condemn malt liquor to a painter in good health, 1
should advise him not to take it in large quantities at a
time, as it is heavy on the stomach. The lead which
he cannot avoid more or less imbibing has a tendency to
make him costive ; and his business is not, like some
others, accompanied with strong exercise to promote
digestion.
I need scarcely remark on the advantages of cleanli*
ocss in his parson to him, since the handling of prepara>
AND VARNISHER's COMPANION. 189
tions of lead is one of the injurious parts of his occu-
pation. •
In conclusion, let me once more impress upon him
the importance and necessity of Temperance. The
neglect of it in a workman of any other description
mci/ bring him to sickness, must bring him to poverty/ ;
but the intemperate and drunken Painter or Varnisher
makes the most rapid strides in his power to bring upon
himself painful sickness, and very often premature
death.
100 THE PAINTER, GILDEH,
DIRECTIONS FOR GRAINING AND IMITATING
WOODS AND MARBLES.
1.— OAK.
Imitation of Oak being so much in demand, it is
)f importance that the pupil should practise upon it
before any other wood; for that purpose you will
require the following tools : —
Combs,
Grutta percha is the best material for making combs ;
it is cheap, wears well, is easily cut into any size or
form, and makes clean work. Purchase a piece of
gutta percha, one foot square and one-eighth of an
inch thick, cut it into squares, varying from one to
four inches, and be particular in cutting the edges
straight; take one of the squares, and with a pen-
knife cut the edge to the depth of a quarter of an
inch, leaving a small space between each tooth. If
you cut in a slanting direction each way, you will
thereby form the teeth of the comb and the space
together; by this method you can make them fine or
AND VARNISHER'S COMPANION. 191
isoarse, to suit your work, l^'or very particular work
T use two or three combs made of cork; they are
objectionable for general use, as they soon wear out.
Take a flat piece of fine-grained cork, as free from
holes as possible, square it as truly as you can, cut
ihe square edge into teeth to the sizes you want^
leaving the teeth as square and evenly cut as possible ;
these, with two or three of the finest cut steel comba,
are all you require.
Brushes.
1. Common pound-brush and sash-tool.
2. Long hog*s-hair overgrainer.
3. Badger-hair softener.
4. Sponge.
Colours, (Sec.
Vandyke brown, both ground in oil and water.
Raw and burnt sienna, do.
Turkey umber raw and burnt, ground in oil.
Oxford ochre, do.
Sugar of lead, do.
Blue black, ground in water.
Bees-wax, linseed oil, and turpentine.
The above colours are all that are necessary for any
description of oak.
You will require a few smooth boards for practising
upon Bastard mahogany or baywood is the best
wood to make them of, as it is not so liable to wai^p
as deal. The best size is about two feet by one foot
192 THE PAINTER, QILDEB;
Prepare them with four coats of paint in the usual
?iBj, taking care to get them up as smooth as possible :
the best ground colours are made fi'om the following
colours mixed with white lead : —
For light oak — Oxford ochre and white.
Middle shade — Oxford ochre, with a little Venetian
red.
Dark oak — Oxford ochre, orange chrome, Venetian
red, and burnt umber.
Graining Colour.
For light oak, mix two-thirds linseed oil with one-
third turpentine; add a little Vandyke brown or
burnt umber. If you want a warm colour, add burnt
sienna; if a yellow colour, add raw sienna or Oxford
ochre. Melt bees- wax in oil, and mix a small quan-
tity with the colour : this is to prevent the colour from
running when you have combed it. You must take
particular care that it is well mixed together. Add to
the above a quantity of sugar of lead or other dryers,
then strain it through a double fold of fine muslin.
Your graining colour being now prepared, brush
over your board with it, taking care not to put too
much on; if you do so you will make dirty work : lay
it quite level, and uniform in colour. Now take a
gutta percha comb, and draw it straight down the full
breadth of the comb, beginning at one side of the
board ; by slightly inclining the comb you will make
the grain finer. Now take a fine steel comb, and go
over the whole of tho previous combing in a slightly
AND VARNISHER'S COMPANION. 198
waving or zigzag manner; practice will soon enable
yoii to do this with ease. You must get a piece of reft'
oaky and endeavour to imitate the natural grain ; it
you can get a piece full of figure or veins, so much
I ho better, as it will be the best guide you can have
Vour board being combed, you must now take a piece
of soft rag and double it over your thumb, holding it
tignt on the end of the nail, and try to imitate the
figuring on the real oak. You may make some excel-
lent figuring by using the blank end of the steel comb
with the rag over it. You will find it very difficult to
do this at first, but you must in this, as in every thing
else, adopt the motto, " that if at first you don't suc-
ceed, try, try, try again." Do not practise too much
from one piece of oak, as by doing so you are apt to
acquire a stiff and formal style, but endeavour to vary
it as much as possible. You have now combed and
figured it : when dry it is ready for overgraining ; for
that purpose you will want a sponge, a basin and
plate, fuller's earth, Vandyke brown, a little blue
black, some stale beer, badger-hair softener, and over-
grainer. Put some water into the basin, dissolve a
little fuller's earth in it; wet your sponge with this
and rub over your board; now take a little of the
Vandyke brown, with a small quantity of the Hue
black, and mix them together with weak beer in the
plate; dip your overgraicer into this mixture, and
draw it straight down or across the board ; soften it a
little with the badger : this, if properly done, will give
it a natural and pleasing appearance. By Leaking the
17
194 THE PAINTER, GILDER,
ground and graining colours darker, you can produce
any shade of oak in the same manner. To produce a
rich dark old oak you must proceed as above, and then
glaze it over as follows > — Mix some black japan with
turpentine and a little boiled oil ; add a little burnt
sienna or Victoria lake, and go over the whole of the
work with it. This mixture will give it an exceed-
ingly rich appearance when varnished.
2.— SPIRIT COLOUR.
This colour is not so good as oil colour, but is very
useful at times on account of its quick drying quali-
ties. It is made as follows : — G-rind a quantity of the
best washed whitening in turpentine, mix with it
either Vandyke brown, burnt umber, or Oxford ochre,
ground in oil, in quantity according to the shade you
want; add to this a sufficient quantity of turpentino
varnish to bind or fasten the colour ; thin it with tur-
pentine ; rub your panel in and comb it quickly, or it
will set before you can do so. It dries quite dead
when it has stood a short time. Take a flat hog's-
hair fitch, dip it into a solution of Scotch soda and
water with a little burnt sienna mixed with it ; mark
out your figure with this, taking care not to put too
much on, or it will run ; and remember that wherever
the soda touches it will destroy the graining colour.
When you have figured your panel, wash off quicklj
with a sponge and plenty of clean water; the figure
will stand out clear and bright. Now go over the
AND VARNISHER'S COMPANION. 195
whole with a brush and weak beer, and overgram in
the usual way. By this method you may grain and
vrarnish a door in a couple of hours' time.
8.— POLLAED OAK.
This oak is interspersed alternately with knots and
tiguring, generally arranged in a waving and graceful
fcrm. To grain this wood in oil colour, proceed sa
follows : — Rub in with your light graining colour, mix
a little colour several shades darker, put a touch of
this colour here and there, according to the size you
want the knots; with the same colour put in a few
strokes, in sweeping or graceful lines, from one mass
of knots to another ; now comb it with a coarse comb
in the direction of the knots, sweeping round them
with the comb ; where you cannot do this, you must
work it out with your nail and the rag, keeping all in
an easy flowing style. It is only by constant practice
that you will be enabled to do this with freedom.
Now figure it, starting from the knots in very fine
strokes, gradually enlarging as you get into the plain
spaces. To overgrain this, proceed as before, and
shade across the grain and amongst the knots. Gene-
rally speaking, wherever there is a twist or wave in
the grain there will be a shade. Now take a pencil
and touch up the grain about the knots, and put
strokes of dark colour across them, to imitate tho
cranks you may see in nearly all knots.
l<jr) THE PAINTER, GILDER,
4.— ROOT OF OAK.
This oak eonsists of a succession of maases of knots
with the grain twisting and curling round each knot
&nd mass of knots, running into and round each
other; what figuring it has is very small, and run*J
with the grain. It may be done in exactly the same
manner as the pollard oak, and enriched by glazing
with the dark oak glazing colour
5— TO GHAIN POLLARD AND ROOT OF OAK
IN DISTEMPER.
Damp down your work with the sponge and fuller's
earth, mix Vandyke brown with a little burnt sienna,
dip a clean sash-tool into beer, then into the colour,
spread it on to your work, using it freely. Now take
your tool and a little dark colour, and press it against
the panel here and there, making the hairs spread out;
then suddenly draw it away, soften it a little with the
badger ; take a small round hog*s-hair quill tool, dip it
into dark colour, hold it between your right-hand
finger and thumb, put the point against your work in
the places where you have pressed your large tool,
give it a sharp twist; by doing this properly you will
form the imitation of a knot. When dry, itse the
small overgrainer and weak colour; dip the over-
grainer in, then draw a common comb through it t4
AND VARNISHER'S COMPANION. 197
separate the hairs ; now draw it across the panel, giv-
ing it a sort of half-circular stroke, slightly zigzag;
while it is wet badger it, taking particular care only to
use the badger one way, either up or down. By doing
diis carefully, you will form a light and dark grain at
the same time. When you have sufficiently practised
this method you will be able to produce some very
good effects.
6.— WALNUT.
Walnut may be imitated in exactly the same
manner as the above, using more black in your
graining colour.
7.— BIRD^S-EYE MAPLE IN DISTEMPER.
This is one of the most delicate and beautiful of
woods, and requires great care and cleanliness in
working. To imitate it you will require the following
tools : — Badger ; one 4-inch hog's-hair mottler ; one
thick 2-inch hog's-hair mottler; one 1-inch short-
haired hog's-hair mottler ; one 3-inch, 2-inch, and 1-
inch camel-hair mottlers ; one 2-inch sable-hair pencil
overgrainer; a single pencil.
The best ground colour for graining maple upon is
a light cream colour, and the best colour to grain it
with is Vandyke brown, mixed with a little raw sienna
Rub over your panel with a damp chamois or wash-
leather ; dip a large sash-tool into stale beer, then into
17*
198 THE PAINTER, GILDER,
the colour ; spread it evenly on your work, badge
until you get it as uniform in colour as possible;
take the large hog's-hair mottler, damp it with clean
water ; now begin at the top of your panel, and with
the end of the mottler touch the panel, drawing it
down at the same time for. about half an inch, hold-
ing it in an angular direction; by doing so you will
take off a slanting strip of colour. Go on in the same
way to the bottom of the panel, leaving unequal strips
of light and shade; now go over this again in the
same way, but holding your mottler in the opposite
direction ; you will form a sort of irregular checkered
pattern ; lightly badger this across the panel until it
appears soft and mellow; now slightly soften in an
upward direction. As you become used to the tools,
you will be able to modify the figure and give variety.
Now take your short-haired hog's-hair mottler, damp itj
and with one corner of it take off a touch of the colour
on the top of each shade; these are to imitate the
bright light, or reflection, that accompanies a knot or
bird's-eye ; with a pencil, and dark colour, form the
eye just under the extreme point of the bright light;
for common work, a dot with the end of your finger
will suffice.
To overgrain this, take a little of the colour and
tint it with a small quantity of Indian red, or lake ;
you mast only have it of sufficient depth of colour
barely to show on your work; if too deep it looks
coarse. With a pencil and this colour begin to curl
a fine line round one of your principal knot«j j^rar
AND VARNISHER's COMPANION 199
dually extending from one to another, keeping either
in the centre or to the side of the panel until you
have carried it from top to bottom. Now take your
pencil overgrainer, dipped in the same colour, and
draw it down parallel with your pencil-work, and fill
up the rest of the panel with it.
8.— TO QBAIN MAPLE IN OIL.
I am not aware that any one has attempted to grain
this wood in oil before I did, and I have only taught it
to two grainers. It takes considerably more time to
execute than in distemper; but, if well done, it is
infinitely superior in every respect. The ground
should be got up very smoothly, in such a manner
that you will not have to use sand-paper on the last
coat. Prepare your colour in the same way as the
light oak graining colour, using Vandyke brown and
a little raw sienna to stain with ; strain it well, taking
particular care that it is free from the slightest par-
ticle of grit; rub in your panel with it; take a damp
wash-leather, roll it up tight, and use it as a mottler;
soften well with the badger; get a pencil-stick, cut
one end of it into an oval form, wrap a strip of wash-
leather round the oval, in such a manner that onh
one thickness of it will appear round the end of the
oval ; tie it fast ; now dip it into dark colour and dot
in the eyes with it, then use the leather on your
thumb-Dail to form the bright lights springing from
200 THE PAINTER, GILDER,
the knots or eyes; when dry, jou can o>ergrdm il
nither in distemper or oil.
9.~-SATIN-W00D.
The proper ground for this wood is a yellow cream
colour, made from Oxford ochre and chrome yellow.
The best colour to grain it with is sienna, with a
slight touch of Vandyke brown and burnt sienna
Diixed with it. This wood has a great similarity to
mahogany in the form of its grain ; if you can grain
one well, you can the other. Rub in your colour,
using beer and a sash-tool; dip a sponge or wash-
leather in clean water, and draw it down your panel,
partially clearing off the colour in places as you go on.
Now take the mahogany, or thin hog's-hair mottler,
and cut out portions of the colour that is left on the
panel ; in this way you will form the lights or reflec-
tiond you may see in the real wood, or in a piece ot
Spanish mahogany, which will do as well; they are
just the same, only not so large. Badger it cross- way
of the panel ; you must occasionally use a camel-hair
motiler ; press it against your work, and draw it down
with a slight jerking motion ; this will form a very
close and regular mottle. To overgrain it, use the
mahogany overgrainer, or flat sable, (divided with the
comb,) dipped into a tint of blue black in weak beer.
To imitate the curl, or feather, lay on very light colour
freely ; then take a small tool, or flat fitch, and with
colour several shades darker make a succession of half-
AND VARNISHER's COMPANION. 201
eircles, one above the other, beginning at the bottom
ef the panel, gradually reducing the sweep of th«
circle as you rise to the top. While it is wet, tako
the mahogany mottler and cut out the lights, spray-
ing them from the centre of the circle each way.
Overgrain as before, taking care to run the grain in
the same direction as the half-circles.
10.— MAHOaANY IN DISTEMPER.
Ground colour made with red lead, Venetian red,
and orange chrome : graining colours, Vandyke brown,
burnt sienna, and Victoria lake. This lake is not
much known as a graining colour; there is no coloar
equal to it for mahogany. To grain this wood you
must proceed in exactly the same manner as for satin-
wood, with this addition, that while the colour is «ret
you must stipple or dapple it all over with the end
of the badger, to imitate the pores of the wood ; this
will give it a very natural appearance. Overgrain
with Vandyke brown and blue black.
ll.—MAHOGANY IN OIL.
Mix a light colour in exactly the same way as ibr
light oak, using burnt sienna to stain with; rub in
your panel with it, mix a dark colour with Victoria
lake and Vandyke brown ; use this with a small tool,
or fitch to put in the dark shades; mottle it with a
i»iece of stiff card-board, or a rag or leather drawn tight
202 THE PAINTER, GILDER,
ovcY a steel comb ; badger it well. When dry, glaze
it all Dver with Victoria lake in distemper, and while
wet, stipple with the end of the badger, and overgrain
ts before.
12.— ROSEWOOD.
Rub in with a light distemper colour, made with
Vandyke brown and burnt sienna; take a sash-tool
and dark colour, made with Vandyke brown and Vic-
toria lake, and put in some broad irregular shades,
leaving light spaces running between : now use your
overgrainer and blue black, curling or crossing the
dark parts, making some straight, others broken, just
as you see it in the real wood ; where you cannot use
the overgrainer with effect, use a pencil ; when dry,
glaze it all over with Victoria lake in oil, wiping it out
in places. This will give it a very rich appearance.
The foregoing are all the woods that need be de-
scribed here, — in fact, all that are adapted to general
use. If you can grain these well, you will be able to
imitate a?.iy other on exactly the same principles.
AND VARNISnER S COMPANION 20Ji
MARBLES.
The following are the principal marbles lor adnpU
tion to general use in decoration : —
Sienna,
Black and Gold,
Saint Ann's,
Verd Antique,
Egyptian Green,
Rouge Roi,
Italian Jasper,
Dove,
Black Bard ilia,
Derbyshire Spar, and
Granites.
Sieima.
^ This marble is the most useful of any, as it is well
adapted for decorating halls, staircases, &c. Out of a
variety of ways of doing it, the following is the best ; —
Prepare your ground- work as smoothly as possible, with
alight buff colour made from Oxford ochre; mix a
variety of tints as follows : — Dark vein colour, made
with ivory black and Indian red ; by adding white to
this you will produce a few different shades of neutral
tints. Make a few tints from Indian red and Prussian
blue, with white : place these conveniently on a large
palette ; now give your work a thin coat of the buff
paint ; while wet, take a large feather, dip it into tur-
pentine, then into the dark vein colour ; with this form
a leading vein right across your panel or slab, giving it
a broken or irregular appearance ; strike a few strag-
gling vein-i from this; now use your feather and neutral
204 THE PAINTER, QILDEE,
tints, and put in some smaller veins, breaking it inU)
email irregular pieces on, or springing from, the leading
vein. Avoid as much as possible giving it tbat formal
appearance wbich so many grainers affect, as it is un-
natural. Always remember this, that there is very
rarely, if ever, a circle, a square, or a straight line in
any marble. Now badger it well until it is soft and
mellow ; when dry, take a piece of old silk, dip it into
linseed oil and rub it very sparingly over the work ;
now take a feather and thin white mixed with turpen-
tine, go over your work with it, touching it in an irre-
gular manner in and about the veins ; soften or blond
it with the badger as you go on, then put in a touch
of solid white here and there among the veins. Now
use Oxford ochre and raw sienna, with occasionally a
little crimson lake ; with these glaze over your work in
parts, taking care always to put the darkest parts in
connection with the leading vein ; now use a pencil and
ivory black, and put in some sharp touches on and
about the leading vein; this, if properly done, will
make the veins appear sunk, or give them depth.
Black and Gold Marble,
Prepare a smooth black ground; slightly oil it; place
on your palette some white, Indian red, Oxford ochre,
black, and a little orange chrome; now use a large pen-
cil, and take up a portion of the whole or part of thesr
colours on your pencil ; roll it across or lengthways of
jour board, leaving it in irregular patches ; now con-
nect these patches together by fine lines in the same
AND VARNISHER's COMPANION. 206
coionrs ; fill up the pacel with irregular fine lines^ run*
oiug in the same direction, with short lines or touches
crossing and connecting them ; now use a dark lead
colour, and fill in the spaces between the lines in parts
with it, then put here and there on the top of these a
touch of a lighter lead colour; when dry, you can cut
•the patches of colour into better form, if required, with
black and a pencil, and give them depth by glazing in
places with touches of white.
Saint Ann^s.
This marble is very similar in the form of its vein to
black and gold : the patches of colour are much smaller
and more crowded together; it is done in exactly the
same manner on a black ground, using white alone for
the veins, then fill up the same with lead colour.
Verd Antique, or Ancient Green,
This marble is done upon a black ground ; oil the
work as before; mix several shades of green, made
from Prussian blue and chrome yellow ; arrange these
on your palette, and a little Indian red. Take a feather
dip it into your darkest green, and go over the whole
of the panel with it, using it freely ; follow in the same
manner with the lighter shades, occasionally using a
little of the Indian red ; then take some black, and
put in a quantity of irregular broken patches with it,
allowing the green to run in broken lines through
them ; now put in some solid patches of white, in form
like broken pieces of flagstone or earthenware, aid in
18
206 THE PAINTER, GILDER,
size from a quarter of an inch to two inches. When
dry, glaze over all with a green, made with Antwerp
blue and Italian pink, using also a little crimson lake ;
in places touch up the whites again, making some solid,
others transparent ; then edge them round with a fine
line of black.
Egyptian Green,
Black ground. Take a sash-tool, and glaze over your
work with the darkest green you can make from Prus-
sian blue and chrome yellow; now use the feather and a
lighter green, and streak your panel all in one direction,
occasionally using a little Indian red; now dip your
feather in a thin white, and streak it over the other in
a slanting direction, giving it a slight curl, and crossing
the first streaks ; blend these well together ; when dry,
glaze it all over with a bluish green, made with Ant-
werp blue and Italian pink; this colour is perfectly
transparent. Now touch up your light streaks here and
there with white, and blend it well.
Rouge Roi, or Royal Red,
This is done upon a bluish gray ground. Oil the
ground ; mix burnt ochre with a little Indian red; rub
in your panel with this. Mix a rich brown with Indian
red and ivory black; cover a portion of the panel with
this colour. Now take a piece of paper, and crumple
it up in your hand; dab your panel all over with this;
dip the paper into black, rub it slightly on your palette-
board, to take off the superfluous black; then lightlj^
AND VARNISHER's COMPANION. 207
dab it on the dark parts of the panel ; go over the whole
of it in the same way with a light blue, then here and
there with white. Now wipe out a vein in places with
a rag, leaving the gray ground clear 3 make some long,
running irregularly across the panel, others short, and
varying in breadth from a fine line to an inch and a
half; when dry, glaze it in places with Indian red and
black, using the Indian red alone occasionally; make
the veins pure white in parts, in others transparent.
Italian Jasper.
Ground colour, a light green drab ; oil the ground
Mix together Indian red and Victoria lake; with this
rub in several large and small patches, inclining to a
circular form; mix a few olive green tints with white,
blue black, and raw sienna, and several shades of gray
made from ivory black and Prussian blue. Place these
conveniently on your palette, also a little ochre; dip
your feather into turpentine, and then into the olive
tints, and run it between, and round, and across the
patches of red ; blend these well ; then go over in the
same way with the gray tints. When dry, glaze over
the gray and olive tints with pure white, making them
solid in places, in others transparent. Soften or blend
it well ; glaze the dark parts here and there with crim-
son lake; while this is wet, take a feather, or small
overgrainer, dipped in very thin white, and draw it
over some of the smaller of the dark parts, giving it
something the appearance that an onion has when cut
In half; touch up in places with dark colour.
208 THE PAINTER, QILDER,
Dove Marble.
Ground colour, a bluish lead colour. Dip youi
feather into turpentine, then into black ground in oil ;
streak your panel with this; use white in the same
way; when the black has stood a little while, blend
them well together as you go on ; then put in a few
touches of solid white, and soften.
Black BardeUa.
Ground colour, a very light lead colour. With a
feather and black, figure all over in. lines running into
each other, very close in places, some very fine, with
short lines or strokes crossing ; soften a little. When
dry, glaze over with thin white, a little stronger in
some places than others ; touch up the lines with fine
lines of black.
Derby nMre Spar.
This is a compound of the fossil remains of shell-fish
tiud other inhabitants of the deep. Ground colour, a
light gray. Glaze over your panel with a thin colour,
made with Vandyke brown and black ; rub in a little
Indian red occasionally. Crumple a piece of papey in
your hand, lightly dab your work over with it ; now
take a rag and a narrow square-pointed stick, and form
the halves of shells, fish, bones, &c. ; then spurt in a
little turpentine, — this will open or spot it. When dry,
glaze over with the same colours, and make the fossils
partly solid with white; then sharpen or edge thcu'
with a fine line of black.
AND VARNISIIER's COMPANION. 209
Gronite8.
There are several granites; they maybe done almost
liiiy colour and yet be correct. The principal ones are
tlie gray and the red, or Aberdeen granite. You may
io them all in the same manner. Prepare the ground,
jf for gray, a light gray; if for red, a light salmon
colour. Provide yourself with a flat brush made ol
very stiiF bristles, about an inch long and four inches
broad ; shape a piece of wood about six inches square,
with a handle to it something like a child's battledore;
rub in your ground colour; now dip the flat brush in
thin black, hold the wood in your left hand, and press
the brush upon it, springing the bristles in the direc-
tion of the panel; this will throw the colour on in
spots. Follow in the same manner with white, if for
gray granite; and with black, red, and white, if for
Aberdeen, They may be done in the following manner
with good effect : — Provide yourself with a very porous
or open sponge; dip it into black, mixed with beer;
then stipple your ground with it; when dry, throw in
your white in oil colour ; and so on with any other
colour. In all glazing colours it is advisable to use
a little sugar of lead, as they are most of them bad
dryers. I should also recommend Rowney's tube
colours for finishing marbles, as they are the best
colours, are very finely ground, and are a.s cheap in
the end as any you may grind yourself.
18*
210 THE PAINTER, GILDKR,
To Polish Imitation Marbles,
When you have finished marbling, let the work
stand for a day or two ; then gently rub it down with
the back or smooth side of a sheet of sand-paper j this
will take off the knits or bits of skin which may be
upon it, without scratching it ) now give it three coats
of the best pale polishing copal varnish, allowing an
interval of two days between each coat. Let this stand
for three weeks ; then cut it down with ground pumice-
stone and water, using a piece of wash-leather or rag
for that purpose. When you have got it tolerably
smooth and level, wash it well with plenty of clean
water, taking particular care to clean off all the pu-
mice-stone; give it five coats of varnish. It ought
now to stand for three or six months, at the least,
before it is polished, for if it is done before it is
almost certain to crack. When the varnish is suffi-
ciently hard, cut it down with finely-ground pumice-
stone as before ; then use rotten stone and olive oil,
using the ball of the hand ; then use flour and oil ;
finish off with dry flour. This takes a deal of timt* to
do properly, if well done.
AND VARNISUER's COMPANION. 211
INSTRUCTIONS FOR SIGN-WRITING.
Segn-writing is a mere mechanical art; any person
with a common stock of perseverance may acquire it
The writer is bound down to certain set forms, and to
a constant repetition of those forms -, there is nothing
left for the exercise of genius or taste, but the arrange-
ment or setting out and choice of colours.
The pupil's first object must be to acquire a tho-
rough practical knowledge of the forms of letters now
in common use, such as manuscript or text-hand, Roman
capitals, italics, Egyptian, block, &c. &c. The best
models for this purpose are placards in bold type; if
good, they are generally proportionate, and have all the
modern improvements. To become a good sign-writer,
you must first practise the manuscript or text-hand;
by doing so you will acquire the habit of making a free
and graceful stroke, or sweep with the pencil, which
will be very serviceable to you when you practise the
Roman capital, which you should do next. \\ hen you
have mastered these, the others will be comparatively
easy. Many learners begin with the plain Egyptian
block, for the simple reason that it is the easiest. They
never make good writers, from the fact that by doing so
they acquire a stiffness in the use of the pencil, and
formation of the letters, which they very rarely, if ever.
212 THE PAINTER, GILDER,
get rid of For practising, you will require a smooth
board about three feet square, painted a liglit colour.
Secondly, a stick, with a ball of cotton wool covered with
wash-leather, and tied over one end of the stick : this is
to prevent it injuring the paint when you rest it against
it Thirdly, a small palette-board and palette-knife.
Fourthly, a few good sable and camel-hair pencils. When
purchasing the pencils, dip them into a tumbler of water.
' and try them on a piece of paper : if they retain a fine
point they are good; if not they are not worth having.
Fifthly, a pennyworth of unburnt pipe-stumps, which
you v/ill get at any pipe-maker's. Sixth, a two-foot
rule. Seventh, a pair of compasses.
Now set out your board as follows : — Take your rule,
or compasses, and divide the board into equal parts
with horizontal lines, leaving say three inches for the
size of the letters, and two inches for the space between
each line of letters. Use a piece of pipe-chalk, and
slightly sketch your letters with it; then mix vegetable
black with boiled oil to a proper consistency for work-
ing; with this, and a fine pencil, endeavour to form the
letters. Use the point of the pencil in all cases, and
strive all you can to form the letter in outline with as
few strokes as possible, filling up between the lines with
a short pencil. By following this principle you will
Acquire ease, rapidity of execution, and correctness of
outline. Practise this method constantly, and you will
become a good writer. Before your black is dry, wash it
off with turpentine, then with soap and water; this will
clean your board ready for practising again.
i_
AND VARNISHER's COMPANION. *Z1 S
iSetting-out or Arrangement of Letters.
This lb a very important part of sign-writing ; for,
However good the shape of the letters may be, if they
are not properly arranged the effect will be bad. By
strict attention to the following rules, you will soon be
able to set out a sign properly : —
1. It is always desirable to introduce into a sign a
curved line, or section of a circle, as it is pleasing to the
eye, and relieves the stiffness of the straight lines.
2. The space between each letter in the same line
must be equal.
3. Each line of letters must begin and end at an
equal distance from the side of the board.
4. Never, if you can possibly avoid it, begin or end
a line of letters with such letters as " and — to — for —
with," &c.; but let them come in between the .\ines
of larger letters.
5. Always make the most important words, such as
the name, business, &c., the largest, most distinct, and
easily read of any on the board. You will see exactly
what I mean if you examine a good placard. It is only
by strict attention to the above rules, and constant prac-
tice, that you can become a good writer.
To raise or make Letters appear to stand out from the
Board, and to shadow them.
For this purpose you require a knowledge of light
md shade ; to acquire that knowledge, as far as regatds
letters, I would advise you to get a few good letters cat
out of wood, say an inch thick ; fasten these on a painted
2U THE PAINTER, GILDER,
hoiird; place them in a position where a side light will
fall strongly upon them : they -will exhibit to you their
tnie principle of light and shade. Study them well in
all positions; they will be your best guide.
To gild Letters.
You will require a gilder's tip-cushion and knife, or
you can lay on the gold from the book, by cutting the
leaves to the size you want with a pair of scissors. You
may use either oil orjapanner's gold size; oil-size is the
best, and is made in the following manner: — Procure
some old or fat linseed-oil; the older it is the better.
Mix a little Oxford ochre with it, and a small quantity
of sugar of lead; thin it with boiled oil; now strain it
through a piece of fine linen. Prepare your board as
smoothly as possible; take the white of an ^g^y beat it
up in about four times its weight of cold water; add a
small quantity of fuller's earth; brush over the board
with it; this is to prevent the gold sticking to any part
but the letters. When dry, set out the letters and com-
mence writing; a sable pencil is the best for laying on
the size. Always remember that, to make your gold
bright, you must use as little size as possible, consistent
with covering the letters properly; let it stand until you
can barely feel a slight tack or stickiness. If the size ia
trood it will gild in a week after it is written. Your
letters being ready, put some gold into your cushion,
which you will do in this way : — Carefully open, and
with a slis:ht puif with your mouth blow the Vaf of gold
into the back part of the cushion ; now take a leaf up on
the point of your knife, and spread it on the front part
AND VARNISHEll'S COMPANION. 215
of the cushion ; when you have got it partially straight,
give it a slight puff with your breath, which will make
it perfectly so. Cut it to the sizes you want, using the
heel of your knife, and cutting forward. You will find
this very difficult at first ^ but persevere, and you will
soon do it with ease, and without waste. Now take the
tip, rub it lightly on your hair or whiskers, take up the
gold on the point and place it gently on the letters;
when you have covered them all, get some very fine
cotton wool, entirely free from grit; with this gently
rub the gold until- it appears smooth, bright, and level
Now wash the sign with plenty of clean water, to clea/
off the egg-size.
To Write ^ Gild, and Ornament on Glas^s.
Before you commence this work you must acquire a
thorough knowledge of sign-writing, otherwise it wi\I
be folly to attempt it. You will require a drawing on
paper for each design, which you will prepare as fol-
lows: — Cut a piece of thin paper to the size of your
glass, draw out your design correctly in black lead-pencil
on the paper, then prick through the outline of the
letters with a fine needle. Tie up a little dry white lead
in a piece of rag; this is a pounce-bag. Now place
your design upon the glass right side up, and dust it
with the pounce-bag; take the paper carefully off, the
design will appear in white dots upon the glass ; this is
to guide you in laying on the gold on the opposite side
Now clean the glass well on the side that the gold is to
go on ; prepare your size in the following manner : —
Get some perfectly clean water, without the sH/yhu-st
210 THE PAINTER, GILDEB, ETC.
particle of grease or other foreign matter ; put it on a
slow fire to boil, using an enamelled saucepan for that
purpose, and taking particular care tliat the smoke does
not get into it; while boiling, put in two or three shred?
of the very best isinglass; let it boil a few minutes,
then strain it through a fine clean linen rag ; when cool
it is ready for use. The great point in glass-gilding
is to have the glass, the size, and every thing you use
perfectly clean ; a touch of the finger on the glass will
tarnish the gold ; you must use the tip and cushion to
put on the gold, laying the gold. on as level as possible,
as its uniform brightness depends in a great measure
upon that point ; use a flat camel-hair tool for laying
on the size; flow the size on, and let it drain off
when you put the gold on ; when perfectly dry, take
a ball of the finest cotton wool, and gently rub or
polish the gold ; you can then lay on another coat of
gold if desirable; it is now ready for writing. As
the letters will have to be written the backward way,
you must turn your drawing face side downwards, and
pounce as before; but on the gold this time mix a
little of the best vegetable black with black japan;
thin with turpentine to a proper working consistency;
write with this when thoroughly dry; wash off the
superfluous gold, and shade as in sign-writing. In
ornaments you will have to etch, or shade the gold :
you will proceed to lay on the gold and pounce the
ornament exactly as above ; then etch or shade it
with the point of a slate-pencil, or piece of hard
w<x>d, slightly wetting the wood, when you want a
broad or black line; then pick in with black.
COMPLETE INSTRUCTIONS
POIl COACH-PAINTING AND VARNISHING.
A SUITABLE place to do work in is an important con-
sideration in painting, but as workmen will have opinions
of their own about making things convenient, 1 will not
cake time to go into details about conveniences in con-
structing shops or paint rooms ; only this I will say to
(he uninitiated : you must have a room where you can
exclude dust entirely, and means for ventilating the room
whenever you wish. These qualifications are indispen-
sable.
The first thing that presents itself is the mode of pre-
paring the oil used in painting, and, as this is a disputed
point, and a very important one, I will give such reasons
for my opinion as have been gathered from thirty years'
practical experience in the trade. Those who learned
their trade thirty years ago were taught to use boiled oil
in carriage-painting, and we are not apt to forsake our
early teachings without convincing proofs of their fal-
lacy. I have, by experience, been driven from my good
opinion of boiled oil in almost every department of paint-
ing. Its supposed advantages are that it dries quicker
ttod flows over the surface of the wood better than raw
oil. Its nositive disadvantages are that it is more brittle
(217)
21ft THE PAINTER, GILDER,
nrhen dry ; if bruised, will break from tbe wood, and
unless the utmost pains are taken to get it thoroughly
dry, the varnish that is put over it will crack after it has
been exposed to the sun. We are deceived about its
drying quicker, and that is the cause why paint and var-
nish crack. Boiled oil gets its drying quality from the
oxygen which it imbibes by heating, and the oxyds of
lead which are put into it while boiling. There is no
visible part of the lead used for dryer left in the oil wher
it is ready for use, therefore I suppose the ox yd which
it absorbs from the lead is the dryer — be that as it may,
there is one thing certain, we know oil so prepared will
not dry unless it comes in contact with the air. Corked
in a bottle, it will never dry, and this is one great diffi
culty in using boiled oil. Suppose we have painted a
piece of wood with one coat and got it thoroughly dry,
the air, oil, or turpentine cannot go through the coat of
paint when the second coat is applied. The part of the
second coat which is exposed to the air dries on the out-
side, formmg a skin which prevents the air from getting
to the drying quality of the inner part, and shuts it up
almost as close as if it were corked up. The air being so
penetrating will, after a long time, get to it and dry it ;
but it takes a long time, unless ihe paint with which it
is mixed can impart to it a drying quality independent
of the atmosphere. Painters who use boiled oil obviate
this difficulty by nixing a large proportion of turpentine
with the oil or pamt, making what they call a dead coat —
this, when the turpentine has evaporated, dries with out
a gloss, and leaves the paint open like a sponge, so thai
the air can get to the oil. Experience proves this to be
the poorest kind of paint to last — if bruised, it breaks oil
AND VARNISHER'S COMPANION. 219
clear to the wood ; if left to time it comes ofl' very sooa
10 small scales — yet there is a great quantity of work
done in this way, because the paint can be rubbed down
smooth with sandpaper easier than if it were of a
tougher material. Before I get through, 1 hope to show
that paint can be made smoother and as tough as
you wish without using much sandpaper, and with less
labor. Boiled oil will not bear much japan for a dryer.
If too much is used the paint comes off in large scales,
and leaves the carriage in the very worst condition for
repainting.
Raw oil dries with less gloss, leaving a chance for the
air to penetrate the paint as well as the dead color, and,
aside from that, the dryer used in the paint dries more
Independent of the action of the atmosphere. For
instance, I have seen red lead ground in oil and soldered
up in tin cans so as to entirely exclude the air, and in
one year the paint would become a hard cement. Boiled
oil, under the same circumstances, would never dry
without the red lead.
A ship-painter will never use boiled oil about any part
of the vessel that is exposed to jamming by the dock,
because the paint will break off clean to the wood. For
these reasons I should use raw in preference to boiled
oil, with but very few cases excepted.
To prepare raw oil for use, it will be necessary to add
one-fifth part of good brown japan to four of oil. If
paint requires any further dryer, equal parts of sugar of
lead and white vitriol ground together can be used, to
the amount of one ounce to the pound of paint, or the
lime amount of patent dryer.
For the priming coat of a carriage-gearing and body
230 THE PAINTER, QILDER,
use the same kind of paint, to wit : wnite lead mixed io
the above prepared raw oil, and about one eighth part
turpentine, with a shade of lampblack, if your carriage
is to be a dark color. When the wood-work of a car-
riage comes into the shop, examine it closely, and if the
grain has raised in any place, or it wants smoothing with
sandpaper, be sure and do it before you prime the work,
then dust it off and put on the priming coat even, and
be sure to have the paint go into the cracks, checks, or
screw-heads, so that they have at least one coat of paint
over the surface which is to be puttied up.
The carriage-part wants but one coat before it is
ironed, but the body you will retain in the shop while
the gearing is being ironed. After it has had four days*
drying, and has been sandpapered off, give another co^t
of the same kind of paint with a little dryer, and about
one fourth as much turpentine as oil.
The object now is to get a perfectly even surface on
the work of the body, wliich cannot be done on the bare
wood, on account of the grain of the timber. For this
purpose a heavy coat of coarse paint, prepared so that
it will dry as hard as a bone, is put on, and, after it is
dry, is rubbed with a flat surface of pumice-stone in
water, which rubs the paint off from the ridges down
even with the hollows, thereby making the surface level
and smooth. To facilitate this operation I have adopted
something different from the old way, which is better
ana easier. I have some fine-grained sole leather cut
into pieces so that T can have three different ones, with
a straight-edge of from one to three inches in width ,
these edges are made rounding and smooth with sand-
paper.
AND VABNISHER's COMPANION. 221
After the turpentine has evaporated from this second
»roat which we have put on, and before it is dry, I take
one of these leathers in my fingers very much as 1 would
a scraper, and draw the edge over the soft paint. This
crowds the paint from off the ridges down into the hcl-
lows, and levels it quicker and better than two coats of
" rough-stuff" will. The parts which are not going to
be rough stuffed, such as the spindles to the seat, or any
such small place, I rub over with my hand and fingers,
80 that I get the paint crowded into the grains of the
wood, and all the brush marks are removed. After
repeating this process the second time on the seat and
part which is not to be rough-stuffed, it will be ready for
putting on the color. I make my putty of whiting and
good drying varnish; and when the paint has got dry on
the body, the screw-heads, and other places where the
rough-stufl&ng is to be put on, should be filled up more
than level, and the surplus will be cut off with the
rough-stuff.
Now the body is ready for the rough-stufiing, which
should be made of about seven parts of yellow ochre to
ohe of white lead, mixed in four parts of good drying
varnish and one of brown japan, and about one fifteenth
as much raw oil as you have of copal varnish and japan
toarether.
This mixture should be stirred together as thick as it
can be conveniently run through the mill. It is not
best to grind it fine ; but as near the same fineness as
can be. After it has been run through the mill, reduce
11 with turpentine, so that it will work easy under the
brush, and apply a good coat to the part of the body that
bus a large surface, so that you can get at it with u
19»
222 THE PAINTER, GILDER,
pumice-fitone to level it down. It will take five or &\%
(lays for a coat to dry so that you can apply the next;
and, as a general thing, three coats of rough-stuff will be
sufficient for a carriage-body. Sometimes one coat will
answer for a buggy ; it depends, in a great measure, on
the skilfulness of the wood-workman in getting a level
•nd smooth surface on his job.
If he leaves hollows, there must be enough applied to
till them up even with the more prominent parts of the
surface. After the body has got sufficient rough-stuffing
on, it had better go to the smith, to be ironed and liung
on the carriage. "When it comes to the paint-shop
again, the first thing will be to rub it down, so that you
have a smooth and even surface, free from all dents,
grains of the wood, tool-marks, or any thing in the way of
making a good, even surface, to put the finishing coat of
paint on. This operation does not require any very
great amount of genius, but there cannot be too much
care bestowed on it. Saw the pumice-stone into blocks
of a suitable size, and have by you a small, round file, so
that you can shape the stone to fit the mouldings, if
necessary ; and a pail of water and sponge, to wet the
work with and wash it off, while rubbing it down. Now
wet the work with the sponge, and with a wet block of
stone commence rubbing the part until it is smooth and
level, rubbmg carefully into the corners and close lo the
mouldings, so that every part is equally level and smooth.
You will have to use the sponge frequently, to clean the
paint and sec if you are not rubbing through to the
wood, or have got it rubbed enough. When the brush-
marks are all rubbed out of your rough-stuffing, it will,
fts a general thing, be rubbed enough. There are ottov
AND VARNISHER'S COMPANION. 223
places found, after rubbing down, where there is a deal
in the wood, so that the pumice-stone has not cut out
the brush-marks. To remedy such places, take the putty
that you have filled up the screw-heads with, and, if it is
not soft enough, add a Httle varnish, so as to make
It soft enough to spread under the putty-knife; then
fill the hollow places more than even full, and after it
has become dry, which will be in three or four days, rub
it off with the pumice-stone, so that the surface is levei
and smooth. In rubbing down, if the stone scratches,
or makes creases in the paint, or gums on the stone, the
pamt is not dry enough, and should be left to dry until
it gets so hard that it will not scratch. If, by mistake,
you have rubbed through the paint, and wet the wood so
as to raise the grain, when it gets dry rub off the raised
grain with sandpaper, and put on the spot a coat of
rough-stuffing, and when it is dry use a little linseed oil,
instead of water, with the pumice-stone, which will not
raise the grain of the wood, and, when it is rubbed off
smooth, wipe the oil off with a rag, and clean the body
off with a sponge and water, and it is ready for the color.
It will be better now to commence the carriage part;
and, in finishing that up so as to receive the color, I have
adopted a different way from any that I ever have seen
laid down, or in any way been taught; yet there are
others who practice tl^e same plan and keep it a secret.
The old way is to mix the paint with enough turpentine
to make it brittle when dry, then scour out the brush-
marks with sandpaper. This rubs off nearly or quite ono
half the paint, and, aside from that, the turpentine evapo-
rates and does not leave enough oil in the paint to resist
ihe action of the atmosphere and protect the wood
224 THE PAINTER, GILDER,
Also, sandpapering off the poisonous paint and inhaling
(he dust is one cause of the unhealthinesa of the trade.
The way I have adopted does away with these difficul*
ties, and is much quicker done, and makes a handsomet
finiahed jod. Oommence the carriage part by sandpaper-
ing otr jusi enough to remove the specks that may have
fallen on tne paint.
Tf you are going to paint the carriage with any color
which of iiself will be a body, it will be well to prepare
the paint oi the color that you are going to finish with,
unless the paint is too expensive to use for a body-coat ;
and, if so, you should use the paint that is the nearest to
it in color and at the same time has sufficient body — for
instance, lur vermillion use red lead and Venetian red on
the body or priming coat. White lead and lampblack^
mixed so ifiat it is a slate color, is a very good paint to
give a boo y for any dark-colored finish. Mix the oil —
which is prepared with one fifth japan — with one fourth
as much t arpentine ; and when you want to reduce the
paint, do it with this mixture, so that the paint will be
alike in turpentine dryer. Dust off the work clean, and
put on a coat of paint that is well gi'ound, and perfectly
clean from all skins, dirt, or specks of any kind.
After the paint has stood a while, so that the turpen-
tine has evaporated, commence by rubbing it with the
palm of your hand and fingers, so that you obliterate aO
your brush-marks, and fill up the coarse grains to the
timber by crowding the paint into them. Use a leather
in corners where you cannot smooth with the hand, and
use the leather on the springs, or any other flat surface,
and then brush it over with the hand. In this way the
work is very easily brought down to a smooth, poh'shctl
surface
AND VARNISHER'S COMPANION. 225
m
After the second priming-coat has become dry, you can
pntty up all imperfect joints or checks, and all places*
where the iron does not fit to the wood closely on the
felly, or any other part. After this coat of paint is well
dried, sandpaper it off as before, just enough to remove
the specks which may have fallen on while the paint was
jlrying; and if you discover any place in the corners
where you have not smoothed it down with the hand, it
will be best to smooth it with sandpaper, and then apply
another coat, and go through the same process of rub-
bing down with your hand. Three coats will be enough
in this way to give sufficient body for the color. It will
fill the grain of the timber so that it cannot be seen, and
make a smoother and better coat than any other way 1
have tried. I think it saves full twenty-five per cent, in
painting a carriage.
You will now want to put on two coats of color to
finish with, and you will observe the same process about
smoothing it down. Also, remember that what makes
paint and varnish crack after it has become dry, is, that
it was not perfectly dried when the coats were being put
on.
While the carriage has been painting, the irons on the
body, and all places where you do not use rough-stuffing,
should be worked with the same paint in the same way
that the carriage has been ; so that the wood gets throe
and the irons two coats of paint, and then the body is
ready for the color.
The color should be ground fine ; and perhaps you will
tind it better to use more turpentine in the paint than
you have for the carriage part. You need a room that
\s clean, and where no dust will be raised while the paint
826 THE PAINTER, QILDER,
(8 drying, »jid you must have a soft, flat brush (called
camol's-hair), about two and a half inches wide, and
those are best when the brush-part is only about one
and a half inch long. Examine well to s^e that there
are no loose hairs in it that will come out while painting.
f
The surface of the body is now smooth and level, and
the object is to get two coats of paint on for finishing,
without leaving brush-marks, or any thing to destroy
this smooth, level surface ; therefore be sure and have
your paint mixed so that it will run off from the brush
easy, and be spread without bearing hard on the brush.
It is best to try the paint before you commence laying it
on the body, and when you are sure it will work easy,
lay it on the body as briskly as you can, and do it well,
linishing it up with light brushing. After it has got dry
enough for the second coat, rub it over with curled hair,
so that it takes off all the specks ; and it will have a ten-
dency to flatten down the brush-marks which are hardly
perceptible. One more coat in the same way finishes
the body, ready for striping.
After putting on the second coat of color, and it has
become sufficiently dry, take curled hair and rub it
enough so as to flatten " down any brush marks which
your fine brush may have made. This will be a suffi-
cient body for a medium good job, providing care has
been taken to mix the paint according to the directions,
and you have had no bad luck in putting it on. If you
wish to have an extra good job, you must add more
coats of the color, or finishing coats, being sure to give it
time to dry, so that you have body enough to smooth it
down and take out the brush marks with rotten-stone,
'i his rubbing-down is done with pulverized rotten-stono,
AND VARNISIIER'S COMPANION 227
laid on a wet woollen rag, or felt, and then rubbed on tlie
painted body until you have polished off all the brush
marks. The most that there is about this operation is
— carefulness not to rub too much in one place so as to
rub through the color, and, at the same time, polish over
every part evenly, so that it is as smooth as a mirror
Jf, by accident, you have rubbed through the paint, il
sometimes can be remedied by putting on the injured
spot a little more of the color with a soft brush ; but
this kind of patching cannot be carried on to any very
great extent on a first class job. While you are rubbhig
down the paint, use a sponge and water frequently, and
wash it off so that you know just how much it has been
rubbed.
After the body has been thoroughly polished, wash it
well with water, until you have removed every particle
of the rotten-stone. All this requires the utmost care,
and the workman should not have any other business on
his mind to divert his attention from his work. Having
got a suflBcient coat of paint on the body, the next thing
will be to prepare it for ornamenting. Painters differ
about this. Some stripe on the paint, and others put on
a coat of varnish and stripe on that. I prefer the last
way, because the striping runs on to the varnish easier
than on the paint ; therefore, T should put on a coat of
good varnish — and by good, I mean the very best Amer-
ican to be had — for that is the cheapest for the work
man, in order to produce the same effect in looks.
For varnishing, it is absolutely necessary to have the
room free from dust ; and it must be kept at a temper-
ature about as warm as a workman can comfortably bear
to work in. If you are not sure that your varnish is free
228 . THE PAINTEE, UILDEE,
from specks, it will be better to filter it through cottor
factory cloth ; sometimes there are small particles of
glim in the varnish, which are transparent, so that you
cannot see them until after the varnish has been laid on
to the work, when they show themselves in small specks
which we sometimes take for specks worked out of the
brush. Lay on the varnishes with a good fine bristle
brush, even and with straight brush marks, drawn very
lightly for the finish. Sometimes, on a very smooth fin-
ished job, the varnish will dry leaving little pit^marks,
where the varnish seems to crawl ofi' from the paint,
making it look as though it had had the small-pox. I
believe this is a defect in the varnish, and I never saw it
do so but once; yet a painter, who had used a large
quantity from the same lot of varnish, told me that it
was a frequent occurrence with him. It is a frequent
occurrence for striping and varnish to crawl off from
where it has been laid, and I think the preventive of
the latter difficulty will answer for the former.
To prevent paint or varnish from crawling, take a
flannel rag and rub it over the work previous to varnish-
ing, striping, or painting ; this will prevent any difficulty
about its crawling. Of a great many ways for prevent-
ing paint or varnish from crawling, which I have seen
practiced, this, I think, is far the best and cheapest. In
varnishing, always be careful not to put the varnish on
the corners of the work and leave it to run down
Always examine these places carefully before leaving
the work ; and, as a general thing, you must commence
on the inside panels of a body, and work to the outer
edge the last thing. Another general rule is, to com-
mence the work that is the highest up first, and finish
AND VABNISHER'S COMPANION. 329
Uiat which is the lowest last ; this prevents dirt from
falling on and sticking to tlje paint while you are work-
ing on it. When the work is varnished, close the room
♦ight and leave it to dry, without opening the doors or
doing any thing to get dust on the work, until it gets so
that it will not stick. After taking all these precautions
to prevent specks, if you should still be unfortunate and
get some on, they must be removed with fine sandpaper
before the striping or ornamenting is commenced.
In ornamenting and striping a cafriage, it requires
considerable taste and judgment. If the painter takes
hold of his work as an artist does the canvas, and tries
to see how much of his skill he can display on the sur-
face he has to work, he will be very likely not to please
himself, or any one else. He should be contented, not
particularly to show off his own skill, but to preserve
and show in the most graceful manner the workmanship
of the builder. If the builder has not got gracefulness
iu his work, then the painter has still to try, by striping,
to give it that appearance. It is very often the case
that we see good made to look like very ordinary work»
merely from a bad taste in the striping, so that it does
not preserve the gracefulness which the builder intended
it to have, and no one seems to know exactly where the
fault is, for he cannot point out any particular defect in
the painting. On the other hand, I have seen very ill-
shaped work, particularly in that kind called market
wagons, or wagons of that grade, put into such shape by
the painter, that no objection was made to their ill-pro-
portions. There is a certain curved line which enters
into the form of things having beauty and gracefulness,
and if that line is wanting, there are but few who can
20
280 THE PAINTER, GILDER,
point out the particular defect, but every one knDwy
tliere is something wrong.
In large panels of carriages, and particularly on the
backs of sleighs, it is frequently necessary to put in a
centre ornament, which relieves the large and clumsy
look which it otherwise would have. 1'liis often gives
painters a great deal of trouble, because they do noi.
know how to get up an ornament ; and yet the thing ia
very simple when understood, requiring no uncommoc
fekill.
I will now give the process of putting the ornament
on the panel of a carriage, as it will be necessary to dc
so before the body is striped, and I shall not revert tc
the subject again, although I expect the painter, without
any very great stretch of ingenuity, will make the same
process answer to paint landscapes on the inside of
omnibuses, put borders on sleighs, or, in fact, do anj
kind of ornamenting.
After selecting an ornament, take a piece of thin
transparent wrapping paper and oil it over with linseed
oil until it has become saturated, then rub off all super
fluous oil, and afterward lay the paper over any one of
the ornaments which you may select, and with a lead
pencil trace neatly all of the ornament, not leaving out
any of the shades, just as it is in the engraving ; then
turn the paper over on to a piece of white paper, and on
the other side trace the same engraving, which wil*
appear very distinct on the other side of the oiled paper
The panel which you wish to put the ornament on must
be dusted over lightly with whiting, if you intend to put
any gilt in it, to prevent it from sticking to other parts
of the work where it is not wanted ; then have the panel
AND VAHNISHER'S COMPANION. 231
put into a horizontal position, and lay the side of the
ornament which you draw last on to the place where
you want it painted, and fasten it there by laying some
small weight on the side of the paper from where you
wish to work ; then with your pencil trace over the lines
ftgain on all the design except where you intend to put
the gold leaf. This part needs only to be traced on the
outside of the design. The result of this operation will
be that tracing the design over on the paint will crowd
the pencil mark down on to the paint, and will stick as
plainly as though it had been drawn there with the pen-
cil. The side of the paper can be raised to see if you are
working all the drawing on the panel ; if you do not
remove the weight the paper will fall back to its original
place.
After the design is drawn on the panel, take some
quick-drying varnish, and with a common sable artist's
pencil, lay some varnish on the spot where the gilt is to
be put, and after the varnish has got hard, and yet a
little tack to it — which will be in an hour or two — then
lay on the gilt, press it down on to the paint so as to have
it adhere. Leave it for three or four hours, if you can
conveniently; afterward rub it down with some soft
buckskin, or a silk handkerchief, and then lay the design
on to the gilt, which you can very plainly see to do. and
with the pencil draw the shades the same as before on
the gilt. This will give you the design of what you want
to put on for an ornament so that you can see it very
distinctly on any color, and all the painter will havo to do
will be to color and shade it up in a proper manner. For
this ornamenting you want artists' sable hair pencils,
t'roro the smallest size up to four or five sizes above.
232 THE PAINTER, GILDER,
The shade, which seems the most appropriate for gilt
is a transparent brownish color, which is got by mixing
burnt terra de sienna with black asphaltmn, varnish, and
enough of oil to keep it from drying too quickly.
Commence shading the gilt by putting on the deep
shades as they are in the engraving. With the same
paint lighten it by spreading the paint thinner on the
gilt, as the parts which are to appear the most promi-
nent must not be touched with the paint. The points
of scrolls which turn over so as to show the other side,
can be tipped with orange-colored paint, lightened up
with white, or frequently with some other color which
fancy dictates. The painted part of the ornament must
be painted for the groundwork with the color directed,
or as your own judgment may dictate. Shade with the
same shades you have used on the gilt, or perhaps make
a little more opaque by adding vandyke-brown, lightened
up with white if the case requires.
A very tasty ornament can be made by putting the
groundwork of any of these ornaments wholly of gilt,
and shading according to the above directions. Those
who expect to excel in ornamenting should have some
knowledge of perspective, which can be had by consult^
ing the Oxford drawing-book, or perhaps almost any
other work on that subject ; yet, to those who do not
aspire any higher than to use ornaments that have
already been engraved, the above process will be suflB-
cient.
To arrange the colors in striping, there are a few rules
that should always be observed : The darkest color should
be on the outside. If a carriage body is to be of two
colors, the outside mouldings should be a darker shade
ANr varnisher's companion. 233
tnan the panels. It is not considered in accordance with
good taste to put much striping on a good body ; as a
general thing, one fine line is suflScient for a panel, but,
if it is necessary to put on any more, the fine line must
6e nearest to the centre of the panel, or on the inside of
(he wider stripes.
There cannot be any precise rule laid down about
mixing the paint and oil for striping, and yet it is one
of the most important things to have the stripes run on
the work easy. If there is too much dryer in the strip-
ing it curdles and will not flow over the place where it
has been laid, and when it is dry the body paint can be
seen through the striping. I practice using boiled oil
for wide line striping, with one eighth turpentine, and
For fine lines raw oil without any turpentine, and just as
tittle dryer as will sufl&ce to make the striping dry in
time. For both kinds be careful about working the
paint too thick. Take time to get the striping so that
it works 'easy, and you will save time before the job is
done. Where there is but one line on a panel, it is bet-
ter not to mark it with the dividers, but to trust to your
eye to get it correct ; but new beginners may have to
mark the line until they get full command of the hand.
Where there are two or more, it will always be necessary
to run the dividers on one side of all the lines so as to
keep them the same distances.
For a gilt stripe, which is necessary for coaches, sleighs,
etc., it is better in my opinion to use varnish to lay the
gilt with ; and if the varnish dries too quickly, a little raw
oil will correct that and make it more tacky. The diffi-
culty in fat-oil for laying leaf is, that it often spreads
over the edges of the stripe, and also, it has too much
20*
234 THE PAINTER, GILDER,
body, making a ridge where the stripe is. It seldom
looks well to see a stripe on a panel intersect another
stripe at right angles in the corners, especially where
there is but one line around the panels. Some shift is
nearly always made to make the corners round or scal-
loping*
The carriage part can be striped more than the body;
and small tasty scrolls, put into proper places, have very
much the effect in filling up that an ornament has in the
centre of a large panel ; yet this part is often overdone
with stripes. Great care should be taken to make the
stripes true, and to preserve, as has before been said, the
beauty of form in the carriage. Preserve the same style
and colors as nearly as can be, with the body and car-
riage part.
I use what are called " camel's liair" pencils, and, per-
haps from habit, cannot use any other kind for striping.
Long sable hair pencils are more elastic and stiff, the
hairs are straighter, and will keep so a longer time, and
the pencil will last enough longer to nearly pay the odds
in the price ; and if the painter can work with them best,
certainly there can be no objection to using them. 1
find as much difficulty in changing from the " camel'R
hair" to the sable hair brush, as in changing from the
quill to the metallic pen. A pencil brush should be from
one and a half to two inches long, and when not in use
should be cleaned out with turpentine, dipped into lamp
oil, and laid carefully away on a window-glass, in such a
manner that the hair will keep perfectly straight ; and
when you want to use them, wash them out in turpen-
tine and twirl them between your hands until they have
thrown out all the lamp-oil and turpentine, and they will
AND VARNISHKR^S COMPANION. 235
oe ready for use. We cannot find brushes in the stores
small enough to make the fine lines. This can be renie-
died by cutting away some of the hair, or you can make
small brushes from a large one, by taking a piece of rat-
tan and making it round, about the size of a pencil han-
dle, and splitting the end into quarters ; then turn these
split parts back and cut ofif the corners so that when
they are turned back there will be a hollow ; where the
corners are cut out, put what hair you want into this
hollow space from a larger pencil brush, and fasten it by
winding a thread around the stick. "Wet the string with
glue, and you have a very good pencil.
After a carriage has been striped, it should have time
to become sufficiently dry before varnishing, or there
will be the same difficulty with its cracking, when put
on over the striping, as is found in putting varnish on
the body paint before it is sufficiently dry. This diffi-
culty is often erroneously attributed to the inferior
quality of the varnish, when in fact it is nothing more
than the injudicious application of varnish before the
paint has become sufficiently dry. In the application
of varnish, a practice has become very common, and is
also recommended by varnish dealers, of using different
kinds over the same body of paint. For instance, they
have what they call rubbing varnish, to be applied for
the first coats, which will dry quick and hard, making
a coat that can be polished down smooth with rotten-
stone, after which being done, they recommend putting
a coat of wearing varnish that dries slow and flows over
smoothly, giving a beautiful appearance to the job.
Painters have worse practices among them occasionally
Uian this ; but, I must say, this is bad enough, as ma^
a36 THE PAINTER, GILDER,
be plainly seen by investigating the subject for a mo-
ment. 1'ake two kinds of varnishing, one with the
foundation, or first coats, of this quick-drying varnish .
the other, the foundation and finishing the same, of the
slow-drying, wearing varnish, and when they have gol
thoroughly dry, test them by the force of resistance that
they show to accidents to which they are liable, such as
scratching or jamming. First, take the point of a pin
and scratch it across the surface of the work that is fin-
ished with two different kinds of varnish — rubbing and
wearing — and it will be seen that the point of the plu
will make a ragged kind of a mark, four or five times the
width of the pin point ; then take a hammer and strike
the same varnish, and it will be seen that the place hit
will have a yellowish-white appearance, which is occa-
sioned by the under or rubbing part of the varnish
crumbling or breaking up.
Again, try the same process on the job that is done
wholly with the wearing varnish, and it will be seen that
the point of the pin will make a mark only the width of
the point of the pin, leaving the edges of the mark
straight and regular. The stroke of the hammer will bo
very much in effect like striking on a metallic surface :
it may make a dent, but not crumble or give the var-
nish another color, unless it be a very violent blow.
Scratchmg and bruising are two of the most common
accidents varnish is liable to. If we take two carriages
done in two different ways, by a skilful workman, we
may, on the first appearance, pronounce in favor of the
one that is polished smooth with the rubbing varnish ;
but put them in use together, and it will be observed
that the one that at first so readily met with our appro*
AND VARNISHER'S COMPANION. 231
bation, wih meet with the first accident to its fine finish:
and it will continue in the same way, always showing a
mark for every bruise or scratch that it receives. On
the other hand, the other one will appear as if it had
been used in the most careful way, so that it had avoided
all accidents, and in fact will preserve its finish much
the longest.
The usual practice among American painters is to use
American varnish for all the rubbing coats, and finish
with a flowing coat of medium iinglish, without polish-
mg. The objection to using English in all cases is that
it dries so slowly that it would take at least six months to
paint and varnish a carriage with it, a process for which
no customer would wait.
In order to varnish a carriage well, it »8 necessary that
you be well acquainted with the peculiarities of the var-
nish, if it has any ; and remember that it does not always
insure a good job by putting on a great many coats, but
that it is more likely the desired end will be attained by
carefulness and good judgment. If it is cold weather,
see that your varnish is made of about the same tem-
perature as the room that you varnish in, which should
be as warm as you can comfortably work in. The same
may be observed with regard to the job that you are to
apply it to, as near as can be had.
Before you commence to lay varnish on work, see that
your person is free from dust, lint, or any substance tliat
will fly from you to the varnish ; that the room is per-
fectly free from dust, or any current of air that may
bring dust on to your work ; and that your brush — which
should be of good, fine elastic bristles — is carefully freed
from all specks that will work out into the varnish when
238 THE PAINTER, GILDER,
laid on. Sprinkle the floor of the varnish-room with
water, which prevents the dust rising from the floor,*
dust off" the work well with the duster, and have al!
dpecks removed from the work.
If you have a body to varnish, commence at the high*
est part first, and work downward. Use the brush, with
II good supply of varnish in it, quickly, and draw the finish'
nig stroke as straight as possible, very slightly pressing
on to the work. When the work is thoroughly spread
over, and evenly laid on, the least brushing that it gets
after this the better. But this last direction must not
be construed into carelessness about your work. The
* sleight" is to lay the varnish evenly over the work i;
the shortest possible time that it can, and be well done.
When varnishing over panels, they should be done first,
and the raised parts afterward. Care should be taken
about leaving varnish on the corners, or any other place
where it will run down.
To varnish the carriage-part, the same rules should be
observed ; that is, to keep it free from dirt or the minute
specks that are more or less constantly flying in the air.
Sometimes these minute particles are in the varnish, and
cannot be seen until the varnish is laid on to a smooth
surface of paint, and then they show themselves plainly.
To avoid them, the varnish should be filtered through a
cloth. Two coats of the best wearing varnish laid over a
polished surface of paint, are enough to make a good job,
providing that it has been properly spread, and no acci-
dent happened to it while drying. Varnish, when laid on
with a brush, will show more or less the brush marks, as
the bristles leave it in ridges. With only two coats of
good flowinjf varnish, these ridges are scarcely percejiti'
AND VABNISHER'S COMPANION 239
ble. but if you add more, it will make the ridges more
plain, and then follows the necessity of polishing down
the surface, and then putting on a single coat of finishing
varnish. In the very best finished work this polishing
the varnish is pursued, but, as we have said, it does not
strike us as being a very good way to finish work. To
polish varnish, there is an absolute necessity of its not
only being dry, but being so dry and hard that it .be-
comes brittle ; but the more brittle it is, the easier it
will polish. Now, good wearing varnish flows over the
paint better, and is much longer in drying than the
rubbing varnish ; in fact, it never can be made to rub
down as easily as rubbing varnish, and for that reason
'jB Teiy seldom used for that purpose.
In using rubbing varnish lor the first coat, it will dc
necessary to let it dry hard before the next is put on, and
in this way get three or four coats on the body, and well
dried, before you undertake rubbing it down. After-
ward, take some ground rotten-stone, mixed in water so
that it will be as thick as cream, then take a woollen rag,
made up into a shape suitable to rub the work with, and
dip it into the rotten-stone, rubbing the varnish until all
the brush marks are obliterated, and it then assumes a
smooth, polished Surface. Have a sponge and water
handy, so that you can wash off the surface from time to
time, to see if the object is accomplished ; and when you
have rubbed away every trace of a ridge that has been
made by the brush on the surface of the varnish, the
work of rubbing is over, and you must now wash the
work entirely clean, and then apply a coat of wearing
varnish, as before directed.
'Vhe most common difficulty that arises about rubbing
240 THE PAINTER, GIJJ)EB, ETC.
paint or yamish is, that we do not give it a safficient
time to dry hard before we commence rubbing down.
Again, paint or varnish that rubs down well will not
wear on account of the necessity there is of adding more
turpentine, which entirely evaporates from the paint,
leaving less glutinous oil for holding the paint on to the
wood. The fact of making paint or varnish easier to
work by destroying its wearing quality, is a great temp-
tation to the workman to get praise as a fancy workman
at the expense of the wearing quality of his work. This
last difficulty is avoided on the carriage-part by following
the directions for laying on the paint as we have given
them, and by so doing it obviates the difficulty of makinir
paint brittle in order to have it rub down ca«y; ai»c
saves time, and roakep a haudsomtr job.
APPENDIX.
COLORS AND COLORING:
THEOBETICAL AND PEAOTICAL.
COMPBISma DESCRIPTIONS OP
A GREAT VARIETY OF ADDITIONAL . PI0MENT8-
THEIR QUALITIES AND USES;
TO WHIOH A&B ADDED
D&YEBS, AND MODES AND OPERATIONS OF PAINTIHa.*
COLORS.
Colors we distinguish into Inherent and Transient,
Of the first kind are all material colors, more properly
called pigments and dyes ; of the second, or transient
kind, are the colors of light and the eye, such as the
rainbow, halos, prismic and ocular spectra, etc. ; all of
which are formed by the concurrence of the elements of
light and darkness, which elements, in the language of the
chemists, are oxygen and hydrogen, both of which enter
inherently into the matter of solid pigments, and consti-
tute the transient light of our atmosphere and of day.
Hence, paintings, etc., excluded from light and air, in
many cases become dark, and in other cases, when ex-
posed to light and air, they bleach and fade, or variously
change color, according to their chemical constitutions,
as will be further noted of individual pigments.
We have employed the terms Oxygen and Hydrogen
to denote the more properly Photogenic and Sctogenic
elements of light and shade, not for their fitness, but be-
cause they have been adopted in an analogous elemen-
tary signification in chemistry. It would, however, be
beside our purpose here to discuss the elementary doc-
trine of the physical causes of light and colors, having
spoken thereof more at large in other works.
* 8elect«d and eilitod from "Rudiments of the Ptiatei's Art; or a
OraamarofCoIorlug." By Oeo. Field, Londou.
21 241
212 APPENDIX.
We proceed, therefore, in the next place, to detail the
powers, properties, and preparations of the materials
employed in the various practices of painting, among
which pigments, or paints are principal, and respecting
which it is to be remarked generally, that the variety
of lightness and darkness in colors is called Shade ; the
varieties of gradations in the mixtures of colors are
called Hues, and the various mixtures of hues and
colors with white and shades are called Tints. We
preface these and other distinctions as necessary to the
painter, for the better imderstanding and compounding
of his materials, with which it is the object of this part
of our work to make him acquainted.
QUALITIES OF PIGMENTS.
The general qualities of good Pigments, technically
called Colors, are : 1, beauty of color, which includes
pureness, brightness, and depth; 2, body; 3, transpa-
rency or opacity; 4, working well; 5, keeping their
place; 6, drying well; and 7, durability; but few pig-
ments possess all these qualities in equal perfection.
Body, in opaque and white pigments, is the quality
of covering and hiding a groimd well ; but in transpa-
rent pigments it signifies richness of color, or tinting
power ; working well depends much on sufficient grind-
ing, or fineness of texture; keeping their places and
drying well belong principally to the vehicle, or liquid,
with which they are tempered, and chiefly on the oil
with which they are employed. Of all which and other
particulars we shall have occasion to speak elsewhere,
and in respect to individual pigments ; — as we have more
at large in our " Chromatography."
All substances are positively or negatively colored,
whence the abundance of natural and artificial pigments
and dyes with which the painter and colorist in every
art are supplied, and the infinity of others that may be
added to them. As, however, it is durability that gives
value to the beauty and other qualities of colors or pig-
ments, and those of nature being for the most part
adapted to temporary or transient purposes, few only
APPENDIX. 243
are suited to the more lasting intentions oi art, and
hence a judicious selection is essential to the practice
and purposes of artists.
' And as the present inquiry is concerning the employ-
ment of solid colors in painting, properly called Pigments,
it is our express business to form such selections from
those in use as are best adapted to the various require-
ments of painting in oil, in distemper, fresco, et<j., and
to denote their habits, mixture, and best modes of mani-
pulation of each, and this we purpose in the proper
order of the colors.
In mixing colors the painter should avoid using a
greater number of pigments than necessary, to afford
the tints required, as such mixtures are usually fouler
than the colors used, and their drying and other quali-
ties are commonly injured thereby. Nor do we advise
him to purchase ready-made compositions, and tints
that he can produce better by mixture, for this is to sub-
mit his own skill and knowledge to the inferior skill, and
for the gain of others : yet we by no means counsel the
painter to lose his time in the manufacturing of original
pigments, which he can obtain of better quality in the
shops. Old pigments are also more to be depended on
than new ones for drying, standing, etc. We proceed
to speak of colors and pigments individually.
OF WHITE AND ITS PIGMENTS.
WHITE
Is the basis of nearly all opaque painting designed for
the laying and covering of grounds, whether they be of
woodwork, metal, stone, plaster, or other substances,
and should be as pure and neutral in color as possible,
for the better mixing and compounding with other colors
without changing their hues, while it renders them of
lighter shades, and of the tints required ; it also gives
solid body to all colors.
It is the most advancing of colors ; that is, it comes
forward and catches the eye before all other colors, and
it assists in giving this quality to other colors, with
which it may be mixed, by rendering their tints lighter
and more vivid. Hence it appears to throw other colors
244 APPENDIX.
back which are placed near it, and it poweiTnlly con
trasts dark colors, and black most so of all. The term
color is, however, equivocal when attributed to the neu-
tralSy White, Black, and Grays, yet the artist is bound
to regard them as colors ; and in philosophic strictness
they are such latently, compounded and compensated ;
for a thing cannot but be that of which it is composed,
and the neutrals are composed of and comprehend all
colors.
White is the nearest among colors in relation to
Yellow, and is in itself a pleasing and cheerful color,
which takes every hue, tint, and shade, and harmonizes
with all other colors, and is the contrast of Black, added
to which it gives solidity in mixture, and a small quan-
tity of black added to white cools it, and preserves it
from its tendency to turn yellow. White mixed with
Black forms various Greys and Lead-color, so called.
From tlie above qualities of white it is of more exten-
sive use in painting than any other color, and it is hence
of the first importance to the painter to have its pig-
ments of the best quality. These are abundant, of which
we shall here notice those only of practical importance
to the painter and decorator.
Notwithstanding white pigments are an exceedingly
numerous class, an unexceptional white is still a desi-
deratum. The white earths are destitute of body in oil
and varnish, and metallic whites of the best body are
not permanent in water ; yet when properly discrimi-
nated, we have eligible whites for most purposes.
WHITE LEAD,
Or ceruse, and other white oxides of lead, under the
various denominations of Philadelphia, London, and
Nottingham whites, etc.. Flake white, Crems orOremnitz
white, Roman and Venetian whites, Blanc d'argent or
Silver white. Sulphate of lead, Antwerp white, etc. The
heaviest and whitest of these are the best, and in point
of color and body are superior to all other whites. They
are all, when pure and properly applied in oil and var-
nish, safe and durable, and dry well without addition :
but excess of oil discolors them, and in water-painting
APPENDIX. 240
tJ ey are changeable, even to blackness. They liave also
a destructive effect upon all vegetal lakes, except the
madder lakes, and madder carmines ; they are equally
injurious to red and orange leads or minium, king's and
patent yellow, massicot, gamboge, orpiments, etc. ; but
ultra-marine, red and orange vermilions, yellow and
orange chromes, madder colors, Sienna earth, Indian red,
and all the ochres, compound with these whites with
little or no injury. In oil painting, white lead is essen-
tial, in the ground, in dead coloring, in the formation of
tints of all colors, and in scumbling, either alone or mixed
with all other pigments. It is also the best local white
when neutralized with black, but must not be employed
in water-color painting, distemper, crayon painting, or
fresco, nor with any pigment having an inflammable
basis, or liable to be destroyed by fire, for with all such
they occasion change of color, either by becoming dark
themselves, or by fading the colors they are mixed with.
Cleanliness in using these pigments is necessary for
health; for though not virulently poisonous, they are
pernicious when taken into or imbibed by the pores or
otherwise, as are all other pigments of which lead is the
basis. A fine natural white oxide, or carbonate of lead,
would be a valuable acquisition, if found in abundance ;
and there occur in Cornwall specimens of a very beauti-
ful carbonate of lead, of spicular form, brittle, soft, and
purely white, which should be collected for the artist's
use.
Adulter attons* — All the white lead which is manu-
factured into paint is more or less sophisticated, and
chiefly with barytic compounds. The practice is carried
on to such an extent, in some cases, that more than
three-fourths of the mineral constituents of the paints
are adulterated. This is invariably done at the manu-
factory, and unless specially required, the white lead is
never ground ^er se with the oil ; and therefore the var-
ious qualities of white lead are, in some respects, syno-
nymous with the extent of spurious matter incorporated
* Chemistry, Theoretical, Practical, and Analytical, as applied to tli6
iritf and Manufactures, by Dr. Siioridan Muspratt, 2 vols^ 8 vo., Glasgow
21*
2i6 APPENDIX.
with it. In Belgium there are several kinds : the Krem-
ser white being unadulterated, but the others largely so,
thus : Venetian white is a mixture of heavy spar and
the sub-carbonate of lead, in equal proportions; Ham-
burg white, of two parts of heavy spar and one of tlie
plumbous compound ; and that known as Dutch white,
contains three fourths of sulphate of baryta. Many ol
these compounds aro mixed with a small quantity of
charcoal, Indigo, or Prussian blue, so that the dead
yellowish shade which they present may be ei Uvened to
a brighter hue.
Before leaving the subject it may be stated, that of
late years efforts are being made to supersede the manu-
facture of carbonate of lead entirely, by substituting for
it other compounds, which, when mixed with oil, give
a white paint. Of these, the principal are oxide of zinc,
the teroxide of antimony, sulphate of baryta, etc : but
the oxide of zinc comes nearer to the true substitute
than the others, for this enters into a combination with
the oil, just as the oxide in the white lead gives rise
to an oleate, that considerably aids in the extension of
the paint on the surface, and causes it to form, at th^
same time, a perfect coating.
KREMS, CREMS, OR KREMXITZ WHITE,
Is a white carbonate of lead, which derives its name from
Crems, or Krems, in Austria, or Kremnitz in Hungary,
and is called also Vienna white, being brought from Vienna
in cakes of a cubical form. Though higly reputed, it
has no superiority over the best Philadelphia white leads,
and varies like them according to the degrees of care or
success with which it has been prepared.
FLAKE WHITE
Is an English white lead in form of scales or plate, some-
times gray on the surface. It takes its name from its
figure, is equal or sometimes superior to Crems white,
and is an oxidized carbonate of lead, not essentially differ-
ing from the best of the above. Other white le»\d8
seldom equal it in body, and when levigated, it is cah*»J
body-white.
APPENDIX. 211
BLANC D'ARGENT,
Or Silver white. These are false appellations of a white
lead, called also French white. It is brought from Paris
in the form of drops, is exquisitely white, but of leas
body than flake white, and has. all the properties of the
best white leads ; but, being: liable to the same changes,
is unfit for general use as a water-color, though good in
oil or varnish.
ROMAN WHITE
la of the purest white color, but differs from the former
only in the warm flesh-color of the external surface of
the large square masses in which it is usually prepared.
This and the following are not generally found in the
Bhops.
SULPHATE OF LEAD
Is an exceedingly white precipitate from any solution of
lead by sulphuric acid, much resembling the blanc d'ar-
gent, and has, when well prepared, quite neutral, and
thoroughly edulcorated or washed, most of the properties
of the best white leads, but is rather inferior in body and
permanence.
ZINC AVHITE.*
Like white lead, the oxide of zinc requires to be mixed
with an oily vehicle, to be applied in painting. As oxide
of zinc does not readily form a saponaceous compound
with fats or oils like oxide of lead, the paint which is
prepared with it, and ordinary linseed oil, does not dry
nor harden for a long time.
This peculiarity was at first one of the principal draw-
backs to the more general use of the zinc instead of the
lead paint. Another of its defects is said to be its trans-
parency, owing to which a layer of the zinc white paint
does not exhibit so much body or opacity as a similar one
of white lead. Both these defects, which can be almost
entirely overcome, are more than compensated by the
permanency of the oxide of zinc, as a pigment, under all
circumstances, and its comparative innocuousness both
in the manufacture and the application ; whereas, the
^— — — — — — — — ■ — _^_^.«_ , •— ._ .
* ••Muspratt's Chemistry."
248 APPENDIX.
poisonous (lualities of white lead constitute a fundameu
tal objection to it. At first, manufacturers of zinc
paiiit were led to the adoption of the practice of boiling
I lie oil with a large quantity of litharge, for the purpose
of causing it to be more siccative ; but by this method
the color of the paint is rendered liable to tarnish on
exposure to sulphurous emanations. Instead of litharge,
experiments have led to the choice of salts of zinc, such
as the chloride and sulphate, a small per centage o£
which, on being mixed with the oil or oxide, confers upoi
the paint the property of readily hardening. The same
result is obtained by employing an oil dried by boiling
it with about five per cent, of peroxide of manganese,
or even magnesia has been recommended, and is said to
answer quite as well as the manganese ; in either case a
paint retaining its white color permanently, is obtained.
Manufacturers classify the several qualities of the zinc
white into four kinds, namely : Snow white. Zinc white,
Stone gray, and Uray oxide. The first two are employ-
ed where a pure unalterable white color is required ; the
third is used for a ground color for the walls of houses,
iron painting, and the like ; and the fourth is peculiarly
adapted for the painting of ships and wood-work, and
likewise for the ground of more expensive colors on stone
or cement.
Various shades may be given to paint of which zinc
white constitutes the basis, by grinding up with the oil,
used as the vehicle, several metallic and other compounds
of an unalterable nature, in different proportions. Thus
an orange-yellow is obtained by using Kerms-sulphide of
antimony ; a citron-yellow by employing chromate of
zinc ; a green by adding a mixture of chromate of zinc,
and a few per cents, of Cobalt blue. In like manner
oxides of iron and of manganese, ultramarine, lamp-
black, etc., communicate tints to the paint, all of which,
owing to the absence of lead, are unaltered by atmos-
pheric influences, sulphide of hydrogen, or other emana-
tions. Sometimes a very permanent and useful paint is
prepared from the natural ores of zinc, without subject-
ing them to any of the manufacturing processes, for pre-
paring the oxide of this metal. This is t)ie case with
APPENDIX. 249
\he zinc stoue of Virginia, which has an average con*-
position of
Oxide of zinc .... 25.00
Carbonate of magnesia . 11.21
Alnmina 17.00
Silica 28.00
This mineral constitutes a solid rock on the surface of
the ground, and when pulverized and mixed witli oil in
proper proportions, forms on the surface to which it is
applied, a hard, closely adhering stone coating, impervi-
ous to water or fire. Its ordinary tint varies from a
light drab to dark brown. This paint is capable of re-
ceiving a high polish.
Oxide of zinc, or zinc white, besides its application in
painting, is valuable for paper staining, card enamelling,
the bleaching of lace, the glazing of pottery, and porce-
lain ware, and the lighter white portions are used for
producing the down on artificial feathers.
TIN WHITE
Resembles zinc white in many respects, but dries badly
and has even less body and color in oil, though superior
to it in water. It is the basis of the best white in enamel
painting.
There are various other metallic whites of great body
and beauty — such as those of bismuth, antimony, quick-
silver and arsenic ; but none of them are of any value or
reputation in painting, on account of their great dispo-
sition to change of color, both by light and foul air, in
water and in oil, and are procurable only of the chemists.
PEARL WHITE.
There are the two pigments of this denomination : one
falsely so called, prepared from bismuth, which turns
black in sulphuretted hydrogen gas or any impure air,
and is used as a cosmetic ; the other, prepared from the
waste of pearls and mother-of-pearl, which is exquisitely
white, and of good body in water, but of little force in
oil or varnish, it combines, however, with all other colors
without injuring the most delicate, and is itself perfectly
permanent and innoxious.
•260 APPENDIX.
TINTS.
White is eveiy way of importance in painting, not
only as &. gronndj but as the basis of all tints, as neces-
sary in compounding the endless variety of pale hues
<vhich taste and fashion require of the painter and
decorator, which every season brings out under new
denominations which are in turn to give way to others
and be forgotten. Thus white tinted with blue, etc.,
has afforded Paris white, etc., French grays. Silver
greys, etc. ; while reds tint white of pink, carnation, co-
quilicot, and all the blushes of flowers, etc. ; and yellow
with white has afforded Primrose, Straw-color, Isabella,
etc. To the more or less compound colors with white
we are indebted for the innumerable tints of Lilac,
Lavender, Peach blossoms, Pea-green, Tea-green, etc.
OF THE PRIMARY COLORS.
OF YKLLOW.
Yellow is the first of the primary or simple colors,
nearest in relation to, and partaking most of the nature
of,tthe neutral white, mixed with which it affords the
faint hues called Straw-color, etc. ; it is accordingly a
most advancing color, of great power in reflecting light.
Compounded with the primary red, it constitutes the
secondary orange, and its relatives, scarlet, etc., and
other warm colors.
It is the ruling color of the tertiary citrine ; — it
characterizes in like manner the endless variety of the
semi-neutral colors called brown, and enters largely
into the complex colors denominated buff, bay, tawny,
tan, dan, dun, drab, chestnut, roan, sorrel, hazel, auburn,
Isabella, fawn, feuillemorte, etc. Yellow is naturally
associated with red in transient and prismatic colors,
and they comport themselves with similar affinity and
glowing accordance in painting, as well in conjunction
as composition. In combination with the primary Wue,
yellow constitutes all the variety of the secondary green^
and, subordinately, the tertiaries russet and olive. It
enters also in a very subdued degree into cool, semi-
iicntral, and broken colors, and assists in minor pro-
port ionn with blue and red in the composition of black.
APPENDIX. 251
As a pigment, yellow is a tender delicate color, easily
defiled, when pure, by other colors. In painting it
diminishes the power ot* the eye by its action in a strong
light, while itself becomes less distinct as a color ; and,
on the contrary, it assists vision and becomes more dis-
tinct as a color in a neutral somewhat declining light.
These powers of colors upon vision require the parti-
cular attention of the colorist. To remedy the ill eff'ect
arising from the eyes having dwelt upon a color, they
should be gradually passed to its opposite color, and
refreshed in the clear light of day.
In a warm light, yellow becomes totally lost, but is
less diminished than all other colors, except white, by
distance. The stronger tones of any color subdue its
fainter hues, in the same proportion, as opposite colors
and contrasts exalt them. I'he contrasting colors of
yellow are a purple inclining to blue, when the yellow
inclines to orange, and a purple inclining to red, when
the yellow inclines to green, in the mean proportions
of thirteen purple to three of yellow, measured in surface
or intensity ; and yellow being nearest to the neutral
white in the natural scale of colors, it accords with it
in conjunction. Of all colors, except white, it con-
trasts black most powerfully.*
The sensible effects of yellow are gay, gaudy, glorious,
full of lustre, enlivening, and irritating; and its im-
pressions on the mind partake of these characters, and
acknowledge also its discordances.
Yellow is a color abundant throughout nature, and
its class of pigments abounds in similar proportion. We
have arranged them under the following heads, agreeably
to our plan, according to their definiteness and brilliancy
of color; first, the opaque, and then the transparent,
or finishing colors. It may be observed of yellow pig-
ments, that they much resemble whites in their chemical
relations in general, and that yellow being a primary,
and, therefore, a simple color, cannot be composed by
any mixture of other colors.
* Httiikia's EiemeDU of Drawing, second edition, 1867, p. 7
2*^2 APPENDIX.
JAUNB MINERALE.
This pigment is a chromate of lead, prepared in ParU,
differing in no essential particular from Chrome Yellow,
except in the paleness of its color.
NAPLES YELLOW
Is a compound of the oxides of lead and antimony,
anci';ntly prepared at Naples under the name of Oiallo
lini ; it is supposed also to have been a native produc-
tion of Vesuvius and other volcanoes, and is a pigment
of deservedly considerable reputation. It is not so vivid
a color as Chrome yellow or Jaune Minerale, but is vari-
ously of a pleasing light, warm, yellow tint. Like these
yellows it is opaque and in this sense is of good body,
and covers well. It is not changed by the light of the
sun, and may be used safely in oil or varnish, under the
same management as the whites of lead : but, like these
latter pigments also, it is liable to change even to black
ness by damp and impure air when used as a water-color
or unprotected by oil or varnish.
Iron is also destructive of the color of Naples yellow^
on which account great care is requisite, in grinding and
using it, not to touch it with the common steel palette-
knife, but to compound its tints on the palette with a
spatula of ivory or horn. For the same reason it may
be liable to change in composition with the ochres,
Prussian and Antwerp blues, and all other pigments of
which iron is an ingredient or principle. Oils, varnishes,
and. in some measure strong mucilages, are preventive
of chemical action, in the compounding of colors, by
intervening and cl<)thing the particles of pigments, and
also preserve their colors: and hence, in some instances,
heterogeneous and injudicious tints and mixtures have
stood well, but are not to be relied on in practice. Used
pure, or with white lead, its affinity with which gives
pt^rmanency to their tints, Naples yellow is a valuable
and proved color in oil, in which also it works and dries
well.
It may also be used in enamel painting, as it vitrifies
without change, and in this state it was formerly em-
ployed under the name of GicUlohm di/ornace. and Uaa
APPENDIX. 253
been agaiu introduced, under an erroneous conceptiou
thai vitrification gives permanence to colors, when in
truth it only increases the difficulty of levigation, and
injures their texture for working. Naples yellow doeg
not appear to have been generally employed by the
early painters in oil. Antimony yellows arc prepared
of various depths.
MASSICOT
Or McLSticot, is a protoxide of lead, of a pale yellow
color, exceedingly varying in tint, from the purest and
most tender yellow or straw color to pale ash color or
Cray. It has in painting all the properties of the white
lead, from which it is prepared by gentle calcination in
an open furnace, but in tint with which, nevertheless, it
soon loses its color and returns to white : if, however, it
be used pure or unmixed, it is a useful delicate color,
permanent in oil under the same conditions as white
lead, but ought not to be employed in water, on account
of its changing in color even to blackness by the action
of damp and impure air. It appears to have been pre-
pared with great care, and successfully employed, by
the old masters, and is an admirable dryer, being in its
•.hemical nature nearly the same as litharge, which is
also sometimes ground and employed in its stead.
YELLOW OCHRE
Called also Mineral yellow, is a native pigment, found
in most countries, and abundantly in our own. It varies
considerably in constitution and color, in which latter
particular it is found from a bright but not very vivid
yellow to a brown yellow, called spruce ochre, and is al-
ways of a warm cast. Its natural variety is much in-
creased by artificial dressing and compounding. The
best yellow ochres are not powerful, but as far as they
go are valuable pigments, particularly in fresco and dis-
temper, being neither subject to change by ordinary
light, nor much affected by impure air or the action of
lime ; by time, however, and the direct rays of the sun
they are somewhat darkened, and by burning are con-
verted into light reds. They are among the most
unrlent of pigments, may all be produced artificially ir.
2h4 APPENDIX.
endless variety as they exist in nature, and iron is tiic
prjicipal coloring matter in them all. The following arc
the principal species, but they are often confounded.
OXFORD OCHRK
Is a native pigment from the neighborhood of Oxford,
semi-opaque, of a warm yellow color and soft argill-
Qceous texture, absorbent of water and oil, in both
which it may be used with safety according to the
general character of yellow ochres, of which it is one of
the best. Similar ochres are found in the Isle of Wight,
in the neighborhood of Bordeaux, and various other
places.
STONE OCHRE.
True stone ochres are found in balls or globular
masses of various sizes in the solid body of stones,
lying near the surface of rocks, among the quarries in
Gloucestershire and elsewhere. These balls are of a
smooth compact texture, in general free from grit, and
of a powdery fracture. They vary exceedingly in color,
from yellow to brown, murrey, and gray, but do not
dififer in other respects from the preceding, and may be
safely used in oil or water in the several modes of
painting, and for browns and dull reds in enamel.
Varieties of ochrous colors are produced by burning
and compounding with lighter, brighter, and darker
colors, but often very injudiciously, and adversely to
the certainty of operation, effect, and durability.
ROMAN OCHRE
Is rather deeper and more powerful in color than the
above, but in other respects dififers not essentially from
them — a remark which applies equally to yellow ochres
of other denominations. There are ochres of every
country.
BROWN OCHRE,
Spruce Ochre, or Ocre de Rue, is a dark-colored yellovi
ochre, in other respects differing from the preceding;
it is much employed, and affords useful and permanent
tints This and all natural ochres require grinding and
AiPPENDIX. 25()
wasliing over, to separate them from extraneous sub-
stances, and they acquire depth and redness by burning.
They form vvith Prussian blue a variety of greens, and
are of use in mixture of other colors.
TERRA DI SIENNA,
Or Rata Sienna Earth, etc., is also a ferruginous native
pigment, and appears to be an iron ore, which may be
considered as a crude natural yellow lake; firm in sub-
stance, of a glossy fracture, and very absorbent. It is
in many respects a valuable pigment, of rather an impure
yellow color, but has more body and transparency than
the ochres, and, being little liable to change by the action
of either light, time, or impure air, it may be safely used
according to its powers, either in oil or water, and in all
the modes of practice. By burning it becomes deeper
orange, and more transparent and drying. See Burnt
Sienna Earth. It is a valuable color in graining.
IRON YELLOW,
Jaune de Fer, or Jaune de Mars, etc., is a bright iron
ochre, prepared artificially, of the nature of Sienna earth*
In its general qualities it resembles the ochres, with the
same eligibiUties and exceptions, but is more transparent.
The colors of iron exist in endless variety in nature, and
are capable of the same variation by art, from Sienna
yellow, through orange and red, to purple, brown, and
black, among which are useful and valuable distinctions,
which are brighter and purer than native ochres. They
were formerly introduced by the author, and have been
lately received under the names of orange de mars, rouge
de mars, brun de mars, names which have the merit at
least of not misleading the judgment. When carefully
prepared, these pigments dry well in proportion to their
depth, and have the general habits of Sienna earths and
ochres.
KING'S YELLOW.
Yellow orpiment has been much celebrated under thia
name, as it has also under the denomination of —
CHINESE YELLOW,
Which is a very bright sulpheret of arsenic, brought from
China.
2S6 APPENDIX.
ARSENIC YELLOW,
(Jailed also Miner<d Yellow, is prepared from arsenic
fluxed with litharge, and reduced to powder. It is much
like orpiment in color, dries better, and, not being afifect-
ed by lead, is less liable to change in tint. It must not
be forgotten that it is poisonous, nor that all arsenic
colors are destructive of every tint of colors mixed with
white lead.
CADMIUM YELLOW.
Sulphuret of Cadmium, The new metal, cadmium,
dflPords, by precipitation with solution of sulphuretted
hydrogen, a bright, warm, yellow pigment, which passes
readily into tints with white lead, appears to endure light,
and remains unchanged in impure air ; but the metal
from which it is prepared, being hitherto scarce, it has
been little employed as a pigment, and ita habits are,
therefore, not ascertained.
GAMBOGE,
Or Gumboge, is brought principally frora Cambaja, in
India, and is the produce of several kindii of trees. Is a
concrete vegetable substance, of a gurc-f e^^inous nature,
and beautiful yellow color, bright and transparent, but
not of great depth. When properly used it is more
durable than generally reputed, both in water and in oil,
and conduces, when mixed with other colors, to their
stability and durability, by means of its gum and resin.
It is deepened in some degree by ammoniacal and impure
air, and somewhat weakened, but not easily discolored,
by the action of light. Time effects less change on this
color than on other bright vegetal yellows ; but white
lead and other metalline pigments injure, and terrene
and alkaline substances redden it. It works remarkably
well in water, with which it forms an opaque solution,
without grinding or preparation, by means of its natural
gum, but is with difficulty used in oil. etc., in a dry state,
in its natural state it, however, drys well, and lasts in
glazing when deprived of its gum. Glazed over other
colors in water, its resin acts as a varnish which protectn
them, and under o.her colors its gum acts uu a prepju*
APPENDIX. 257
ation which admits varnishing. It is injured by a loss
degree of heat than other pigments.
GALT^SI'ONE
Is an animal calculus formed in the gall-bladder, pnnci-
pally of oxen. This concretion varies a little in color,
but, is in general, of a beautiful golden yellow, more
powerful than gamboge, and is highly reputed as a water
color ; nevertheless, its color is soon changed and des-
troyed by strong light, though not subject to alteration
by impure air.
It is rarely introduced in oil painting, and is by no
means eligible therein.
YELLOW LAKE.
There are several picrments of this denomination, vary-
ing in color and appearance according to the coloring sub-
stance used, and modes of preparation. They are usually
in the form of drops, and their colors are in general bright
yellow, very transparent, and not liable to change in an
impure atmosphere — qualities which would render them
very valuable pigments, were they not soon discolored,
and even destroyed, by the opposite influence of oxygen
and light, both in water and oil, in which latter vehicle,
like other lakes in general, they are bad dryers, and do
not stand the act"^n of white lead or metallic colors. If
used, therefore, '^^ should be as simple as possible.
OF EED.
Red is the second and intermediate of the primary
colors, standing between yellow and blue, and in like in-
termediate relation also to whtte and blacky or light and
shade. Hence it is pre-eminent among colors, as well as
the most positive of all, forming with yellow the second-
ary orange and its near relatives, scarlet, etc. ; and with
blue, the secondary 'purple and its allies, crimson, etc.
It gives some degree of warmth to all colors, but most
to those which partake of yellow.
It is the archeus, or principal color, in the tertiary
russet; enters subordinately into the two other tertiarics,
c*triiie and olive, goes largely into the composition of
22*
258 APPENDIX
the various hues and shades of the semi neutral marront
or chocolate, and its relatives, spruce, murrey, morel lo,
mordore, pompadour, etc., and more or less into browns,
a ray 8, and all broken colors. It is also the second power
in harmonizing and contrasting other colors, and in
compounding black, and all neutrals, into whicli it enters
in the proportion of five- to blue, eight — and yellow,
three.
Red is a color of double power in this respect also ;
tliat in union or connection with yellow, it becomes hot
and advancing ; but mixed or combined with blue, it be-
comes cool and retiring. It is, however, more congenial
with yellow than with blue, and thence partakes more of
the character of the former in its effects of warmth, of
the influence of light and distance, and of action gn the
eye, by which the power of vision is diminished, upon
viewing this color in a strong light ; while on the other
hand, red itself appears to deepen in color rapidly in a
declining light, as night comes on, or in shade. These
qualities of red give it great importance, render it diffi-
cult of management, and require it to be kept in general
subordinate in painting; hence it is rarely used unbroken,
or as the predominating color, on which account it will
always appear detached or insulated, unless it be repeat-
ed and subordinate in a composition. Accordingly
nature uses red sparingly, and with as great reserve in
the decoration of her works as she is profuse in lavishing
green upon them, which is of all colors the most soothing
to the eye, and the true compensating color, or contrast-
ing or harmonizing equivalent of red, in the proportional
quantit^r of eleven to five of red, according to gurface or
intensity, and is, when the red inclines to scarlet or
orange, a blue-green; and when it inclines to crimson or
purple is a yellow-green.
Red breaks and diffuses with white with peculiar love-
liness and beauty; but it is discordant when standing
with orange only, and requires to be joined or accom-
panied by their proper contrast, to resolve or harmonize
their dissonance.
In landscapes, etc., abounding with hues allied to
green, a red object, properly posited according to surb
APPENDIX. 259
fines in light, shade, or distance, conduces wonderfully
to the life, beauty, harmony, and connection of the color-
ing ; and this coloring is the chief element of beauty in
ftoral nature, the prime contrast and ornament »f the
green garb of the vegetal kingdom.
Red being the most positive of colors, and having the
middle station of the primaries, while black and white
are the negative powers or neutrals of colors, and the ex-
tremes of the scale — red contrasts and harmonizes these
neutrals, and, as it is more nearly allied to white or light
than to black or shade, this harmony is most remark-
able in the union or opposition of white and red, d\id this
contrast most powerful in black and red.
As a color, red is in itself pre-eminently beautiful,
powerful, cheering, splendid, and ostentatious, and com-
municates these qualities to its two secondaries, and
their sentiments to the mind.
Red being a primary and simple color, cannot be com-
posed by mixture of other colors; it is so much the
instrument of beauty in nature and ait in the color ot
flesh, flowers, etc., that good pigments of this genus may
of all colors be considered the most indispensable ; we
have happily, therefore, many of this denomination.
IODINE SCARLET
Is a new pigment of a most vivid and beautiful scarlet
color, exceeding the brillancy of vermilion. It has re-
ceived several false appellations, but is truly an Iodide
or Bi'iodide of mercmy, varying in degrees of intense
redness. It has the body and opacity of vermilion, but
should bf used with an ivory palette-knife, as iron and
most metals change it to colors varying from yellow to
black. Strong light rather deepens and cools it, and im-
pure air soon utterly destroys its scarlet color, and even
metallizes it in substance. The charms of beauty and
novelty have recommended it, particularly to amateurs,
and dazzling brilliancy might render it valuable for
high and fiery effects of color, if any mode of securing
it from change should be devised, at any tate it should
be used pure or alone. By time alone these colors van-
ish in a thin wash or glaze, without iipparent cause, an<l
200 APPENDIX.
they attack almost every metallic substance, and some
of them even in a dry state. When used in water, gum
ammoniac appears to secure it from change, and it has
been observed that, when gamboge is glazed over it, it
preserves its hue with constancy.
RED OCHRE
Is a name proper rather to a class than to an indiviuiial
pigment, and comprehends Indian red, light red, Ve-
netian red, scarlet ochre, Indian ochre, redding, ruddle,
hole, etc., besides other absurd appellations, such as
Enalish vermilion and Spanish hroion, or majolica.
Ihe red ochres are, for the most part, rather hues and
tints, than definite colors, or more properly classed with
the tertiary, semi-nentral, and broken colors ; they are,
nevertheless, often very valuable pigments for their tints
in dead coloring, and for their permanence, etc., in water,
oil, crayons, distempers, and fresco, and in a low tone of
coloring have the value of primaries. The greater part
of them are native pigments, found in most countries ;
but some are productions of manufacture, and we have
produced them in the varietj of natore by art. The
following are the most important of these pigments,
most of which are available in enamel painting.
INDIAN RED,
According to its name, is brought from Bengal, and is a
very rich iron ore, hematite, or peroxide of iron. It is
an anomalous red, of a purple-russet hue, of a good body,
and valued when fine for the purencss and laky tone of
its tints. In a crude state it is a coarse powdw, full of
extremely hard and brilliant particles of a dark appear-
ance, sometimes magnetic, and is greatly improved by
grinding and washing over. Its chemical tendency is to
deepen, nevertheless it is very permanent ; neither light,
impure air, mixture with other pigments, time, nor fire,
effecting, in general, any sensible change in it ; and being
opaque, it covers well. This pigment varies considerably
;n its hues ; that which is most rosy being esteemed
the best, and affording the purest tints: inferior red
ochres have been formerly substituted for it, and have
APPENDIX, 201
procured it a variable character, but it is now obtaiued
abundantly, and may be had pure of respectable color-
nien. Persian red is another name for this pigment.
LIGHT RED
Is an ochre of a russet-orange hue, principally valued for
its tints. The common light red is brown ochre burnt,
but tlie principal yellow ochres afford this color best, and
the brighter and better the yellow ochre is, from which
this pigment is prepared, the brighter will this red be,
and the better flesh tints will it afford with white ; there
are, however, native ochres brought from India and other
countries, which supply its place, some of which become
darkened by time and impure air ; but in other respects
light red has the general good properties of other ochres,
dries admirably, and is much used both in figure and
landscape painting. It affords also an excellent crayon.
Terra puzzoli and carnagione of the Italians, differ
from the above only in their hue, in which respect other
denominations are produced by dressing and com-
pounding.
VENETIAN RED,
Or Scarlet ochre. True Venetian red is said to be a
native ochre, but the colors sold under this name are
prepared artificially from sulphate of iron, or its residuum
m the manufacturing of acids. They are all of redder and
deeper hues than light red, are very permanent, and
have all the properties of good ochres.
Prussian red, English red. Rouge de mars, are other
names for the same pigment, and Spanish red is an ochre
differing little from Venetian red.
RUBRIC, OR MADDER LAKES.
These pigments are of various colors, which have ob-
tained, from their material, their hues, or their inventor,
the various names of rose rubiate, rose madder, pink
madder, and Field's lakes.
The pigments formerly called madder lakes were
brick-reds of dull ochrous nues ; but for many years past
these lakes have been prepared perfectly transparent,
2()2 APPENDIX.
and literally as beaiitiful and pure iu color as the rose ,
qualities in which they are unrivalled by the lakes and
•^annine of cochineal. The rose* colors of madder have
justly been considered as supplying a desideratum, and
as the most valuable acquisition of the palette in modern
times, since perfectly permanent transparent reds and
rose colors were previously unknown to the art of
painting.
These pigments are of hues warm or cool, from pure
pink to the deepest rose color ; — they afford the purest
and truest carnation colors known; from permanent
tints with white lead ; and their transparency renders
them perfect glazing or finishing colors. They are not
liable to change by the action of either light or impure
air, or by mixture with other pigments ; but when not
thoroughly edulcorated, they are, in common with all
lakes, tardy dryers in oil, the best remedy for which is
the addition of a small portion of japanner's gold-size:
or, as they are too beautiful and require saddening for
the general uses of the painter, the addition of man-
ganese brown, cappagh brown, or of burnt umber, as was
the practice of the Venetian painters in the using of
lake, which adds to their powers and improves their
drying in oils.
Though little known in ordinary painting they have
been established by experience on the palettes of our
first masters during nearly half a century. Madder
lake may be tested by liquid ammonia, in which its
color is not soluble as those of other lakes and carmines
are.
SCARLET LAKE
Is prepared in form of drops from cochineal, and is of
a beautiful transparent red color and excellent body,
working well both in water and oil, though, like
other lakes, it dries slowly. Strong light discolors and
destroys it both in water and oil ; and its tints with
white lead, and its combinations with other pigments,
are not permanent; yet when well prepared and judi-
ciously used in sufficient body, and kept from strong
light, it has been known to last many years; but it
ought never to be employed in glazing, nor at all in per-
APPENDIX. 3C&
formaiices that aim at high reputation and durability.
It is commonly tinted with vermilion, which has proba-
bly been mixed with lakes at all times to give them
scarlet hue, and add to their weight ; Florentine Idke^
Hamburgh lake, Chinese lake. Roman and Venetian
lakes, are but varieties of the same pigment.
LAC LAKE,
Prepared from the lac or lacca of India, is perhaps the
first of the family of lakes, and resembles the formei
from cochineal in being the production of similar insects.
Its color is rich, transparent and deep, — less brilliant and
more durable than that of cochineal, but inferior in both
these respects to the colors of madder. Used in body or
strong glazing, as a shadow color, it is of great power and
much permanence ; but in thin glazing it changes and
flies, as it does also in tint with white lead.
A great variety of lakes, equally beautiful as those of
cochineal, have been prepared from this substance in a
recent state in India and China, many of which we have
tried, and found uniformly less durable in proportion as
they were more beautiful. In the properties of drying,
etc., they resemble other lakes.
This appears to have been the lake which has stood
best in old pictures, and was probably used by the Vene-
tians, who had the trade of India when painting flourished
at Venice. It is sometimes called Indian Lake.
MADDER CARMINE,
Or Field's Carmine, is, as its name expresses, prepared
from madder. It diff"ers from the rose lakes of madder
principally in texture, and in the greater richness, depth,
and transparency of its color, which is of various liuea
from rose color to crimson. These in other respects re-
semble the rubric or madder lakes, and are the only
durable carmines for painting either in water or oil ; for
both which their texture qualifies them without previous
grinding or preparation.
OF BLUE
The third and last of the primary, or simple colors, is
blue, which bears the same relation to shade that yellow
264 APPENDIX,
does to light ; hence it is the most retiring and diffusive
of all colors, except pnrple and black : and all colors hav^
the power of throwing it back in painting, in greater or
less degree, in proportion to the intimacy of their rela-
tions to light; first white, then yellow, orange, red, etc.
Blue alone possesses entirely the quality technically
called coldness in coloring, and it communicates this
property variously to all other colors with which it hap-
pens to be compounded. It is most powerful in a strong
light, and appears to become neutral and pale in a de-
clining light, owing to its ruling affinity with black or
shade, and its power of absorbing light : hence the eye
of the artist is liable to be deceived when painting with
blue in too low a light, or toward the close of day, to the
endangering of the warmth and harmony of liis work.
Blue mixed with yellow forms greens, and mixed with
red it forms purples ; it characterizes the tertiary olivet
and is also the prime color of the neutral black, etc., and
also of the semi-neutral grays, slate, lead colors, etc. :
hence blue is changed in hue less than any color by
mixture with black, as it is also by distance. It enters
also subordinately into all other tertiary and broken
colors, and, as nearest in the scale to black, it breaks
ar i contrasts powerfully and agreeably with white, as in
wtttchet or pale blues, the sky, etc. It is less active
than the other primaries in reflecting light, and therefore
sooner disappears by distance. It is an ancient doctrine
that the azure of the sky is a compound of light and
darkness, and some have argued hence that blue is not
a primary color, but a compound of black and white ;
but pure or neutral black and white compound in in-
finite shades, all of which are neutral also or gray. It is
true that a mixture of black and white is of a cool hue,
because black is not a primary color, but a compound
of the three primary colors in which blue predominates,
and this predominance is rendered more sensible when
black is diluted with white.
Blue is discordant in juxtaposition with green, and in a
less degree so with purple, both ot which are cool colors,
and therefore blue requires its contrast, orange, in equal
proportion, either of service or intensity, to compensate
APPENDIX 265
or resolve its dissonances and correct its coldness Bot-
anists remark that blue flowers are much more rare
than those of the other primary colors and their com-
pounds, and hence advise the florist to cultivate blue
flowers more sedulously : but in this they are opposed to
nature, who has bestowed this color principally upon
noxious plants, and been more sparing of it in decorating
the green hues of foliage ; for green and blue alone in
juxtaposition are discordant. Artists, too, havu some-
tiraea acted upon this principle of the botanist in intro-
ducing blue flowers into pictures, preferring therein rare-
ness and novelty to truth and harmony : the artist has,
however, more command of his materials than the
botanist in resolving a discord; — Nature, nevertheless,
left to herself, is not long in harmonizing the dissonances
men put upon her. Florists may further remark, that
blue flowers are readily changed by cultivation into red
and white, but never into yellow ; that yellow flowers are
as readily converted into red and white, but never into
blue ; and that red flowers are changeable into orange or
purple, but never into blue or yellow : the reason of all
which is apparent according to our principles. Nature
also regulates the variegation of flowers by the same law
of coloring.
Of all colors, except black, blue contrasts white most
powerfully. In all harmonious combinations of colors,
whether of mixture or neighborhood, blue is the natural,
ruling tone, universally agreeable to the eye when in due
relation to the composition, and may be more frequently
repeated therein, pure or unbroken, than either of the
other primaries. These are, however, matters of taste,
as in munic, and subject to artiBcial rules founded on the
laws of chromatic combination.
As blue cannot be composed by mixture of other
colors it is an original and primary color. The paucity
of blue pigments, in comparison with those of yellow and
red, is amply compensated by their value and perfection ;
nor is the palette without novelty, nor deficient in pig-
ments of this color : of which the following comprise
some of those of most importance to the painter.
23
266 APPENDIX.
ULTRAMARINP;
Or Azure, is prepared from the lapis lazuli, a prccioi»<»
stone found principally in Persia and Siberia. It is tLe
most celebrated of all modern pigments, and, from its
name and attributes, is probably the same as the no lesa
celebrated Armeman blue, or Cyanus, of the ancients.
Ultramarine has not obtained its reputation upon
sl.ght pretensions, being, when skilfully prepared, of the
most exquisitely beautiful blue, varying from the ut-
most depth of shadow to the highest brilliancy of light
and color, — transparent in all its shades, and pure in its
tints. It is of a true medial blue, when perfect, par-
taking neither of purple on the one liand, nor of green
on the other : it is neither subject to injury by damp and
impure air, nor by the intensest action of light; and it is
so eminently permanent that it remains perfectly un-
changed in the oldest paintings ; and there can be little
doubt that it is the same pigment which still continues
with all its original force and beauty in the temples of
Upper Egypt, after an exposure of at least three thou-
sand years. The ancient Egyptians had however other
blues, of which we have already mentioned their counter-
feit Armenian blue, and several vitreous blues, with
which they decorated their figures and mummies.
Ultramarine dries well, works well in oil and fresco,
and neither gives nor receives injury from other good
pigments. It has so much of the quality of light in it,
and of the tint of air, — is so purely a sky color, and is
hence so singularly adapted to the direct and reflex light
of the sky, and to become the antagonist of sunshine, —
that it is indispensable to the landscape-painter ; and it is
so pure, so true, and so unchangeable in its tints and
glazings, as to be no less essential in imitating the ex-
quisite coloring of nature in flesh and flowers.
To this may be added, that it enters so admirably into
purples, blacks, greens, grays, and broken colors, that it
has justly obtained the reputation of clearing or carrying
light and air into all colors both in mixture and glazing,
and a sort of claim to universality throughout u picture.
It is t "ue, nevertheless, that ultramarine is not always
entitled to the whole of this commendation, being, as a
APPENDIX. 267
precious raatorial, subjected to adulteration ; and it has
been dyed, damped, and oiled to enrich its appearance :
but these attempts of fraud may be easily detected, and
tiie genuine may easily be distinguished from the spurious
by dropping a few particles of the pigment into lemon-
juice, or any other acid, which almost instantly destroys
the color of the true ultramarine totally, and without
effervescence.
Though unexceptional as an oil color, both in solid
painting and glazing, it does not work so well as some
other blues in water ; but when extremely fine in texture,
or when a considerable portion of gum, which renders it
transparent, can be used with it to give it connection or
adhesion while flowing, it becomes a pigment no less
valuable in water painting than in oil ; but little gum can,
however, be employed with it when its vivid azure is to
be preserved, as in illuminated manuscripts and missals.
Pure ultramarine varies in shade fi'om light to dark,
and in hue from pale warm azure to the deepest cold
blue; the former of which, when impure in color, is
called ultramarine ashes.
FACTITIOUS ULTRAMARINE.
French and German Ultramarine, a variety of these,
English, French, and German, have been before the pub-
lic under various names. They are in general of deep
rich blue colors, darker and less azure than fine ultra-
marine of the same depths, and answer to the same acid
test, but are variously affected by fire and other agents :
none of them, however possess the merits of genuine
ultramarine. Fire generally darkens these colors, but
the best way of distinguishing factitious ultramarine
from the natural is by the violent effervescence of the
former when dropped into nitrous acid. They may be
regarded as a great improvement upon the factitious
blues of the palette, rivalling in depth, although not
equalling in color, the pure azure of genuine ultramarine,
for which in some uses they may be substituted, and are
a valuable acquisition in decoration where brilliancy is
required — and in printmg.
268 APPENDIX.
COBALT BLUE
Is Ihe name now appropriated to the modern improved
bine prepared with metallic cobalt, or its oxides, although
it properly belongs to a class of pigments inclnding Saxon
blue, Dutch ultramarine, Thenards blue, Royal blue.
Hungary blue, Smalt, Zaffre or Enamel blue, \nd Dtir
monVs blue. These differ principally in their degrees of
purity, and the nature of the earths with which they
are compounded.
The first is the finest cobalt blue, and may not im-
properly be called a blue lake, the color of which is
brought up by fire, in the manner of enamel blues ; and
it is, wlien well prepared, of a pure blue color, tending
neither to green nor purple, find approaching jn brilliancy
to the finest ultramarine. It has not, however, the body,
transparency, and depth, nor the natural and modest hue,
of the latter ; yet it is superior in beauty to all other blue
pigments. Cobalt blue works better in water than ultra-
marine in general does ; and is lience an acquisition to
those who have not the management of the latter, and
also on account of its cheapness. It resists the action
of strong light and acids, but its beauty declines by
time, and impure air.
It dries well in oil, does not injure or suflTer injury
from pigments in general, and may be used with a prop-
er flux in enamel painting, and perhaps also in fresco.
Various appellations have been given to this pigment
from its preparers and venders, and it has heen called
Vienna blue, Paris blue, azure, and, very improperly,
ultramarine,
SMALT,
Sometimes called Azure, is an impure vitreous cobalt
blue, prepared upon a base of silex, and much used by
the laundress for neutralizing the tawny or Isabella-color
of linen, etc., under Ihe name or Powder-blue. It is, in
general, of a coarse gritty texture, light blue color, and lit-
tle body. It does not work so well as the preceding, but
dries quickly, and resembles it in other respects ; — it
varies, however, exceedingly in its qualities ; and the
finer sort, called Dumont's blue, which is employed in
water-color painting, is remarkably rich and beautiful
APPENDIX. 269
ROYAL BLUE
Is a deeper colored and very beautiful smalt, and w
also a vitreous pigment, principally used in painting on
glass and enamel, in which uses it is very permanent ;
f.>ut in water and oil its beauty soon decays, as is no un-
( ommon case with other vitrified pigments ; and it is not
in other respects an eligible pigment, being, notwith-
8taL.ding its beautiful appearance, very inferior to other
cobalt blues.
ANTWERP BLUE
Is a lighter colored and somewhat brighter Prussian blue,
or ferro-prussiate of alumina, having more of the terrene
basis, but all the other qualities of that pigment, except
its extreme depth. Haerlem blue is a similar pigment.
OF THE SEGONDART GOLOES.
OF ORANGE.
Orange is the first of the secondary colors in relation
to light, being, in all the variety of its hues, composed of
yellow and red. A true or perfect orange is such a
compound of red and yellow, as will neutralize a perfect
blue in equal quantity, either of surface or intensity, and
the proportions of such compound are five of perfect red
to three of perfect yellow. When orange inclines to red,
it takes the names of scarlet, poppy, coquilicot, etc. In
gold color, etc., it leans towards yellow. It enters into
combination with green in forming the tertiary citriney
and with purple it constitutes the tertiary russet ; it
forms also a series of warm semi-neutral colors with
black, and harmonizes in contact and variety of tints
with white.
Orange is an advancing color in painting; in nature it
is effective at a great distance, acting powerfully on the
eye : diminishing its sensibility in proportion to the
strength of the light in which it is viewed ; and it is of
the hue, and partakes of the vividness, of sunshine, as it
does also of all the powers of its components, red and
yellow.
This secondary is pre-eminently a ivai^m col©r, being
the equal contrast or antagonis't in this respect, as it is
23*
270 APPENDIX.
also in color, to blue, to which the attribute of coolness
peculiarly belongs : hence it is discordant when standing
alone with yellow or with red, unresolved by their proper
contrasts.
Tn the well-known fruit of the Aurantiuin called
orangey from its golden hue, from which fruit this color
borrows its well-adapted name, nature has associated two
Sriraary colors with two primary tastes, which seem to
e analogous, a red and yellow compound color with a
sweet and acid compound flavor.
.The poets confound orange with its ruling color yellow,
and, by a metonymy, use in its place the terms golden,
gildi»:g, etc., as gilding sometimes supplies the place of
this color in painting.
The list of original orange pigments is so deficient,
that in some treatises, orange is not even named as a
color, most of them being called reds or yellows, and
orange being a color compounded of red and yellow, the
place of original orange pigments may be supplied by
mixture of the two latter colors — by glazing one over the
other — by stippling, or other modes of breaking and in-
termixing them in working, according to the nature of
the work and the effect required. For reasons before
given, mixed pigments are inferior to the simple, *or ho-
mogeneous in color, working and other properties : yet
some pigments mix and combine more cordially than
others. In oil, the compounding of colors is more easily
effected.
CHROME ORANGE
Is a beautiful orange pigment, and is one of the most
durable, and least exceptional chromates of lead, and not
of iron, as it is commonly called, or Mars Scarlet, another
misnomer of this pigment, which is truly a subchromate
of lead.
It is, when well prepared, of a brighter color than ver-
milion, but is inferior in durability and body to the latter
pigment, being liable to the changes and aflSnities of the
chrome yellows in a somewhat less degree, but less liable
to change than the orange oxide of lead. Laque Minei'al
is a French pigment, a species of chromic orange, similar
to the above. This name is also given to orange oxide
APPENDIX. 2T1
of iron, and Chromate of Mercury, which is improperly
classed as a red with vermilion, for though it is of a
bright ochrous red color in powder, it is, when ground, of
a bright orange ochre color, and affords, with white, very
pure orange-colored tints. Nevertheless, it is a bad pig-
ment, since light soon changes it to a deep russet color,
and foul air reduces it to extreme blackness.
ORANGE OCHRE,
Called also Spanish ochre, etc., is a very bright yellow
ochre, burnt, by which operation it acquires warmth,
color, transparency, and depth. In color it is moder-
ately bright, forms good flesh tints with white, dries and
works well, both in water and oil, and is a very durable
and eligible pigment. It may be used in enamel paint-
ing, and has all the properties of its original ochre in
other respects.
MARS ORANGE
Is an artificial iron ochre, similar to the above, of which
we formerly prepared a variety brighter, richer, and more
transparent than the above, and in other respects of the
same character, but requiring to be employed cautiously
with colors aflfected by iron, being more chemically ac-
tive than native ochres, several of which, and their com-
pounds, become orange by burning.
BURNT SIENNA EARTH
Is, as its name expresses, the Terra di Sienna, burnt
and is of an orange russet color. What has been said
of orange ochre, may be repeated of burnt Sienna earth.
It is richer in color, deeper, and more transparent, and
works and dries better than raw Sienna earth; but in
other respects has all the properties of its parent color,
and is permanent and eligible wherever it may be useful,
and valuable in graining. Light red and Venetian red^
before treated of, are also to be considered as impure, bnt
durable, orange colors, and several artificial preparations
of iron afford excellent colors of this class.
ORANGE LEAD
Is an oxide of lead of a more vivid and warmer color
272 APPENDIX.
than red lead, but iu other respects does not differ essen-
tially from that pigment in its qualification for th»
palette.
ORANGE 0RPIMP:NT.
Or Realgar, improperly called also Red ot-niment, sinc9
it is of brilliant orange color, inclining to yellow. There
are two kinds of this pigment, the one native the other
factitious; the first of which is the sandarac of the an-
cients, and is of rather a redder color than the factitious.
They are the same in qualities as pigments, and differ
not otherwise than in color from yelloxo orpiment, to
which the old painters gave the orange hue by heat, and
then called it alchymy and hui^ orpiment.
OF GREEir.
Gr 'en, which occupies the middle station in the natural
Stale of colors, and in relation to light and shade, is the
secon-l of the secondary colors ; it is composed of the
extreme primaries, yellow and blue, and is most perfect
in hue, when constituted in the proportions of three of
yellow to eight of blue, of equal intensities ; because such
a green will perfectly neutralize and contrast a perfect
red, in the proportions of eleven to five, either of space
or power, as adduced on our scale of Chromatic Equiva-
lents. Of all compound colors, green is the most effec-
tive, distinct and striking, affecting the mind with sur-
prise and delight, when first produced by the mixture of
blue and yellow ; so dissimilar to its constitutents does
it appear to the untutored eye. Green, mixed with
orange, converts it into the one extreme tertiary, citrine^
and, mixed with purple, it becomes the other extreme
tertiary, olive: hence its relations and accordances, are
more general, and it contrasts more agreeably with all
colors, than any other individual color. It has, accord-
ingly, been adopted with perfect wisdom in nature, as
the general garb of the vegetal creation. It is, indeed,
in every respect, a central, or middle color, being the
contrast and compensatory of the middle primary, red.
on the one hand, and of the middle tertiary, russet, on
the other : and, unlike the other secondaries, all its hues.
APPENDIX. 25 ^
whether tending to blue or yellow, are of the same
denomination.
These attributes of green, which render it so univers-
ally effective in contrasting of colors, cause it also to
become the least useful in compounding them, and the
most apt to defile other colors in mixture; nevertheless,
it forms valuable semi-neutrals of the olive class with
black, for of such subdued tones are the greens, by which
the more vivid hues of nature are contrasted ; accord-
ingly, the various greens of foliage are always more or
less semi-neutral in color, declining into gray. As g)'een
is the most general color of vegetal nature, and principal
in foliage, so red, its harmonizing color, and compounds
of red. are most general and principal in flowers. Purple
flowers are commonly contrasted with centres, or varie-
gations of bright yellow, as blue flowers are with like
relievings of orange; and there is a prevailing hue, or
character, in the green color of the foliage of almost
every plant, by which it is harmonized with the colors
of its flowers.
Tiie principal discord of green, is blue ; and when they
approximate or accompany each other, they require to
be resolved by the opposition of warm colors ; and it is
in this way that the warmth of distance and the horizon
reconcile the azure of the sky, with the greenness of the
landscape. Its less powerful discord is yellow, which
requires to be similarly resolved by a purple-red, or its
principles. In its tones, green is cool or warm, sedate
or gay, either as it inclines to blue or to yellow ; yet it
is, in its general elfects, cool, calm, temperate, and re-
freshing, and, having little power in reflecting light, is in
a mean degree, a retiring color, and readily subdued by
distance; for the same reasons, it excites the retina less
than most colors, and is cool and grateful to the eye.
A.S a color, individually, green is eminently beautiful and
agreeable, but it is more particularly sc when contrasted
with its compensating color, red, as it often is in nature,
and even in the green leaves, and the young shoots of
plants and trees, and they are the most generally attrac-
tive of all colors in this respect. They arc hence power-
ful and effective colors on the feelings and oassions, and
274 APPENDIX.
require, therefore, to be subdued or toned, to prevent
excitement, and to preserve the balance of harmony in
painting.
The number of pigments of any color is, in general,
proportioned to its importance; hence the variety of
greens is very great, though their classes are not very
ni'merous. Ihe following are some of the principal :
MIXED GREENS.
Green, being a compound of blue and yellow, pigments
o! these colors may be used to supply the place of green
pigments, by compounding them in the several ways of
working, by mixing, glazing, hatching, or otherwise
blending them in the proportions of the hues and tints
required. In compounding colors, it is desirable not
only that they should agree chemically, but that they
should also have, as much as may be, the same degree
of durability; and in these respects Prussian or Antwerp
blue and gamboge, form a judicious, though not ex-
tremely durable, compound, similar to Varley^s greerij
Hooker's green, etc., used in water. In common oil
painting, greens are formed by mixture of the ordinary
blue and yellow pigments, with additions of white. But
these are less durable than the original green pigments,
prepared from copper, of which there are a great variety,
But the yellow ochres, with Prussian blue, afford more
eligible pigments than the brighter mixtures of chrome
yellow afford. Cobalt greens, chrome greens, and Pi-usstan
green, are names for similar mixtures.
TERRE-VERTE.
True Terre-Yerte is an ochre of a bluish green, not
very bright, in substance, moderately hard, and smooth
in texture. It is variously a bluish or gray, coaly clay,
combined with yellow oxide of iron, or yellow ochre.
Although not a bright, it is a very durable pigment,
being unaffected by strong light and impun; air, and
combining with other colors without injury. It has not
much body, is semi-transparent, and dries well in oil.
There are varieties of this pigment ; but the green earths
which have copper for their coloring matter are, although
APPENDIX. 275
generally of brighter colors, inferior in their otlier qiiuli-
ties, and are not true terre-vertes.
It has been called Green Dice, and the greens called
Verona green, and Verdetto, or Holly green, arc similar
native pigments, of a warmer color. These greens arc
found in the Mendip Hills, France, Italy, and the Island
of Cyprus, and have been employed as pigments fiom
the earliest times.
CHROME GREENS.
Commonly so called, are compound pigments of which
chrome yellow is the principal coloring substance.
These are also called Brunswick green, etc., and are
compounds of chromate of lead, with Prussian and other
blue colors, constituting fine greens to the eye, suitable
to some of tlie ordinary purposes of mechanic art ; but
unfit for fine art.
There is, however, a true chrome green, or Native
green, the coloring matter of which is the pure oxide of
chrome, and being free from lead, is durable, both against
the action of the sun's light, and impure air. It is of
various degrees of transparency or opacity, and of several
hues, more or less warm or cool, wliich are all rather
fine than brilliant greens, and afford pure, natural, and
durable tints. True Chrome greens neither give nor re-
ceive injury from other pigments, and are eligible for
either water or oil painting, in the latter of which they
usually dry well. .They afford valuable coloi-s also in
enamel-painting. To this substance it is that the eme-
rald owes its green color.
COBALT GREENS.
There are two pigments of this denomination, the one
a compound of cobalt blue, and chrome yellow, which
partakes of the qualities of those pigments, and may be
formed by mixture — the other, an original pigment, pre-
pared immediately from cobalt, with adaition of oxide of
iron, or zinc, which is of a pure, but not very powerful
green color, and durable both in water and oil, in the
latter of which it dries well. Rinmann's green, is of this
kind. Its habits arc nearlv the same as those of Cobalt
blue.
27G APPENDIX.
EMERALD GREEN
Is the name of a new copper green, upon a terrene base.
It is the most vivid of this tribe of colors, being rather
opaque, and powerfully reflective of light, and appears to
be the most durable pigment of its class. Its hue is not
common in nature, but well suited for brilliant works.
It works well in water, but with diflSculty in oil, and
dries badly therein. The only true emerald green is.
however, that of chrome, with which metal nature gives
the green color to the emerald.
MINERAL GREEN
Is the commercial name of Green Lakes, prepared from
the sulphate of copper. These vary in hue and shade,
have all the properties of copper greens, and afford the
best common greens, and, not being liable to change of
color by oxygen and light, stand the weather well, and
are excellent for the use of the house painter, etc. ; but
are less eligible in the nicer works of fine art, having a
tendency to darken by time and foul air.
PRUSSIAN GREEN.
The pigment celebrated under this name is an imper-
feet prussiate of iron, or Prussian blue, in which the
yellow oxide of iron superabounds, or to which yellow
tincture of French berries has been added, and is not iu
any respect superior, as a pigment, to the compounds of
Prussian blue, and yellow ochre. A better sort of
Prussian green is formed by precipitating the* prussiate
of potash, with nitrate of cobalt.
INVISIBLE GREEN.
A good ordinary green of this denomination, for out-
of-door painting, and fresco, may be prepared by mixture
of the yellow ochres with black, in small quantities ; oi
by adding black to any of the ordinary green pigment.
See Olive 'pigments.
ZINC GREEN.*
This pigment, which commends itself on account of its
* Br a distiuguisbed Americaa scientific writer in the Philadelphia Ledgzr.
APPENDIX. 21
H
cheapness, and innocuous qualities, and which is some-
times called Moulin's Green, is prepared by mixing a
solution of zinc in hydrochloric acid, with a solution of
oxide of cobalt, in the same acid, and precipitating by
means of carbonate of soda. The precipitate is washed
till all trace of chloride of sodium is removed, and the
residue laid on a gypsum plate, to absorb the superfluous
moisture, and then heated red hot, when a most beauti-
ful green will be obtained, at a temperature of 100 de-
grees of Wedgewood. By combining the zinc in various
proportions, with alum, or sulphate of alumina, different
shades of blue can be obtained.
OF PURPLE.
Purple, the third and last of the secondary colors, is
composed of red and blue^ in the proportions of five of
the former to eight of the latter, which constitute a per-
fect purple, or one of such a hue as will neutralize, and
best contrast a perfect yellow, in the proportions of
thirteen to three, either of surface or intensity. It forms,
when mixed with its co-secondary c^lor, green, the
tertiary color, olive; and, when mixed witli the remain-
ing secondary, orange, it constitutes in like manner the
tertiary color, russet. It is the coolest of the three
secondary colors, and the nearest also in relation to Uack
or shade, in which respect, and in never being a warm
color, it resembles blue. In other respects also, purple
partakes of the properties of blue, which is its rulinj?
<;olor ; hisnce it is to the eye a most retiring color, which
reflects light little, and declines rapidly in power, in
proportion to the distance at which it is viewed, and also
in a declining light. It is the most retiring of positive
colors.
Next to green, purple is the most generally pleasing
of the consonant colors, and has been celebrated as a
regal or imperial color, as much perhaps from its rare-
ness in a pure state, as from its individual beauty. When
.•nclining to the rose, or red, this color takes the names
Df crimsoUy etc., as it does those of violet, lilac, etc.,
when it inclines toward its other constitutent, blue, which
latter color it serves to mellow, or follows well into shade.
24
278 APPENDIX.
The contrast, or liarmonizing color of purple, is yellow,
on the side of light and the primaries, and it is itself the
harmonizing contrast of the tertiary citrine, on the side
of shade, and less perfectly so of the semi-neutral, brown.
Purple, when inclining towards redness, is a regal,
magisterial, and pompous color. In its effects on the
mind, it partakes principally, however, of the powers ol
its archeus, or ruling color, blue.
As the extreme primaries, blue and yellow, when
either compounded or opposed, afiford the most pleasing
consonance of the primary colors ; so the extremes, pur-
ple and orange, afford the most pleasing of the secondary
consonances ; and this analogy extends also to the ex-
treme tertiary and semi-neutral colors, while the mean
or middle colors afford the most agreeable contrasts or
harmonies. Purple pigments are rare, and lie under a
peculiar disadvantage as to apparent durability and
beauty of color, owing to the neutralizing power of yel-
lowness in the grounds upon which they are laid, as well
as to the general warm color of light, and the yellow
tendency of almost all vehicles and varnishes, by which
this color is subdued ; for the same reason this color dis-
appears by candle-liglit.
MIXED PURPLES.
Purple being a secondary color, composed of blue and
red, it follows of course that any blue and red pigments,
which are not chemically at variance, may be used in
producing mixed purple pigments of any required hue,
either by compounding or grinding them together ready
for use, or by combining them in the various modes of ope-
ration in painting. In such compounding, the more per-
fect the original colors are, the better in general will be
Uie purple produced. In these ways, ultramaHiie and
the rose colors of madder constitute excellent and beau-
tiful purples, which are equally permanent in water and
oil, m glazing, or in tint, whether under the influence
of the oxygenous or the hydrogenous principles of light
and impure air, by which colors are subject to change.
The blue and red of cobalt and madder afford also good
purples. Some of the finest and most delicate purple?
APPENDIX. 219
hi Ancient paintings appear to have been Bimilaily com-
pounded of ultramarine and vermilion, which constitute
tints equally permanent, but less transparent tlian the
above. Facility of use, and other advantages, are ob-
tained at too great a sacrifice by the employment of
perishable mixtures, such as are the carmines and lakes
of cochineal with indigo and other blue colors ; but com-
mou purples may be composed of Prussian blue and ver-
milion with additions of white.
GOLD PURPLE,
Or Cassius's Purple Precipitate, is the compound oxide
which is precipitated upon mixing the solutions of gold
and tin. It is not a bright, but a rich and powerful
color, of great durability, varying in degrees of transpa-
rency, and in hue from deep crimson to a murrey or
dark purple, and is principally used in miniature. It
may be employed in enamel-painting, works well in
water, and is an excellent though expensive pigment, but
not much used at present, as the madder purple is
cheaper, and perfectly well supplies its place.
MADDER PURPLE,
Purple Rubtate, or Field's Purple, is a very rich and
deep carmine, prepared from madder. Though not a
brilliant purple, its richness, durability, transparency,
and superiority of color, have given it the preference to
the purple of gold preceding, and to burnt carmine. It
is a pigment of great body and intensity; it works well,
dries and glazes well in oil, and is pure and permanent
in its tints, neither giving nor sustaining injury from
other colors.
BURNT CARMINE,
Is, according to its name, the carmine of cochineal par-
tially charred till it resembles in color the purple of
gold, for the uses of which in miniature and water-paint-
ing it is substituted, and has the same properties except
its durability ; of which quality, like the carmine it is
made from, it is deficient, and therefore in this impor-
tant respect is an ineligible pigment. A durable color
of this kind may, however, be obtained by burning
madde7* cai-mine in a cup over a spirit lamp, or other*
280 APPENDIX.
wise stirring it till it becomes of the hue o: Hues re^
quired
PURPLE LAKE.
The best purple lake, so called, is prepared from cochi-
neal, and is of a rich and powerful color, inclined to
crimson. Its character as a pigment is that of the cochi-
neal lake already described. It is fugitive both in gla-
zing and tint ; but, used in considerable body, as in the
shadows of draperies, etc., it will last under favorable
circumstances a long time, Lac lake resembles it in
color, and may supply its place more durably, although
not perfectly so.
PURPLE OCHRE,
Or Mineral Purple, is a dark ochre, native of the Forest
of Dean in Gloucestershire. It is of a murrey or choco-
late color, and forms cool tints of a purple hue with
white. It is of a similar body and opacity, and darker
color than Indian red, which has also been classed
among purples, but in all other respects it resembles
that pigment. It may be prepared artificially, and some
natural red ochres burn to this color, which has been
employed under the denomination of Violet de Mars,
OF THE TERTIARY COLORS.
OF CITRINE.
Citrine, is the first of the tertiary class of colors, or
ultimate compounds of the primary triad, yellow, red,
and blue; in which yellow is the predominating color,
and blue the extreme subordinate ; for citrine being an
immediate compound of the secondaries, orange and
green, of both which yellow is a constituent, the latter
color is of double occurrence therein, while the other
two primaries enter singly into the composition of cit-
rine, — its mean or middle hue comprehending eight blue,
five red, and six yellow, of equal intensities.
Hence citrine, according to its name, which is the
name of a class of colors, and is used commonly for a
dark yellow, partakes in a subdued degree of all the
powers of its archeus, yellow ; and, in estimating its pro-
perties and eff'ects in painting, it is to he regarded as
APPENDIX. 281
participaiiiig of all the relations of yellow. By some
this color is improperly called brown, as almost all
broken colors are. The harmonizing contrast of citrine
\s a d'^ep purple ; and it is the most advancing of the
tertiary colors, or nearest in its relation to light. It is
variously of a tepid, tender, modest, cheering character,
and expressive of these qualities alike in painting and
poetic art. In -nature, citrine begins to prevail in land-
scape before the other tertiaries, as the green of summer
declines ; and as autumn advances it tends towards its
orange hues, including the colors called aurora, chamoise,
and others before enumerated under the head of
Yellow.
To understand and relish the harmonious relations
and expressive powers of the tertiary colors, requires a
cultivation of perception and a refinement of taste for
which study and practice are requisite. They are at
once less definite and less generally evident, but more
delightful, — more frequent in nature, but rarer in com-
mon art, than the like relations of the secondaries and
primaries ; and hence the painter and the poet afford us
fewer illustrations of effects less commonly appreciated
or understood.
Original citrine-colored pigments are not numerous,
unless we include several imperfect yellows, which might
not improperly be called citrines : the following are,
however, the pigments best entitled to this appella-
tion :
MIXED CITRINE.
What has been before remarked of the mixed sccon
dary colors is more particularly applicable to the ter-
tiary, it being more difficult to select three homogeneous
substances, of equal powers as pigments, than two, that
may unite and work together cordially. Hence the
mixed tertiaries are still less perfect and pure than the
secondaries ; and as their hues are of extensive use in
painting, original pigments of these colors are propor-
tionately estimable to the artist. Nevertheless, there
are two evident principles of combination, of which the
artist may avail himself in producing these colors in the
various ways of working : the one being that of combin-
24*
282 APPENDIX.
ing two original secondaries, — e. g., green attd orange in
producing a citrine; the other, the uniting the three
primaries in such a manner that yellow predominates in
the case of citrine, and blue and red be subordinate in
the compound.
These colors are, however, in many cases produced
with best and most permanent effect, not by the inti-
mate combination of pigments, but by intermingling
them, in the manner of nature, on the canvas, so as to
produce the effect at a proper distance of a uniform
color. Such is the citrine color of fruit and foliage; on
inspecting the individuals of which we distinctly trace
the stipplings of orange and green, or yellow, red, and
green. Similar beautiful consonances are observable in
the russet hues of foliage in the autumn, in which purple
and orange have broken or superseded the uniform green
of leaves : and also in the dive foliage of the rose-tree,
produced in the individual leaf by the ramification of
purple in green. Yet mixed citrines may be compoun-
ded safely and simply by slight additions, to an original
brown pigment, of that primary or secondary tone which
is requisite to give it the required hue, and red and yel-
iow ochres mixed form good common paints of this
color.
BROWN PINK
Is a vegetal lake prpcipitated from the decoction of
French berries, and dyeing woods, and is sometimes the
residuum of the dyer's vat. It is of a fine, rich, transpa-
rent color, rarely of a true brown ; but being in general
of an orange broken by green, it falls into the class of
citrine colors, sometimes inclining to greenness, and
sometimes toward the warmth of orange. It works
well both in water and oil, in the latter of which it is of
great depth and transparency, but dries badly. Its tints
with white lead are very fugitive, and in thin glazing it
does not stand. Upon the whole, it is more beautiful
than eligible.
UMBER. {See page ^l.)
OF EUSSET.
The second or middle tertiary color, Russet, like cit*
APPENDIX. 283
fine, is constituted ultimately of the three primaries,
redj jfeUoWj and bltie ; but with this difference, that in-
stead of yellow as in citrine, red is the predominating
color in russet, to which yellow and blue are subordi-
nates : for oiunge and purple being the immediate con-
stituents of russet, and red being a component part of
each of those colors, it enters doubly into their com-
pound in russet, while yellow and blue enter it only
singly ; the proportions of its middle hue being eight
blue, ten red, and three yellow, of equal intensities. It
follows that russet takes the relations and powers of a
subdued red ; and many pigments and dyes of the latter
denominations are in strictness of the class of russet
colors : in fact, nominal distinction of colors is properly
only relative ; the gradation from hue to hue, as from
shade to .shade, constituting an unlimited series, in
which it is literally impossible to pronounce absolutely
where any shade or color ends and another begins.
The harmonizing, neutralizing, or contrasting color
of russet, is deep green ; — when the russet inclines to
orange, it is a gray, or subdued blue. These are often
beautifully opposed in nature, being medial accordances,
or in equal relation to light shade, and other colors, and
among the most agreeable to sense.
Russet, as we have said, partakes of the relations of
red, but moderated in every respect, and qualified for
greater breadth of display in the coloring of nature and
art ; less so, perhaps, than its fellow tertiaries in propor-
tion as it is individually more beautiful, the powers of
beauty being ever most effective when least obtrusive ,
and its presence in colors should be principally evident
to the eye that seeks it. This color is warm, o<»mplacent,
solid, frank, and soothing. Common acceptaiiuu, sub-
stitutes the term brown for russet.
Of the tertiary colors, russet is the most important to
the artist ; and there are many pigments under the de-
nominations of red purple, etc., which are of russet hues.
But there are few true russets, and one only w^iich bears
the name : of these are the following :
MIXED RUSSET.
What has already been remarked upon tl^e produciiiiii
284 APPENDIX.
of mixed citrine colors, is equally applicable in general
to the mixed russets : we need not, therefore, repeat it.
By the immediate method of producing it materially
from its secondaries, orange and purple ochres afiford a
compound russet pigment of a good and durable color.
Chrome orange and purple-lake yield a similar but less
permanent mixture.
Many other less eligible duple and triple compounds
of russet are obvious upon principle, and it may be pro-
duced by adding red in due predominance to some browns ;
thus red and brown ochre duly mixed afford a good ordi-
nary russet paint.
FJELD^S RUSSET,
Or Madder Brown, is, as its name indicates, prepared
from the i^hia tinctoriaf or madder root. . It is of a pure,
rich, transparent, and deep russet color, introduced by
the author, and is of a true middle hue between orange
and purple ; not subject to change by the action of light,
impure air, time, or mixture of other pigments. It has
supplied a great desideratum, and is indispensable in
water-color painting, both as a local and auxiliary color,
in compounding and producing with yellow the glowing
hues of autumnal foliage, etc., and with blue the beauti-
ful and endless variety of grays in skies, flesh, etc.
There are three kinds of this pigment, distinguished by
variety of hue : russet, or madder brown, orange russet,
and dark russet, or intense madder brown / which differ
not essentially in their qualities as pigments, but as
warm or cool russets, and are all good glazing colors,
thin washes of which afford pure flesh tints in water.
The last dries best in oil, the others but indifferently. It
is a valuable pigment in the graining of mahogany.
PRUSSIATE OF COPPER,
Differs chemically from Prussian blue only in having
copper instead of iron for its basis. It varies in color
''rom russet to brown, is transparent and deep, but being
very liable to change in color by the action of light and
by other pigments, has been very little employed by the
artist.
APPENDIX. 28
p
There are several other pigments which en^er iinper-
fectly into, or verge upon, the class of russet, which,
having obtained the names of other classes to which
they are allied, will be found under other heads ; such
are some of the ochres and Indian red. Burnt carmine
and Oassius's precipitate are often of the russet hue, or
convertible to it by due additions of yellow or orange ;
as burnt Sienna earth and various browns are, by like
additions of lake or other reds.
RUSSET OCHRE.
Although there is no pigment of this name in the
shops, many of the native ochres are of this denomina-
tion of color, and may be employed accordingly ; and
the red and yellow ochres of commerce ground together
and burnt afford excellent russet colors in every mode
of painting.
OF OLIVE.
Olive is the third and last of the tertiary colors and
nearest in relation to shade. It is constituted, like its
co-tertiaries, citrine and russet of the three primaries,
blue, red, and yellow, so subordinated, that blue prevails
therein ; but it is formed more immediately of the sec-
ondaries, ptirple and green ; and, since blue enters as a
component principle into each of these secondaries, it
occurs twice in the latter mode of forming olive, while
red and yellow occur therein singly and subordinately.
Blue is therefore, in every instance, the archeus, or pre-
dominating color of olive; its perfect or middle hue
comprehending sixteen of blue to five of red, and
THREE of yellow ; and it participates in a proportionate
measure of the powers, properties, and relations of blue ;
accordingly, the antagonist, or harmonizing contrast of
olive, is a deep orange : and, like blue also, it is a retir-
ing color, the most so of all the colors, being nearest of
all in relation to black, and last of the regular distinctions
of colors. Hence its importance in nature and painting
is almost as great as that of black : it divides the office
of clothing and decorating the general face of nature with
green and blue ; with both which, as with black and gray,
it enters into innumerable compounds and accordances.
286 APPENDIX.
changing its name, as either hue predominates, into gre&r^,
grey, ashen, slate, etc. : thus the olive hues of foliage are
called green, and the purple hues of clouds are calledpray,
etc., for language is general only, and inadequate to the
infinite particularity of nature and colors.
As olive is usually a compound color both with the
artist and mechanic, and as there is no natural pigment
in use under this name, or of this color, in commerce
there are few olive pigments. Terre-vert, already men-
tioned, is sometimes of this class, and several of the
copper greens acquire this hue by burning. The follow-
ing need only to be noticed :
MIXED OLIVE
May be compounded in several ways ; directly, by unit-
ing green and pwple, or by adding to blue a smaller pro-
portion of yellow and red, or by breaking much blue
with little orange. Cool black pigments mixed with
yellow ochre, afford good olives. These hues are called
green in landscape, and invisible green in mechanic
painting.
OLIVE GREEN.
The fine pigment sold under this name, principally as
a water color, is an arbitrary compound, or mixed green,
eligible for its uses. Any ordinary green mixed with
black forms this color for exterior painting in oil, etc.
And an olive green paint may be economically prepared
by the mixing of yellow or brown ochre with black,
which may be varied by additions of blue or green.
BURNT VERDIGRIS
Is what its name expresses, and is an olive colored oxide
of copper deprived of acid. It dries remarkably well in
oil, and is more durable : and is, in other respects, an im-
proved and more eligible pigment than the original ver-
digris. Scheele's green affords by burning also a series
of similar olive colors, which are as durable as their
original pigment, and most of the copper greens may bo
subjected to the same process with the same results;
indeed we have remarked in many instances that the
nction of fire anticipates the efifccts of long continued
APPENDIX. 287
♦ime, and that many of the primary and secondary
color, may by different degrees of burning, be converted
into their analogous secondary and tertiary, or semi.
neutral colors, that come usefully into the graining of
rosewood, etc.
OF SEMI-NEUTRAL COIOES.
OF BROWN.
As color, according to the regular scale descending
from white, properly ceases with the class of oh've, the
neutral black would here naturally terminate the series ;
but as, in a practical view, every colored pigment, of
every class or tribe, combines with black as it exists m
pigments, a new series or scale of colored compounds
arises, having black for their basis, which, though they
differ not theoretically from the preceding order inverted,
are, nevertheless, practically imperfect or impure ; in
which view, and as compounds of black, we hav-e distin-
guished them by tlie term senn-neutraL and divided them
into three classes, Brown, Marrone, and Gray. Inferior
as the semi-neutral are in point of color, they compre-
hend, nevertheless, a great proportion of our most per-
manent pigments ; and are, with respect to black, what
tints are with respect to white ; i. e., they are, so to call
them, black tints, or shades.
The first of the semi-neutral, and the subject of the
present chapter, is brown, which, in its widest accepta-
tion, has been used to comprehend, vulgarly, every dc'
nomination of dark broken color, and in a more limited
sense, is the rather indetinite appellation of a very ex-
tensive class of colors of warm or tawny hues. Accord-
ingly we have browns of every denomination of color
except blue ; thus we have yellow-brown, red-brown,
orange-brown, purple-brown, etc., but it is remarkable
that we have, in this sense, no blue-brown nor any other
colored brown, in any but a forced sense, in whicli blue
predominates; such predominance of a cold color iirune-
diately carrying the compound into the class of gray,
ashen, or slate color. Hence brown comprehends the
hues called feuillemort. mort d'crc, dun, liazel, auljiirn
238 APPENDIX.
etc. ; several of which we have already enumerated as
allied to the tertiary colors.
The term brown, therefore, properly denotes a warm,
broken color, of which yellow is a principal constituent;
nence brown, is in Home measure, to shade what yellow is
to li^ht, and warm or ruddy browns follow yellow natu-
rally as shading or deepening colors. It is hence also
that equal quantities of either of the three primaries, the
three secondaries, or the three tertiaries, produce vari-
ously a brown mixture, and not the neutral black, etc.;
because no color is essentially single, and warmth belongs
to two of the primaries, but coldness to blue alone.
Browns contribute to coolness and clearness by contrast
when opposed to pure colors. Hence their vast impor-
tance in painting and the necessity of keeping them
from other colors, to which they give foulness in mix-
ture.
The tendency in the compounds of colors to run into
broNvuncss and warmth is one of the general natural
properties of colors, which occasions them to deteriorate
or dirt eadi other in mixture ; lience brown is synony-
mous with foul or defiled, in a sense opposed to fair and
pure ; and it is lience also that brown, which is the
aearest of the semi-neutrals in relation to light, is to be
avoided in mixture with light colors.
This tendency will account also for the use of brown
in harmonizing and toning and for the great number of
natural and artificial pigments and colors we possess
under this denomination ; in fact, the failure to produce
other colors chemically or by mixture is commonly pro-
ductive of a brown : yet are tine transparent browns ob-
viously very valuable colors. If red or blue be added to
brown predominantly, it falls into the other semi-neutral
classes, marrone or gray.
The wide acceptation of the term brown has occa-
sioned much confusion in the naming of colors, since
broken colors in which red, etc., predominate have been
improperly called brown ; and a tendency to red or hot-
uess in browns obtains for them the reproachful appel-
'ation oi' foxiness. This term, brown, should therefore
be confined to the class of semi-neutral colors com-
APPENDIX. 289
pounded of, or of the hues of, either the pnmary yellow,
t/ie secondary orange, or the tertiary citrine, vnth a black
pigment ; the general contrast or harmonizing color of
(?hich will consequently be more or less purple or gray ;
fcnd with reference to black and white, or light and shade,
it is of the serai-neutrals the nearest in accordance with
white and light.
Brown is a sober and sedate color, grave and solemn,
out not dismal, and contributes to the expression of
strength, stability and solidity, vigor and warmth, and
in minor degree to the serious, the sombre, and the
sad.
'ITie list of brown pigments is very long, and that of
MIXED BROWNS literally endless, it being obvious that
every warm color mixed with black will afford a brown,
and that equal portions of the primaries, secondaries, or
tertiaries, will do the same ; hence there can be no diffi-
culty of producing them by mixture when required,
which is seldom, as there are many browns which are
good and permanent pigments among the following :
VANDYKE BROWN.
This pigment, hardly less celebrated than the great
painter whose name it bears, is a species of peat or bog
earth of a fine, deep, semi-transparent brown color. The
pigment so much esteemed and used by Vandyke is said
to have been brought from Cassel ; and this seems to be
justified by a comparison of Gassel-earth with the browns
of his pictures. The Vandyke browns in use at present
appear to be terrene pigments of a similar kind, purified
by grinding and washing over ; they vary sometimes in
hue and in degrees of drying in oil, which they in general
do tardily, owing to their bituminous nature, but are
good browns of powerful body, and are durable both in
water and oil. The Campania brown of the old P.alian
painters was a similar earth.
MANGANESE BROWN
Is an oxide of manganese, of a fine, deep, semi-opaque
brown, of good body, which dries admirably well in oil.
It is deficient of transparency, but may be a useful color
25
890 APPENDIX.
for glazing or lowering the tone of white without tinging
it, and as a local color in draperies, dead coloring, etc.
It is a perfectly durable color both in water and oil.
CAPPAGH BROWN,
Or Euchromey is a Native Manganese Broivn, found on
the estate of Lord Audley at Cappagh, near Cork. It is
a bog-earth or peat, mixed or mineralized by manganese
in various proportions. The specimens in which the
peat earth most abounds are of light weight, friable tex-
ture, and dark color, — those which contain more of the
metal are heavy and of a lighter color.
As pigments, the peaty Cappagh brown is the most
transparent, deep and rich in color, and dries promptly
in oil, during which its surface rivels where it lies thick.
This may be regarded as a superior Vandyke brown and
Asphaltum.
The other and metallic sort is a less transparent,
lighter, and warmer brown pigment, which dries rapidly
and smoothly in a body or thick layer, and is a superior
Umber. They do not keep their place while drying in
oil by fixing the oil, like the dryers of lead, but run.
The two extreme sorts should be distinguished as light
and deep Cappagh browns ; the first excellent for dead
coloring, and grounds, the latter for glazing and graining.
These pigments are equally applicable to painting in
water, oil, and varnish, working well in each of these
vehicles. They have been introduced into commerce
for civil and marine painting under the names of Etir
chrome and Mineral Brown, and have been called Cale-
donian, but are more properly Hibernian browns, and
are fine colors and valuable acquisitions in all their uses,
and especially so in the graining of oak, etc.
BURNT UMBER,
Is the fossil pigment called Umber, burnt, by which it
becomes of a deeper and more russet hue. It contains
manganese and iron, and is very drying in oil, in which
it is employed as a dryer. It may be substituted for
Vandyke brown, is a perfectly durable and eligible pig-
ment in water, oil, and fresco, and may be produced ar
tificially. The old Italians called it fatsalo.
APPENDIX. 294
CASSEL EARTH,
Or, corruptly. Castle earth. The true terre de Cassd is
an ochrous pigment, similar to the preceding, but of a
brown color, more inclined to the russet hue. In other
respects it does not differ essentially from Rubens an'i
Vandyke browns.
COLOGNE EARTH,
Incorrectly called C alien'' s earth, is a native pigment,
darker than the two last, and in no respect differing from
Vandyke brown in its uses and properties as a color.
Similar earths abound in England. They are all bitu-
minous ochres.
RUBENS BROWN.
Hie pigment still in use in the Netherlands under this
appellation is an earth of a lighter color and more ochrous
texture than the Vandyke brown of the shops : it is also
of a warmer or more tawny hue than the latter pigment,
and is a beautiful and durable brown, which works well
both in water and oil, and much resembles the brown
used by Teniers.
BROWN OCHRE.
Iron Brown. Bran de Mars, and Prussian Brown,
may be regarded as brown ochres, of which there is abun*
dance in nature, and all imitable by art. See Yellow
Ochre. See Spanish Brown, or tiver. See Red Ochre,
BONE BROWN,
And Ivory Brown are produced by torrefying, or roast-
ing bone and ivory till, by partially charring, they be-
come of a brown color throughout. They may be made
to resemble the first five browns above by management
in the burning : and though much esteemed by some
artists, are not perfectly eligible pigments, being bad
dryers in oil ; and their lighter shades not durable either
in oil or water when exposed to the action of strong
light , or mixed in tint with white lead. The palest of
these colors are also the most opaque: the deepest are
ui ore durable, and most so when approaching black.
292 APPENDIX.
ASPHALTUM,
Called also Bitumen^ Minenal Fitch. Jews* Pitch, etc., it
a resinous substance rendered brown by the action of
fire, natural or artificial. The substances employed in
painting under this name, are residua of the distillation
of various resinous and bituminous matters in preparing
their essential oils, and are all black and glossy like
common pitch, which differs from them only in having
been less acted upon by fire, and in thence being softer.
Asphaltum is principally used in oil-painting ; for which
purpose it is first dissolved in oil of turpentine, by which
it is fitted for glazing and shading. Its fine brown color
and perfect transparency are lures to its free use with
many artists, notwithstanding the frequent destruction
whicn awaits the work on which it is much employed,
owing to its disposition to contract and crack by changes
of temperature and the atmosphere; but for which it
would be a most beautiful, durable, and eligible pigment.
The solution of asphaltum in turpentine, united with
drying oil, by heSt, or the bitumen torrefied and ground
in linseed or drying-oil, acquires a firmer texture, but
becomes less transparent, and dries with difficulty. If
also common asphaltum. as usually prepared with oil of
turpentine, be used with some addition of Vandyke
brown, umber, or Cappagh brown ground in drying-oil,
it will acquire body and solidity, which will render it
much less disposed to crack, and give it the qualities of
native asphaltum : nevertheless, asphaltum is to be re-
garded in practice rather as a dark varnish than as a
solid pigment, and all the faults of a bad varnish are to
be guarded against in employing it. This pigment is
now prepared in excessive abundance, as a product of
the distillation of coal at tne gas manufactories.
ANTWERP BROWN
Is a preparation of asphaltum ground in strong drying,
oil, by which it becomes less liable to crack. Ochrons
bitumens, bituminous coal, jet, and other bituminous
substances, afford similar browns. See also Cappagh
Brown preceding.
APPENDIX. 293
PBUSSIAN BROWN
In a prepaiation of Prussian blue, from which the bhie
coloring: principle has been expelled by fire, or extracted
by an alkaline lye ; it is an orange brown, of the nature
and properties of Sienna earth, and dries well in oil.
OF GRAY.
Of the tribe of semi-neutral colors. Gray is the third
and last, being nearest in relation of color to black. In
its common acceptation, and that in which we here use
it, gray denotes a class of cool cinereous colors, faint of
hue ; whence we have blue grays, olive grays, green grays,
purple grays, and grays of all hues, in which blue pre-
dominates ; but no yellow or red grays, the predomi-
nance of such hues carrying the compounds into the
classes of brown and marrone, of which gray is the natu-
ral opposite. In this sense the semi-neutral Gray is
distinguished from the netUral Gray, which springs in
an infinite series from the mixture of the neutral black
and while.: — between grays and gray, however, there is
no intermediate, since where color ends in the one, neu-
trality commences in the other, and vice versa ; — hence
the natural alliance of the semi-neutral gray with black
or shade ; an alliance which is strengthened by the latent
predominance of blue in black, so that in the tints re-
sulting from the mixture of black and white, so much
of that hue is developed as to give apparent color to the
tints. This affords the reason why the tints of black
and dark pigments are colder than their originals, so
much so as, in some instances, to answer the purposes of
positive colors.
The grays are the natural cold correlatives, or con-
trasts, of the warm semi-neutral browns ; and they are
degradations of blue and its allies : — hence blue added to
brown throws it into or toward the class of grays, and
hence grays are equally abundant in nature and neces-
sary in art; for the grays comprehend in nature and
painting a widely diffused and beautiful play of retiring
colors in skies, distances, carnations, and the shadowings
and reflections of pure light, etc.
According to the foregoing relations, grays favor the
25*
21)4 APPENDIX.
efi'ects and force of warm colors, which in their tin n nlso
give value to grays, and, by reconciling opposites, give
repose to the eye.
A misapplication of coloring, however true — such as
looking at nature through a prism, and painting its ef>
fects~in decorations, is but to produce a fool's paradise,
and to excite wonder and false admiration, in place of
true effect, sentiment, and repose.
As blue is the ruling power of all the colors which
enter into the composition of grays, the latter partake of
the relations and affections of blue. Grave sounds, liko
gray colors, are deep and dull ; and there is a similarity
of these terms in sound, signification, and sentiment, if
even they are not of the same etymology : be this as it
may, gray is almost as common with the poet, and in its
colloquial use, as it is in nature and painting. 'I'he grays,
like the other semi-neutrals, are sober, modest colors,
contributing to the expression of coolness, gloom, and
sadness, bordering, in these respects, upon the powers
of black, but aiding the livelier and more cheering ex-
pressions of other colors by connection and contrast.
MIXED GRAYS
Are formed not only by the compounding of black ana
white, which yields neutral gravSf and of black and blue,
black and purple, black and olive, etc., which yield the
semi-neutral grays of clouds, etc., but these may be well
imitated by the mixture of russet rubiate, or madder
browns, with blues, which form transparent compounds,
which are much employed ; grays are, however, as above
remarked, so easily produced, that the artist will, in this
respect, vary and suit his practice to his purpose. The
lead colors of common painting are formed by adding
black to white lead in oil. They are very useful grounds
and dead colorings for greens, etc.
ULTRAMARINE ASHES,
Or Mineral Gray, are the recrement of Lapis lazuli, from
which ultramarine has been extracted, varying in color
from dull gray to blue. Although not equal in beauty,
and inferior in strength of color, to ultramarine, they
are extremely useful pigments, affording grays nuaoD
J
APPENDIX. 295
more pure and tender than such as are composed of
black and white, or other blues, and better suited to the
pearly tints of flesh, foliage, the grays of skies, and the
shadows of draperies, but are not necessary to the or-
dinary painter, who can form them of cheaper pigments.
PHOSPHATE OF IRON
Is a native ochre, which classes in color with the deeper
hues of ultramarine ashes, and is eligible for all their
uses. It has received the appellation of blue ochre.
Slate clays and several native earths class with grays ;
but the colors of the latter are not durable, but become
brown by the oxidation of the iron they contain.
PLUMBAGO.
See Black Lead, which forms grai/ tints of greater
permanence and purity than the blacks in general use,
and it is now employed for this purpose wfth approved
satisfaction by experienced artists.
OF THE NEUTRAL.
BLACK.
Black is the last and lowest in the series or scale of
colors descending — the opposite extreme from white —
the maximum of color. To be perfect it must be neu-
tral with respect to colors individually, and absolutely
transparent, or destitute of reflective power in regard to
light ; its use in painting being to represent shade or
depths, of which it is the element in a picture and in
colors, as white is of light.
As there is no perfectly pure and transparent black
pigment, black deteriorates all colors in deepening them,
as it does warm colors by partially neutralizing them,
but it combines less injuriously with cold colors. 1 hough
it is the antagonist or contrast of white, yet, added to it
in minute portion, it, in general, renders white more
neutral, solid, and local, with less of the character of
light. Impure black is brown, but black in its purity ia
a cold color, and communicates this property to all light
colors ; thus, it blues white, greens yellow, purples red.
296 APPENDIX.
and deji^rades blue and other colors ; hence the artist
errs who regards black as of nearest affinity to hot and
brown colors.
It is the most retiring of all colors, which property it
communicates to other colors in mixture. It heightens
the effect of warm as well as of light colors, by a double
contrast when opposed to them, and in like manner sub-
dues that of cold and deep colors ; but in mixture or
glazing these effects are reversed, by reason of the pre-
dominance of cold color in the constitution of black:
having therefore the double office of color and of shade,
black is perhaps the most important of all colors to the
artist, both as to its use and avoidance.
Black is to be considered as a synthesis of the three
primary colors, the three secondaries, or the three ter«
tiaries, or of all these together ; and, consequently, also
of the three semi-neutrals, and may accordingly be com-
posed of due proportions of either tribe or triad. All
antagonist colors, or contrasts, also afford the neutral
black by composition ; but in all the modes of producing
black by compounding colors, blue is to be regarded as
its predominating color, and yellow as subordinate to
red, in the proportions, when their hues are true, of
eight blue, five red, and three yellow. It is owing to
this predominance of blue in the constitution of black,
that it contributes by mixture to the pureness of hue in
white colors, which in general incline to warmth, and it
produces the cool effect of blueness in glazing and tints,
or however otherwise diluted or dilated. It accords with
the principle here inculcated that in glass-founding, the
oxide of manganese, which affords tho red hue, and that
of cobalt which affords the blue, are added to brown or
yellow frit to produce a velvety-black glass ; and that the
dyer proceeds to dye black upon a deep blue basis of in-
digo, with the ruddy color of madder and the yellow of
quercitron, galls, sumach, etc. ; and experience coincides
with principle in these practices, but if the principle be
wanting the artist will often fail in his performances.
All colors are comprehended in the synthesis of
black, consequently the whole sedative power of color is
comprised in black: It is the same in the synthesis of
white ; and, with like relative consequence, white com
APPENDIX. 297
prehends all the stimulating: powers of color in painting.
It follows that a little black or white is equivalent to
much color, and hence their use as colors requires judg-
ment and caution in painting; and, in engraving, black
and white supply the place of color«, and hence « true
knowledge of the active or sedative power of every color
is of great importance to the engraver.
By due attention to the synthesis of black it may be
rendered a harmonizing medium to all colors, and it,
gives brilliancy to them all by its sedative effect on the
eye, and its powers of contrast ; nevertheless, we repeat,
as a pigment it must be introduced with caution ii?
painting when hue is of greater importance than shade ;
and black pigments produced by charring have a dispo-
Kition to rise and predominate over other hues, and to
subdue the more delicate tints by their chemical bleach-
ing power upon other colors, and their own disposition
to turn brown or dusky. And for these reasons deep
and transparent colors, which have darkness in their
constitution, are better adapted in general for producing
true natural and permanent effects.
Black is to be regarded as a compoimd of all other
colors, and the best blacks and neutrals of the painter
are those formed with colors of sufficient power and
transparency upon the palette ; but most of the black
pigments in use are produced by charring, and owe their
color to the carbon they contain : such are Ivory and
Bone blacks, Lamp black. Blue blacky Frankfort black,
etc. The first three are most in use, and vary accord-
ing to their modes of preparation or burning ; yet fine
Frankfort black, though principally confined to the use
of the engraver and printer, is often preferable to Ihe
others.
Native or mineral blacks are heavy and opaque, bat
dry well.
Black pigments are innumerable : the following are
however the principal, all of which arc permanent
colors :
IVORY BLACK. [See page 22.)
LAMP BLACK. [See page 23.)
298 APPENDIX,
FRANKFORT BLACK
Is said to be made of the lees of wine from which the
tartar has been washed by burning, in the manner of
ivory black. Similar blacks are prepared of vine twigs
and tendrils, which contain tartar; also from peach-
stones, etc., whence almond black and peach black; and
tne Indians employ for the same purpose the shell of the
cocoa-nrvt : and inferior Frankfort black is merely the
levigated charcoal of woods, of which the liardest, such
as box and ebony, afford the best. Fine Frankfort
black though almost confined to copper-plate printing,
is one of the best black pigments we possess, being of a
fine neutral color, next in intensity to lamp black, and
more powerful than that of ivory. Strong light has the
effect of deepening its color ; yet the blacks employed
in the printing of engravings have proved of very varia-
ble durability. It is probable that this black was used
by some of the Flemish painters, and that the pureness
of the grays formed therewith is attributable to the
property of charred substances to prevent discolor-
ment ; although they have not the power of bleaching
oils as they have of many other substances.
BLUE BLACK
Is also a well-burnt and levigated charcoal, of a cool
neutral color, and not differing in other respects from
the common Frankfort black above-mentioned. Blue
black was formerly much employed in painting, and,
in common with all carbonaceous blacks, has, when duly
mixed with white, a preserving influence upon that
color in two respects ; which it owes, chemically, to the
bleaching power of carbon, and, chromatically, to the
neutralizing and contrasting power of black with white.
A superior blue black may be prepared by calcining
Prussian blue in a close crucible, in the manner of ivory
black : and it has the important property of drying well
in oil ; innumerable black pigments may be produced in
this way by charring.
SPANISH BLACK
[g a Roft black, prepared by burning cork in the manner
• APPENDIX. 299
of Frankfort and ivory blacks ; and it differs not essen-
tially from the former, except in bein|s^ of a lighter and
softer texture. It is subject to the variation of the
above charred blacks, and eligible for the same uses.
Paper black, the Nero difoglio of the Italians, often pre-
pared in the same way, much resembles Spanish black
as does also Prussian black prepared by roasting Prus-
sian blue.
MINERAL BLACK
Is a native impure oxide of carbon, of a soft texture,
found in Devonshire and Wales. It is blacker than
plumbago, and free from its metallic lustre, — is of a neu-
tral color, grayer and more opaque than ivory black, —
forms pure neutral tints, — and being perfectly durable,
and drying well in oil, it is valuable in dead coloring on
account of its solid body, as a preparation for black and
deep colors before glazing. It would also be the most
durable and best possible black for frescoes. Russian
black is of this class.
MANGANESE BLACK.
The common black oxide of manganese answers to
the character of the preceding pigment, and is the best
of all blacks for drying in oil without addition, or prepa-
ration of the oil. It is also a color of much body and
tinging power.
BLACK OCHRE
Is a variety of the mineral black above, combined with
iron and alluvial clay. It is found in most coimtries,
and should be washed and exposed to the atmosphere
before it is used. Sea-coal, and innumerable black mine-
ral substances, have been and may be employed as suc-
cedanea for the more perfect blacks, when the latter are
not procurable, which rarely happens.
BLACK LEAD,
Plumbago, or Graphite, is a native carburet of iron or
oxide of carbon, found in many countries, but particu-
larly in Borrodale in Cumberland, and in Russia, wliere
there are mines of it, from which the best is obtained,
ond consumed in large quantities in the formation of
300 APPENDIX. •
crayons and the black-lead pencils of the shops, which
are in universal use in writing, sketching, designing, and
drawing ; for which the facility with which it may be
rubbed out by Indiarubber or caoutchouc, gutta per-
cha, and the crumb of bread, admirably adapts it.
Although not acknowledged as a pigment, its powers
in this respect claim a place for it, at least among water-
colors ; in which way, levigated in gum-water in the ordi-
nary manner, it may be used eflfectually with rapidity
and freedom in the shading and finishing of pencil draw-
ings, etc., and as a substitute therein for Indian ink.
Even in oil it may be useful occasionally, as it possesses
remarkably the property of covering, forms very pure
gray tints, dries quickly, injures no color chemically,
and endures forever. These qualities render it the most
eligible black for adding to white in minute quantity
to preserve the neutrality of its tint.
Although plumbago has usurped the name of Black
Lead, there is another susbtance more properly entitled
to this appellation, and which may also be safely em-
ployed in the same manner, and with like effects as a
pigment. This substance is the Sulphuret of Lead,
either prepared artificially, or as found native in the
beautiful lead-ore, or Galena.
- TABLES OF PIGMENTS, Etc.
As there are circumstances under which some pig-
ments may very properly and safely be used, which imder
others might prove injurious or destructive to the work,
the following Lists or Tables are subjoined, in which
they are classed according to various general properties,
as guides to a judicious selection. These Tables are the
results of direct experiments and observations, and are
composed, without regard to the common reputation or
variable character of pigments, according to the real
merits of the various specimens tried.
As the properties and eff*ects of pigments are much
influenced by adventitious circumstances, and are some-
times varied or altogether changed by the grounds on
which pigments are used, by the vehicles in which they
are used, by the siccatives and colors with which they
are used, and by the varnishes by which they are cov-
APPENDIX. 301
ered, these Tables arc olTered only as approximations to
the true characters of pigmentB and as geoeral guides to
right praetipe. They render it also apparent, as a gen.
cral conclusion, that the majority of pigments have a
mediocrity of qualification, balancing Ihclr excelleaces
with their defe<;ts, and that the number of gaud nnd
eligible pigments overbalances those which ought in
genera! to be rejected.
TABLE I.
Of pigments, the colors of which euffer diEferenl de-
grees of change by the action of light, oxygen, and pure
air, bnt are little, or not at all, affected by shade, sul-
phuretted hydrogen, damp, and foul air :
iQdian Yellow
ra i Light Boqp F.icin],
Remarks. — None of the pigments in this Table are
eminent for permanence. No white or black pigment
whatever belongs to this class, nor does any tertiary, and
a few only of the original semi-neutrals. Most of those
inchided in the list fade or become lighter by time, and
also, in general, less bright.
TABLE n.
Pigments, the colors of which are little, or not at all,
changed by light, Oiygen, and pure air ; but are more
or less injured by the action of shade, sulphuretted hy.
drogen, damp, and impure air :
302
APPENDIX.
White
Tellow
Red ...
Common White Lead
Flake White
Croms White
Roman White
Venetian White
Blano d' Argent
Sulphate of Lead
Massicot
Patent Yellow
Jaune Minerale
Chrome Yellow
Naples Yellow
Red Lead
Chrome Red
Dragon's Blood
Iodine Scarlet
Blae ...
Blae Vorditer
Sanders Blae
Mountaid Blae
Royal Blue
Smalt and other
bait Blues
Co.
Orange
Green.. ■
Orange Lead
Orange Chrome
Chromate of Meroory
Laqne Mineral
Green Verditer
Mountain Green
Com'n Chrome Greec
Mineral Green
Verdigris and other
Copper Greens
Remarks. — Most of our best white pigments are com-
prehended in this Table, but no black, tertiary, -or semi-
neutral color.
Many of these colors, when secured by oils and var-
nish, etc., may be long protected from change. The pig-
ments of this Table laay be considered as more durable
than those of the preceding ; they are, nevertheless, ineli-
gible in a water vehicle, and in fresco ; and most of them
become darker by time alone in every mode of use.
This list is the opposite of Table I.
TABLE III.
Pigments, the colors of which are subject to change
by the action both of light and oxygen, and the opposite
powers of sulphuretted hydrogen, damp, and impure air
White
Yellow
Pearl or Bismuth
White
Antimony White
f T.
t P,
Turbeth Mineral
atent Yellow
Orange
Sulphate of Antimony
Annotta
Carucru
Red
f Iodine Scarlet
•••• I Dnigon's Blood
Blue... I I
Royal Blue
Prui'sian Blue
Antwerp Blue
Green.. •{ Verdigris.
Russel •{ Pmssiate of Copper
APPENDIX.
303
Remarks.-— This Table comprehends our most iraper-
feet pigments, and demonstrates how few absohitely bad
have obtained currency. Indeed, several of them are
valuable for some uses, and not liable to sudden or ex-
treme change by the agencies to which they are here
subjected. Yet the greater part of them are destroyed
by time.
These pigments unite the bad properties of those in.
the two preceding Tables.
TABLE IV.
Pigments not at all, or little, liable to change by the
action of light, oxygen, and pure air ; nor by the oppo-
site influences of shade, sulphuretted hydrogen, damp,
and impure air; nor by the action of lead or iron:
White ^
Tcllow
Red.
Blue
-1
Oranj^e •
Zinc White
Coiif^tant, or Barytic
White
Tin White
The Pure Earths
Yellow Ochre
Oxford Ochre
Roman Ochre
Sienna Earth
Stone Ochre
Brown Ochre
Vermilion
Rubiates, or Madder
Lakes
Madder Carmines
Red Ochre
Light Red
Venetian Red
Indian Red
Ultramarine
Blue Ochre
Orange Ochre
Jaune de Mars
Burnt Sienna Earth
Rurnt Roman Ochre
Light Red, eto.
Green
Purple
{
{
Brown
and
Semi-
neutral
Black..
Chrome Greens
Terre Verte
Cobalt Green
Gold Purple
Madder Purple
Purple Ochre
Russet Rubiate^ or
Madder Brown
Intense Russet
Vandyke Brown
Bistre
Raw Umber
Burnt Umber
Cassel Earth
Cologne Earth
Asphaltum
Mummy, etc.
Ultramarine Ashef
Sepia
Manganese Brown
Cappagh Brown
Ivory Black
Lamp Black
Frankfort Black
Mineral Black
Black Chalk
Indian Ink
Graphite
304
APPENDIX.
Kbmarks. — This Table comprehends all the best at <d
most permament pigments, and such as are eligible tor
water and oil painting. It demonstrates that the best
pigments are also the most numerous, and browns the
most abundant.
TABLE V.
Pigments subject to change variously by the action
of white lead and other pigments, and preparations of
of that metal :
'' Massicot
Yellow Orpiment
King's Yellow
Chinese Yellow
Oamboge
Yellow •{ Gallstone
Indian Yellow
Yellow Lake
Dutch )
English V Pink
Italian J
' Blue... ^ Indigo
Orange Lead
Orange Orpiment
Orango ^ ^ AnUmo^n"^^^"' ""^
Annoita, or Rouoou
Carucruy or Chioa
Red... •
Lakes
Green.. •{ Sap Green
Purple j
Citrine •{ Brown Pink
Purple Lake
Burnt Carmine
Iodine Scarlet
Red Lead
Dragon's Blood
Common
Cochineal
Florence
Scarlet
Hambro'
Lao
Carmine
Rose Pink
Remarks. — Acetate or sugar of lead, litharge, and oils
rendered drying by oxides of lead, are all, in some meas*
Dre, destructive of these colors. Light, bright, and ten-
der colors are principally susceptible of change by the
action of lead.
The colors of this Table are very various in their
modes of change, and thence do not harmonize well by
time ; it follows, too, that when any of these pigment's
are employed, they should be used pure or unmixed ; and
by preference, in varnish ; while their tints with whit*
lead ought to be altogether rejected.
APPENDIX.
305
TABLE VI.
Pisfmenfs, the colors of which are subject to change
by iron, its pigments, and other ferruginous substances :
^""^ I K'd-AS'
Tellow •
Rod
...(
Argei
Kings Yellow
Patent Yellow
Naples Yellow
Chinese Yellow
Iodine Scarlet
Carmine
Scarlet Lake
Blue... •<
Blue Verdi ter
Mountain Blue
Intense Blue
0-«e{T„«.'o"r"'
Green
Verdigris
Green Verdi ter
Russet ■{ Prussiate of Copper
Remarks. — Several other delicate pigments are slightly
affected by iron and its preparations ; and with all such,
as also with those of the preceding Table, and with all
pigments not well freed from acids or salts, the iron
palette knife is to be avoided or used with caution, and
one of ivory or horn substituted in its place. Nor can
the pigmeuts of this Table be, in general, safely combined
with tlie ochres. Strictly speaking, that degree of fric-
tion which abrades the palette knife in rubbing of pig-
ments therewith, is injurious to every bright color.
TABLE YII.
Figments more or less transparent, and generally fit
to be employed as graining and finishing colors, if not
disqualified according to Tables L, II., and III. :
Yellow ■
Sienna Earth
Gamboge
Indian Yellow
Gallstone
Italian 1
English V Pink
Dutch J
Yellow Lake
Eed ...
Madder Carmine
Madder Lakes
Lac Lake
Carmine
Common
Florence
Scarlet
Ilambro'
Dragon's Blood
Rose Pink
26*
■ Lakes
Blue
Orange
Green
Ultramarines
Cobalt Blue
Smalt
Royal Blue
Prussian Blue
Antwerp Blue
Intense Blue
Indigo
Madder Orange
Anotta
Burnt Sienna Earth
Jaune de Mars
Chrome Green
Sap Green
Prussian Green
Terre-Verte
Verdigriii
306
APPENDIX.
Purple
Citrine
Basset
TABLE VII.
Madder Purple
Burnt Carmine
Purple Lake
Lao Lake
{
t
Brown Pink
Citrine Lake
Madder Brown
PrusBiate of Copper
Continued.
Vandyke Bruwo
Cologne Earth
Burnt Umber
Bone Brown
Asphaltum
Brown •{ Mummy
Brown Pink
Antwerp Brown
Bistre
Sepia
Prussian Brown
Qray •{ Ultramarine Asboi
Black •(
Ivory Black
Bone Black
Lamp Black
Frankfort Black
Blue Black
Spanish Black
Kemarks. — This Table comprehends most of the best
water-colors ; and their most powerful effects in oil-paint>
ing are attainable by employing them with resinous var-
nishes. Pigments not inserted in this Table may of
course be considered of an opposite class, or opaque
colors ; with which, nevertheless, transparent effects in
painting are produced by the skill of the artist in break-
mg and mingling without mixing them, etc.
The great importance of transparent pigments is to
unite, and give tone and atmosphere generally, with
beauty and life, to solid or opaque colors of their own
hues ; to convert primary into secondary, and secondary
into tertiary colors with brilliancy ; to deepen and enricii
dark colors and shadows, and to give force and tone to
black itself.
TABLE YIII.
Pigments, the colors of which are little or not at all
affected by heat or fire :
Tin White C Naples Yellow
White
Barytic White
Zinc White
The Pure Earths.
Yellow
{
Patent Yellow
Antimony Yellow
APPENDIX.
307
TABLE YllL^Continued.
Red ..
' Red Ochre
Light Rod
Blao...
Orange
Venetian Red
Indian Red
Royal Bine
Smalt
Dumont's Bine and
all Cobalt Blues
Ultramarine
Orange Ochre
Jaune de Mars
Burnt Sienna Earth
Burnt Roman Ochre
Green
{
True Chrome Groea
Cobalt Green
^-'P" { ?uUlWr
Brown
Ochre
*" Rubens Brown
Burnt Umber
Oassel Earth
Cologne Earth
Antwerp Brown
Manganese Brown
Black
1
Gmphite
Mineral Black
BRMA.RKS. — Many of the pigments of this Table are
available in enamel painting, and most of them are dur-
able in the other modes.
TABLE IX.
Pigments which are little or not at all affected by
Zime, and in various degrees eligible for fresco, distem-
per, and crayon painting:
Barytic White
Pearl White
Gypsum, and all Pure
Earths
White
Tel 10 w •
Red...
Yellow Ochre
Oxford Ochre
Roman Ochre
Sienna Earth
Stone Ochre
Brown Ochre
Indian Yellow
Patent Yellow
Naples Yellow
Massicot.
Vermilion
Red Lead
Red Oohre
Light Red
Venetian Red
Indian Red
Madder Reds
Blue... <
Ultramarine
Smalt, and all Cobalt
Blues
Orange •
Green •
Orange Lead
Orange Chrome
Laque Mineral
Orange Ochre
Jaune de Mars
Burnt Sienna Earth
Light Red, etc.
Green Verditer
Mountain Green
Chrome Green
Mineral Green
Emerald Green
Verdigris and other
Copper Greens
Terre- Verte
Cobalt Green.
308
APPENDIX.
TABLE IX.
— CorUiuued.
r Gold Purple
Ivory Blaek
Purple ^
Miidder Purple
Lamp Blaok
[ Purple Ochre
Frankfort Bloek
Black
Mineral Black
Bone Brown
Black Chalk
Vandyke Brown
Indian Ink
Rnbens Brown
Graphite
Bistre
Raw Umber
Brown
Burnt Umber
and
Ca?sel Earth
Serai-
Cologne Earth
neutral
Antwerp Brown
Chestnut Brown
Asphnltum
Mummy
Ultramarine Ashes
Manganese Brown
Remarks. — This Table shows the multitude of pig-
ments from wliich the painters in fresco, scagliola, dis-
temper, and crayons, may select their colors ; in doing
which, however, it will be necessary they should consult
the previous Tables respecting other qualities of pig-
ments essential to their peculiar modes of painting, as
these modes are exciting renewed interest in the world
of art, tending to their extension in practice, particu-
larly the latter of them.
DRYERS,
Or Siccatives. With respect to Desiccation or Drying,
the well-known additions of the acetate ox sugar of leadj
litharge, and sulphate of zinc, called also improperly white
copperas and white vitriol, either mechanically ground
or in solution, for light colors; and ji'apaymer's gold size^
or oils boiled upon litharge for lakes ; or in some cases
verdigns and manganese for dark colors, may be resorted
to when the colors or vehicles are not sufficiently good
dryers alone : but it requires attention, that an excess
of dryer renders oils saponaceous, is inimical to drying,
and injurious to the permanent texture of the work.
Some colors, however, dry badly from not being suffi-
ciently edulcorated or washed, and many are improved
APPENDIX. 309
in drying by passing through the fire, or by%ge. Sul-
phate of ziuc, as a dryer, is less powerful than acetate of
lead, but is preferable in use with some colors, upon
which it acts less injuriously ; but it is supposed, erro-
neously, to set the colors running ; which is not posi-
tively the case, though it will not retain those disposed
to it, because it wants the property the acetate of lead
possesses, of gelatinizing the mixture of oil and varnish.
Tliese two dryers should not be employed together, as
frequently directed, since they counteract and decomposo
each other by double election, — forming two new sub-
stances, the acetate of zinc, which is an ill dryer, and
the sulphate of lead, which is insoluble and opaque.
It is not always that ill drying is attributable to the
pigments or oils, — the state of the weather and atmos-
phere have great influence thereon. The oxygenating
power of the direct rays of the sun renders them pecu-
liarly active in drying oils and colors, and was probably
resorted to before dryers were added to oils, and the at-
mosphere is imbued with the active matter of light to
which its drying power may be attributed. The grc und
may also advance or retard drying, because some pig-
ments, united either by mixing or glazing, are either
promoted or obstructed in drying by their conjunction ;
artificial heat also promotes drying.
The various affinities of pigments occasion each to
have its more or less appropriate dryer ; and it would be
a matter of useful experience if the habits of every pig-
ment in this respect were ascertained ; — siccatives of less
power generally than the above, such as the acetate of
copper, massicot, red lead, and the oxides of manganese,
to which umber and the Cappagh browns owe their dry-
ing quality, and others might come into use in particu-
lar cases. Many other accidental circumstances may
also affect drying. Dryers should be added to pigments
only at the time of using them, because they exercise
their drying property while chemically combining with
the oils employed, during which the latter become thick
or fatten, and render additional oil and dryer necessary
when again used. Acetate of lead dissolved in wa*«r,
spirit, or turpentine may be used as a dryer of oil paiptf
with convenience |ind advantage in some cases.
310 APPENDIX.
In the efnployment of dryers attention is necessary—
i. Not to add them uselessly to pigments that dry well
in oil alone. — 2. Not to employ them in excess, which
retards drying. — 3. Not to add them to the color till it
is to be used. — 4. Not to add several kinds of dryers to
the same color : and — 5. To use simple dryers in prefer-
ence to nostrums recommended and vended for drying of
paints. Impurity of the pigment sometimes retards
drying, in which case it should be washed.
Another attention should be, that one coat of paint
should be thoroughly dry before another is applied; for
if the upper surface of paint dry before the surface be-
neath it, it will rivel by the expaofsion and contraction
of the under surface, as the oil evaporates and dries:
overloading with paint will be attended by the same evil,
and if the upper surface be of varnish or brittle, craciin^
of the paint will ensue.
MODES AND OPERATIONS OE PAINTING.
GROUNDS
Are of first consideration to the artist in every mode of
painting, a well-prepared surface being an essential basis
jor the work, whether it be on wood, canvas, paper,
plaster, stucco, stone, or metal ; on all which it is neces-
sary to produce a clean and even face by the application
of pumice-stone, scraping, filing, etc., to remove rough-
nesses, and to stop and putty cracks and hollows, and to
prime and prepare according to the nature of the work
and the ground itself.
PAINTING IN OIL,
On wood, requires first the smoothing, cleaning and
dusting of the surface. What is technically called killing
of the knots consists in applying wet lime over them,
which when dry should be rubbed with a hot iron to melt
out resin or turpentine that might flow and disturb the
paint ; they may then be pumiced and made smooth.
lloles and cracks must be stopped with Putty, which is
made by kneading whitening or powdered chalk into a
tenacious mass with boiled linseed oil, which dries hanl
as stone. Puttying is best performed after the oil paint-
ing, or first coat of paint, which secures its adhesion.
APPENDIX. 31 1
PRIMING,
For works that are to stand damp and weather, consists
In a first thin painting with linseed oil and red-lead,
massicot, or litharge ; but for in-door and dry work deaf
colling is preferred, which consists in using size of glue
instead of oil in the priming, but it is liable to peel and
scale oflf in damp places. Work thus prepared, smoothed,
and primed, is ready for the painting and finishing ; but
in no case should wood in a wet state, or green and un-
seasoned wood, be painted in oil ; the consequence in
such cases being either the speedy decaying of the wood, or
the scaling and casting oflf of the paint. The usual pro-
cesss of oil-painting requires the ground white lead to be
diluted with linseed oil and hardly any spirit of turpen-
tine for the first coat : equal quantities of both for the
second coat, and for the third or finishing coat twice as
much turpentine as linseed oil ; and stul more of the
turpentine in proportion for dead flatting according to
the tints and colors. For work exposed to weather the
turpentine should be wholly omitted, and oil alone em-
ployed. When painting external work in imitation of
freestone it is a valuable practice to strew the second or
last full coat of oil paint while wet with fine washed and
sifted sand, which adhering and drying on with the paint,
forms a durable coat, exactly resembling stone and pro-
tecting the work from weather. Powdered talc, gold
and silver leaf bronzes, smalts and colors, are similarly
employed i.n ornamental work.
FLATTING
Consists in employing spirit of turpentine instead of
linseed oil in diluting of the color, so that no more oil is
used than is necessary to bind the paint and fix it on the
ground, and not suflBcient to make it bear out with the
gloss of ordinary oil painting; a third or fourth of the
oil being sufficient. This mode is, of course, only suited to
internal and delicate works in which the change of color
and glare of light are to be avoided, and it might in
gome cases appear to advantage mixed and comparted
with ordinary painting, diversified by dead color and
gloss ; or the latter may be produced by varnish.
S12 APPENDIX
'J'he priming, under the same conditions, is tlie same
for wood, plaster, stucco, and stone ; but for paper and
canvas, which are made rotten by oil, the priming mast
be of size, and for iron work, first freed from rust, it
must in all cases be of oil, avoiding the use of cop-
per greens as a first coat. For small works, primed
canvas may be obtained from the colormen. Dryers arc
requisite in priming as they dispose the upper painting
to dry quicker and unite better. Sponging with water
previous to the applying each coat of paint disposes it to
work and unite better, and in work exposed to the sun
prevents blistering.
STAIN-GRAINING.
In addition to the art of imitating the graining of
woods, marbles, etc., by oil-colors, there are methods of
bringing out with effect and beauty, as well as of pre-
serving the natural graining of woods, etc., and also of
imitating, heightening, and improving them artificially,
which though less practised, is not less ingenious or
worthy of attention from the grainer, it being as desira-
ble to heighten and preserve the natural beauty of wood-
works, as by artificial painting to imitate them or hide
their defects.
For bringing out the natural grain of wood-work
where it is of sufficient beauty, it is enough to apply
successive coats of drying oil, or to varnish the naked
work till it bears out, which is sufficient for ordinary
joiner's work; but in the nicer cabinet work, in which
the choice ornamental woods are employed, French
polishing is necessary, which is performed with a spirit
varnish containing Lac, applied by rubbers with linseed
oil, and is now so common as to have become a distinct
business.
In other cases graining may be performed on the
naked wood with transparent colors in turpentine or
water which, when dry, may be varnished or French
polished, or the same may be done on the ordinary
woods, previously stained of the colors of the more valu-
able sorts.
Or a beautiful variety of graining may be executed
APPENDIX. 313
with strong acids on plain wood, brought out by heat ,
in which way the nitrous acids or aqna-fortis applied
affords amber and yellow shades, and the sulphuric acid
or spirit of vitriol yields shades of a darker and dusky
hue, so as together to imitate the various hues of tor-
toise-shell, etc. ; after which the work is to be cleaned off,
and varnished or pohshed.
TRANSPARENCIES
Are us'jally painted on white linen cloth, or cotton,
stretched even and tight on a flat frame. It is then
either first varnished, prepared with bees-wax dissolved
in turpentine, or .sized according to the occasion; on
either of which any of the transparent pigments ground
in turpentine, or oil colors, may be applied with diluted
varnish in execution of the design. See Table VI T.
RULES OF PAINTING.
The following General Rules may be followed with
advantage in painting : 1. Let the ground of your work
be properly cleaned, prepared, and dry. 2. See that
your colors are equally well ground and duly mixed.
3. Do not mix much more, nor any less paint than is
necessary for the present work. 4. Keep the paint well
mixed while the work is going on. 5. Have your paint
.of due thickness, and lay it on equally and evenly. 6.
Do not apply a succeeding coat of paint before the pre-
vious one is sufficiently dry. 7. Do not employ a lighter
color over a darker. 8. Do not add dryers to colors long
before they are used. 9. Avoid using any excess of
dryer, or a mixture of different sorts. 10. Do not over-
charge your brush with paint, nor replenish it before it
is sufficiently exhausted. 11. Begin with the highest
part and proceed downwards with your work. 12. Do
your work to the best of your ability, honestly, for such
you will find the best policy.
FRESCO.
The art of painting in fresco is naturally adapted to
decorative painting, and the zealous attention of emi-
nent artists being at present turned to the revival of
27
ai4 APPENDIX.
this great and free mode of art, we will not witlihold oui
observations thereon.
It is hardly necessary to inform the reader, that/z-csco
painting is performed with pigments prepared in water,
and applied upon the sm'face of fresh laid plaster of
lime and sand, with which walls are covered ; and as it
is that mode of painting which is least removed in prac-
tice from modelling or sculpture, it might not impro-
perly be called plastic painting ; for which the best lime,
perfectly burnt and kept long slacked in a wet state is
most essential. And as lime in an active state is the
common cementing material of the ground and colors
employed in fresco, it is obvious that.such colors or pijr-
ments only can be used therein as remain unchanged by
lime. This need not, however, be a universal rule for
painting in fresco, since other cementing materials as
strong or stronger than lime, may be employed, whicli
have not the action of lime upon colors— such is calcined
gypsum, of which plaster of Paris is a species ; which,
being neutral sulphates of lime, exceedingly unchangea-
ble, have little or no chemical action upon colors, and
would admit even Prussian blue, vegetal lakes, and the
most tender colors to be employed thereon, so as greatly
to extend the sphere of coloring in fresco, adapted to its
various design; which basis merits also the attention of
the painter in crayons, scagliola, and distemper.
So far, too, as regards durability and strength of the
ground, the compo and cements now so generally em-
ployed in architectural modellings, stucco and plaster,
would afford a new and advantageous ground for paint-
ing in fresco; and as it resists damp and moisture, it is
well adapted, with colors properly chosen, to situations
in which paintings, executed in other modes of the art, or
even in ordinary fresco, would not long endure.
As these materials, and others now in use, were eitlier
unknown or unemployec^ by the ancient painters in
fresco, their practice was necessarily limited to the pig
ments enumerated in the preceding Table IX ; bul
every art demands such a variation in practice as adapts
it to circumstances and the age in wluch it is cxerciso<l.
APPENDIX. 315
without attention to which it may degenerate, or, at
best, remain stationary, but cannot advance.
Although differing exceedingly in their mechanical
execution, the modes of fresco, distemper, and scagliola
agree in their chemical relations, so far, therefore, as
respects colors and pigments the foregoing remarks
apply to these latter arts.
IN DISTEMPER PAINTING,
However, the carbonate of lime, or wliitening employed
as a basis, is less active than the pure lime of fresco.
Tho vehicles of both modes are the same, and their
practice is often combined in the same work ; water is
thoir common vehicle ; and to give adhesion to the tints
ar.d colors in distemper painting, and make them keep
their place, they are variously mixed with the size of
glue, (prepared commonly by dissolving about four
ounces of glue in a gallon of water.) 'i'oo much of tlie
glue disposes the painting to crack and peel from the
ground ; while, with too little, it is friable and deficient
of strength. In some cases the glue may be abated, or
altogether dispensed with, by employing plaster of Paris
sufficiently diluted and worked into the colors ; by which
they will acquire the consistency and appearance of oil
paints, without destroying their limpidness, or allowmg
the colors to separate, while they will acquire a good
surface, and keep their place in the dry with the
strength of fresco and without being liable to mildew —
to which animal glue is disposed, and to which milk,
and other vehicles recommended in this mode, are also
subject.
Of more difficult introduction in these modes of paint-
ing is bees'-roax, although it has been employed success-
fully in each of them, and in the encaustic of the an-
cients, who finished their work therein by heating the
surface of the painting till the wax melted.
SCAGLIOLA,
Which requires all the attention of the fresco painter
in respect to the materials employed, and the skill of the
grainer in imitating marbles, comes nearer to the Plas-
terer's than the Painter's Art, although the Decorator
316 APPENDIX.
is best qualified for its perforniance. Its basis is plaster
ot Paris mixed with the colors of fresco, laid on a solid
ground of plaster or cement, according to the design,
and, when dry and liard, it is polished.
CLEANING AND RESTORING.
Of the importance of this minor function of the aH
of painting, a just estimate may be formed, by considei*-
ing that there is hardly a limit to the time which works in
oil-painting may be preserved by care and attention.
These are subject to deterioration and disfigurement
simply by dirt — by the failure of their grounds, — by the
obscuration and discolorment of vehicles and varnishes,
— by the fading and changing of colors, — by the crack-
ing of the body and surface, — by damp, mildew, and
foul air, — and by mechanical violence. The first thing
necessary to be done is to restore the ground, if on can-
vas, by stretching or lining with new canvas. In cases
of simple dirt, washing with a sponge or soft leather
with soap and water, judiciously used, is suflBcient.
Varnishes are removed by friction or solution, or by
chemical and mechanical means united, when the varnish
is combined, as commonly happens, with oil and a
variety of foulness.
IN REiyiOVING VARNISH
By friction, if it be a soft varnish, such as that of
mastic, the simple rubbing of the finger-ends, with or
without water, may be found sufficient ; a portion of the
resin attaches itself to the fingers, and by continued
rubbing removes tlie varnish. If it be a hard varnish,
such as that of copal, which is to be removed, friction
with sea or river sand, the particles of which have a ro-
tundity that prevents their scratching, will accomplish
the purpose.
The solvents commonly employed for this purpose
are the several alkalies, alcohol, and essential oils, used
simply or combined. Of the alkalies, tbe volatile in its
mildest state, or carbonate of ammonfa, is the only one
which can be safely used in removing dirf, oi?, aad var-
nish, from a picture, which it does posYerfullyj it vuist
therefore be much diluted with wau'»r aocorvjik^o ^* ^e
APPENDIX. 317
power required, and employed with judgment and cau-
tion, stopping its action on the painting at the proper
time by the use of pure water and a sponge.
Many other methods of cleaning Jiave been recom-
mended and employed, and in particular instances, for
sufficient chemical reasons, with success ; some of which
we will recount, because, in art so uncertain, it is good
to be rich in resources.
A thick coat of wet fuller's earth may be employed
with safety, and, after remaining on the paint a suffi-
cient time to soften the extraneous surface, may be re-
moved by washing, and leave the picture pure — and an
architect of the author's acquaintance has succeeded in
a similar way in restoring both paintings and gilding to
their original beauty by coating them with vvet clay.
Ox- gall is even more efficacious than soap.
In filling cracks and replacing portions of the ground
putty formed of white-lead, whitening, varnish, and
drying oil, tinted somewhat lighter than the local colors
require, may be employed ; as plaster of Paris may also
in some cases ; and, in restoring colors accidentally re-
moved, it should be done with a vehicle of simple var-
nish, because of the change of tint -which takes place
after drying in oil.
REMOVING PAINT,
Burning, etc. In those cases in which it is requisite to
remove painting entirely from its ground, it is usual
to resort to mechanical scraping, etc., or to the very
dangerous operation of setting fire to the painted surface
immediately after washing it over with oil of turpentine,
called turps, for burning off the paint from old disfigured
work ; an operation that may be safely and more easily
accomplished by laying on a thick wash or plaster of
fresh slacked quicklime mixed with soda; which may be
washed off with water the following day, carrying with
it the paint, grease, and other foulness, so that when
clear and dry, the painting may be renewed as on fresh
work. Clear colling is sometimes resorted to over old
painting, for the purpose of lepainting, in which case
the surface exposed to the sun's rays or alterations of
temperature is liable to become blistered and scale off.
27*
CIIEVREUL'S PRINCIPLES OF HARMONl
AND
CONTRAST OF COLORS.
BY CHARLES MART EL*
In entering upon the study of the principles of Mar-
inony and Contrast of Colors as established by M. Chev-
reul, it will be necessary for the reader to forget much
that he may have learned from other sources.
The notions hitherto prevalent on this subject were
very vague and empirical, not to say fanciful. They
had no foundation in observation or experiment, conse-
quently no formula«or law could be deduced from them
wherewith to guide the inquirer. M. ChevreuVs work is
based on strict scientific investigation ; his observations
and experiments can be repeated by everyone, and their
validity tested and verified. He has established the ex-
istence of a law which governs the phenomena of con-
trast of Colors, and his book develops the process by
which he arrived at it, and the numerous applications to
the arts of which it is susceptible.
There is an arrangement and a sequence in which
these facts and principles must of necessity be placed.
But it may be convenient to anticipate some of them ;
to bring them nearer together, by which their mutual
connexion and reciprocal influence may be made moni
apparent. Among the principles which govern the
harmony and contrast of colors, few can be taken abso-
lutely or independently of others. By adopting one
* From The Principles of Harmony and Contrast of Colors and their ap-
plication to the Arts, By M. E. Chevreol. Translated from tho Frencii Vy
Charles Martel, London, 1860.
318
APPENDIX.
319
Primary Colors . . .
Secondary Colors. . .
Normal Colors . . .
Binary Colors ....
Broken Colors . . .
Complementary Colors.
principle hastily before we have ascertained what other
principles modify it, we fall into the errors attendant
npon hasty generalization and false conclusions.
DEFINITIONS.
Blue, Red, and Yellow.
Orange, Green, and Violet.
The Colors of the Spectrum.
Compounds of two Primaries.
Colors in which all three pri-
maries exist.
The primary or the secondary
requisite to make up the
complement of colored rays
that constitute white light.
The complementary of a pri-
mary, as red, is the secon-
dary composed of the other
two primaries (green).
Yellow, Orange, Red, Light
Green, and the light tones
of sombre colors.
. Blue, Violet, and the broken
tones of the luminous colors.
. The same as luminous colors.
The same as sombre colors.
Material Colors, or paints.
. Normal Gray consists of pure
black and white mixed in
various proportions, produc-
ing a variety of tones from
white to black.
Normal Gray, to which a pri-
mary or a secondary is added.
Colored Grays. Russet is red-
gray. Olive is blue gray.
Citrine is yellow-gray.
The series of gradations of a
pure color from its greatest
intensity, weakened by the
addition of white, or deep-
ened by the addition of black
Luminous Colors .
Sombre Colors . . .
Warm Colors . . .
Cold Colors
Pigments
Gray (normal) . . .
Colored Grays . .
Tertiary Colors . .
Tones.
S20 APPENDIX.
FT no The change produced in one pure
Color by the addition to it
of another pure color. The
original color must always be
in the ascendancy, otherwise
it becomes a hue of the
color added to it.
Scale The series of hues and tones of
any given color.
Tints The tones of a color prodiiced
by the addition of white
added to the normal color
Shades The tones of a color produced
by the addition of black to
the normal color.
Prismatic Spectrum . The image of a ray of light
when decomposed by a prism.
It consists of Blue, Red, and
Yellow, and the combina-
tions produced by their mix-
ture or blending with each
other, (secondaries) Orange,
Green, Violet and its hues,
purple, indigo, lavender, etc.
ANALYSIS OF LIGHT AND COLOR.
THE SOURCE OF COLOR.
As Light is the source of Color, it is necessary to
commence with an examination of its composition, as
the laws of contrast of colors are entirely dependent
upon it.
When a ray of sunshine, or white light, as it is termed,
passes through a glass prism, it is decomposed, or sepa-
rated, and if the image formed, called the prismatic
spectrum, is received upon a white screen, placed at u
suitable distance from the prism, it will be found to con-
sist of various colors, arranged in a certain order, like
tho^e of the rainbow.
These colors are six in number : three of which arc
simple ; and three which are compound, resulting from
the mixture of the simple colors in pairs.
APPENDIX. 321
Blue, Red, and Yellow are simple, or primary colors.
Green, Violet, and Orange are compound, or secon
dary colors.
The mixture of Blue with Red produces Violet.
The mixture of Blue with Yellow produces Green
The mixture of Red with Yellow produces Orange.
These compound colors vary in hue according to tho
proportions of the simple colors of which they are
formed : thus, by increasing the quantity of blue in the
mixture of blue and red, we produce purple, indigo, etc.
The same effect takes place with Greens.
The primary colors are simple and pure, they cannot,
like the secondaries, be produced by the mixture of other
colors.
It is evident that the color of the primaries cannot
vary as color (or in hue), but only in intensity, at least
so long as they are kept pure, but the hues of the secon-
daries may vary infinitely, according as one or the other
predominates.
THE TYPE, OR STANDARD, OF COLOR.
To avoid misapprehension when speaking of colors, it
is necessary to refer to some invariable type or standard
of color, so that when speaking of Blue, we may not be
in doubt as to whether the«color represented by Prussian
Blue, or by Cobalt Blue is meant. This type, or stan-
dard, is supplied by nature in the prismatic spectrum,
and — although in a weaker degree — in the rainbow.
Therefore, whenever we speak of pure colors, those re-
presenting the colors of the spectrum must be under-
stood. They are called also normal colors.
ON THE MIXTURE OP COLORS.
We must never lose sight of the fact, that the results
predicated of the mixture of colors, taken theoretically,
arc not obtained by mixing pigments, or paints, and
dyes.
Theoretically, the mixture, or combination of the
colors of the prismatic spectrum, by means of a lens or
concave mirror, produces a ray of white light; but when
we mix pigments representing those colors, taken as
pure as we can possibly obtain them, the mixture is not
322 APPENDIX.
white., but gray or black, according to their inteiisity,
etc. :
For every Blue pigment contains also either red or
yellow ;
Every Red pigment contains also either blue or
yellow ;
Every Yellow pigment contains also either blue
or red.
A.nd althougrh, as we have said, the union of the blue,
rod, and yellow of the spectrum produces white, the
union of blue, red, and yellow pigments produces gray
or black.
If we had pigments that were in color as pure as those
of the spectrum, their mixture would also^yield pure
colors.
Ultramarine is the only pigment that approaches a
prismatic color in its purity, but even that has a slight
tinge of red in its composition, causing it to appear
violet.
We can take gamboge as the representative of pure
Yellow, carmine as that of Red, and Prussian blue as
that of Blue.
In mixing pigments to obtain pure secondary colors,
we shall obtain a better result if we select such as are
free from the color not essential to the compound,
'i'hus, to obtain a pure green, which consists of blue and
yellow only, we must take a blue tinged with yellow
rather than with red, and a yellow tinged with blue
rather than with red ; if we took either of those pigments
tinged with red, a quantity of black would be formed by
its mixture with the two other primaries, and the green
would be tarnished or broken. So long as pure blue
and yellow are mixed together, in varying proportionj;,
but without the addition of the other primary color
(red), the resulting compound color, green, remains a
pure color. Such is the theory, and the practical result
is the same if the pigments we select to form the mix-
ture are both free from the third primary.
When the three primaries (pigments) are mixed to-
gether in equal strength and proportions, the resulting
compound is black. But if they are mixed in unequal
APPENDIX. 323
strerglh and proportions, the mixture is gray, colored
by the primary or the secondary in excess in the Com-
pound.
Normal Gray is formed by mixing a black with a
white pigment in varying proportions, producing various
tones of Gray.
By adding a primary" or a secondary to normal Gray,
we produce a colored Gray.
There are as many classes of Gray as there are pri-
mary and secondary colors, and as many hues of Gray
as there are hues of these pure colors. What are com-
monly called Tertiaries, are, in fact, colored Grays :
thus, Russet is red-gray. Citrine is yellow-gray, Olive is
blue-gray.^
If the primaries are mixed in unequal proportions, or
are of different intensities, the mixture is a gray :
If the blue is in excess, the mixture is a blue-gray.
If the red is in excess, the mixture is a red-gray.
If the yellow is in excess, the mixture is a yellow-
gi-ay.
If the blue and the red arc in excess, the mixture is
a violet-gray.
If the blue and the yellow are in excess, the mix-
ture is a green-gray.
If the yellow and the red are in excess, the mixture
is an orange-gray.
When two secondaries are mixed together the gray
that results is colored by the primary which enters into
ihe composition of both secondaries, thus :
In mixing Green with Violet, the Gray is colored by
Blue, that being the primary in excess.
Green consists of Blue 1 f,» ^ «^v«r^^„«/i «^r^+«;,.o
, ^y- « I 1 he compound contams
and lellow. . twice as much Blue as
and' Red J ^^^ ^' ^^"^^-
In mixing Green with Orange, the Gray is colored by
Yellow, that being the primary in excess.
Green consists of Blue ] ,p^^ componnd contains
and Yellow. ! ^^j^^ ^^ ^^^.j^ y,,„^„
Orange consists of Red f „s glue or Red.
and Yellow. I
324 APPENDIX.
In mixing Violet with Orange, the Gray is cole red by
Red, that being the primary in excess.
Orange consists of Red
and Yellow.
The compound contains
twice as much Red as
Blue or Yellow.
Violet consists of Red
and Blue.
It is understood that the colots employed are of equal
strength and proportions.
COLORS OF OBJECTS.
The colors of objects are supposed to be due to a
power they possess of absorbing certain portions of the
colored rays that make up a ray of white light, and of
reflecting others. The reflected portion being comple-
mentary to the portion absorbed ; and if added together
they would constitute white light.
'I bus a red-colored substance is considered to absorb
blue and yellow, and reflect red.
A green-colored body absorbs red, and reflects blue
and yellow,
A white substance, then, in conformity with this view,
reflects all the rays that constitute white light, while a
black substance absorbs them.
Bodies reflect a considerable portion of white light as
well as colored light, according as the surfaces are
smooth, glossy, polished, rough, channelled, etc.
The optical efi^ect of a color is greatly modified by the
condition of the surface of the colored body ; thus, pieces
of silk, cotton, linen, woollen, and velvet, although dyed
of exactly the same hue and tone of color, appear to be
of quite different colors.
The depth or intensity of color presented by velvets,
and certain flowers, such as heartsease, etc., is due to
tbe surface being channelled, ridged, or furrowed.
COMPLEMENTARY COLORS.
As white light is composed of three colors. Blue, Red,
and Yellow, the color that is missing from the compound
is termed the Complementary Color; thus —
Blue is the c«^mplementary of Orange (Red and
Yellow).
APPENDIX. 325
Red is the complementary of Green (Blue and Yel-
low).
Yellow is the complementary of Violet (Blue nnd
Red).
By this it will be seen that the complementary of a
primary color is the secondary composed of the other
two primaries, and vice versa ; thus :
Orange (red and yellow J is complementary to Blue.
Green (blue and yellow) is complementary to Red.
Violet (red and blue) is complementary to Yellow.
If the Blue is tinged with red, its complementary,
Orange, will be yellower.
If the Blue is tinged with yellow, its complementary,
Orange, will be redder.
If the Red is tinged with blue, its complementary,
Green, will be yellower.
If the Red is tinged with yellow, its complementary.
Green, will be bluer.
If the Yellow is tinged with red, its complementary,
Violet will be bluer.
If the Yellow is tinged with blue, its complementary,
Violet will be redder.
CIRCUMSTANCES WHICH MODIFY A COLOR.
A given color. Red, for instance, may experience
many modifications, so as to appear very different from
what it really is, according to the circumstances under
which it is viewed.
It may be modified in its color:
1°. By being placed in contact with Blue, the red
appears yellower.
2°. By being placed in contact with Yellow, it appears
bluer.
3^. By being placed in contact with Green, it appears
purer and brighter.
AP. By being placed in contact with Black, it appears
duller.
5'\ By being placed in contact with White, it appears
lighter and brighter.
G°. By being placed in contact with Gray, it appears
brighter.
28
826 APPENDIX.
Thus tlie same Red may appear many different reds
according to the circumstances under which it is viewed
It may also be modified in its intensity, or tone.
Thus, if a dark color be placed beside a different, but
lighter color, the dark color appears deeper, and the
light color appears lighter. This is the result of con-
trast of tone.
A color is also greatly modified by gloss, as is showc
by the plumage of birds, the wings of butterflies, and by
certain flowers
The colors of objects are also greatly modified by the
form of the object, which may produce varieties of light
and shade, and thus exhibit many tones of the same
color.
Both the tone and the hue of a colored object are
modified by the quality of the light by which it is illu-
mined, whether it be direct sunlight, diffused daylight,
or diffused reflected light.
MODIFICATIONS PRODUCED IN A COLOR BY
BEING PLACED IN CONTACT WITH
ANOTHER COLOR.
If we look at two stripes of the same color, but of dif-
ferent tones, or at two stripes of different colors taken
at the same tone, and placed side by side, if the stripes
be not too wide, the eye perceives certain modifications,
affecting both the quality and the intensity of the colors,
and they will appear very differently from what they do
when viewed separately.
First, the tone of each stripe will appear changed, the
light tone will appear lighter, and the deep tone deeper,
commencing at the line of contact, where it will be great-
est, and gradually diminishing as it recedes from it:
this is contrast of tone.
Secondly, the color of the different stripes will appear
changed, each appearing as differently as possible from
the other : this is contrast of color.
'i'he contiguous colors are modified in hue, as if the
complementary of the neighboring color was added to
each.
These modifications, taken together, constitute simul
APPENDIX 327
taneous contrant of color: which maybe expressed in
the following terms :
Whenever the eye sees at the same time two con-
tiguous colors, they will appear as dissimilar aa
possible, both in their hue and in their tone.
Thus, if the stripes be blue and yellow, the comple-
mentary of blue, which is orange, is added to the yellow,
making it appear redder, and more brilliant ; while violet
the complementary of yellow, is added to the blue, mak-
ing the latter appear indigo; the color added to each
being red, the primary absent from the view of the con-
tiguous stripes. If the stripes be secondary colors, as
Orange and Green, the complementary of Orange, blue,
is added to the green, making^ it appear bluer, and red,
the complementary of Green, is added to the Orange,
making it appear redder; or, what is the same thing,
Yellow, the ab.^ent complementary color, is subtracted
from each contiguous color ; thus —
The complementary of Orange is Blue.
The complementary of Green is Red.
The absent complementary is Yellow.
This Yellow subtracted from Orange makes it appear
red, and Yellow subtracted from Green makes it appear
blue, for
Orange is composed of red and yellow, and
(xreen is composed of blue and yellow.
When we look for a few moments at a given color, the
eye spontaneously calls up the complementary to that
color, which, being added to the color first looked at,
makes it appear duller, or tarnished. The effect is the
same as if a quantity of gray was added to the color
looked at, because the complementary color added to
the original color produces black.
This calling up of the secondary color by the eye con-
stitutes the phenomenon of successive contrast.
And the addition of this color so called up to the
original color constitutes mixed contrast.
It will be seen that the result of viewing a single color
is different from that produced by viewing two diflferent
colors, because the influence of the juxtaposed color is
absent ; there is no complementary color to add to the
color looked at.
328 APPENDIX.
The height of tone exercises much influence upon the
modification ; for if, after looking at orange, we look at
deep blue, this latter will appear green rather thai)
violet, a result the reverse of that presented by light
blue.
Whenever there is a great difference between two con-
tiguous colors, the difference is rendered more apparent
by bringing the same color successively in contact with
different colors belonging to the same group.
Example. — If we place Orange beside scarlet-red, nor-
mal-red, or crimson-red, the red becomes bluer, or
purple, and the orange becomes yellower by losing
its red.
If we place normal-red m contact with orange-
red, the first will appear purple, and the second
yellower ; but if we put the normal-red in contact
with purple-red, the latter will appear bluer, and
the other yellower.
Thus, simple or primary colors, when in con-
tact, pass insensibly into secondary or compoimd
colors; for the same Ked becomes purple or
orange, according as it is placed in contact with
orange-red or with purple-red ; the same Yellow
appears orange or green, according as it is placed
in contact with orange-yellow or with greenish-
yellow; so also Blue appears green or violet,
according as it is placed in contact with greenish-
blue or with violet-blue.
When we examine any two patterns of the same color,
such as blue or red, if they are not identical when com-
pared together, we must consider that the difference is ex-
aggerated by contrast. Thus, if one is greenish-blue, it
will make the other appear less green or more indigo, or
even more violet than it really is ; and by a reciprocal
influence, the other will appear greener than when
viewed alone. It is the same with the reds ; if one is
more orange than the other, the latter will appear more
purple, and the former more orange, than it really is.
As soon as we know the complementary of one color
in contact with another, it is easy to determine what
APPENDIX. 320
kind of luodificatiou the second will receive from the
first, as this modification is the result of the mixture of
the complementary with the conti^^uous color.
The process is easy when the contipfuous colors are
both primaries, and it is not more difficult when they
are both secondaries ; for we have only to consider that
the complementary called up being much less intense
tlian the color to which it is added, we obtain the result
by subtracting from the latter secondary a portion of
that primary which, with the complementary, forms
white light; thus —
Orange, added as a complementary to Green, neu-
tralizes a portion of the green, and consequently
makes it appear yellower ; and the Green, added to a
portion of Red in the Orange, neutralizes it. and makes
the orange appear yellower.
RESULT OF PLACING OOLORS IN CON-
TIGUITY.
FIRST GROUP. — TWO COMPOUND COLORS, HAVING THE
SAME SIMPLE COLOR IN EACH.
By their reciprocal influence they lose more or less of
the color common to both, and will, therefore, differ
from eacli other in proportion to this loss. Example :
Orange with Green.
These two colors have yellow as an element in their
composition, and they lose it by being placed in con-
tiguity : the Orange appears reddicr, the Green bluer.
A similar effect takes place with associations of — 1,
Orange and Indigo, Orange and Violet ; 2, Green and
Violet, the first of which lose Red by contiguity, and
tho second lose Blue.
SECONP GROUP. — A COMPOUND COLOR WITH A SIMPLE
COLOR WHICH FORMS A PART OF THE COMPOUND.
1. Orange with Red.
The Orange loses its red, and appears yellower ; and
the Red becomes more blue, differing as miich as possi.
b'e from Orange.
28*
83} APPENDIX.
2. Orange with Yellow.
ITie Orange loses its yellow, and appears redder ; the
Yellow appears bluer, diftering as much as possible fi-ora
Orange.
THIRD GROUP. — TWO SIMPLE COLORS.
1. Red with Yellow,
Red, in losing yellow, appears bluer, and the Yelbw,
)y losing red, appears bluer ; or, in other words, tlie
lied inclines to purple, and the Yellow to green.
2. Yellow with Blue.
Yellow, in losing blue, will appear redder, and Blue,
in losing yellow, will appear more violet ; or, in other
words, the Yellow inclines to red, and the Blue to violet.
3. Red with Blue.
Red, in losing blue, will appear yellower, and Blue, in
losing red, will appear yellowed ; or, in other words, the
Red inclines to orange, and the Blue to green.
In these examples the colors are modified in the same
way they would be by the addition of the absent pri-
mary, Yellow.
FOURTH GROUP. — TWO COMPOUNDS COMPOSED OF THE SAME
SIMPLE COLORS.
Indigo and Violet.
As Indigo only differs from Violet in containing a
larger proportion of blue in comparison with the red, it
follows that the difference will be materially increased
by the Indigo losing its red and inclining to greenish-
blue, whilst the Violet, acquiring more red, will become
redder.
FIFTH GROUP. — A COMPOUND COLOR, AND A SIMPLE COLOR
WHICH IS NOT FOUND IN THE COMPOUND.
1. Orange and Blue.
2. Green and Red.
3. Violet and Greenish-yellow.
In opposing complementary colors, each enhaneev
the value of the other, in conformity with the ph«
nomena of successive and mixed contrasts.
APPENDIX. 331
INPLURNCR OP aiX)SS AND OF FORM UPON THE EFFECT OP
CONTRAST OP TWO COLORS.
•
The form of an object, and its gloss or polish, have a
considerable influence upon the effect of associated or
contiguous colors. Form exerts its influence by the ef-
fects of light and shade it produces, which may conceal
the ill effect of two associated colors, which are not
glossy. Thus, flowers often exhibit associations which
on plane surfaces would appear very disagreeable, if not
glossy ; as, for instance, in the sweet pea, in which red
and violet are associated.
Blue and violet, which have not an agreeable effect on
flat and unpolished surfaces, have a very good effect in
the plumage of certain birds, and in the wings of butter-
flies. For the injurious effect of the compleraentaries
of these two colors upon each other is lost throiigh the
influence of the metallic lustre of the feathers and scales.
BINARY ASSOCIATIONS OF COLORS.
1. ASSOCIATION OP COMPLEMENTARV COLORS.
This is tlie only association in which the colors mutu
ally improve, strengthen, and purify each other, without
going out of their respective scales.
This condition is so advantageous to the associated
'colors that the association is also satisfactory when the
colors are not exactly complementary.
It is the same when they are tarnished with Gray.
Therefore this association is the best that can be
adopted to produce harmony of contrast in painting, in
tapestry, stained glass windows, between paper hang-
ings and their borders, in furniture and clothing, and in
flower-gardens.
2. ASSOCIATION OP NON-COMPLEMENTARY COLORS.
The result of this association differs from the preced-
mg in this respect — the complementary of one of the
colors differing from the other color to which it is added,
causes a modification of hue in the two colors, besides a
modification of tone, if they are not taken at the same
intensity.
332 APPENDIX.
Non-complementary colors evidently produce thre«
different effects when placed in contact.
1°. They mutually improve each other.
2^. One is improved while the other is injured.
3^. They mutually injure each other.
The greater the difference between the colors the
more their association will be favorable to their mutual
contrast ; and the nearer they are alike, the greater the
risk their association will prove injurious to their beauty.
a. Two Non- Complement aries improve each other hy
Association,
Ex, Yellow and Blue are so dissimilar, that their con-
trast is sufficiently great to produce a favorable associa-
tion, although the associated colors belong to different
scales of yellow and blue.
6. One Color, placed in Contact loith another Color
which is not complementary to it, is improved,
but the other is injured.
Ex. A Blue, which is improved by yellow, being
placed beside bluish Violet, may lose beauty by becom-
ing greenish, while the orange it adds to the violet, neu-
tralizing its excess of blue, improves rather than injures
it.
c. Ttvo Non- Complementary Colors mutually
injure each other.
Ex. A Violet and a Blue mutually injure each other,
because the first makes the second look green, and the
second neutralizes the blue of the violet and makes it
look faded.
It may happen that the colors are modified, but
neither gain nor lose in beauty ; or that one gains with-
out the other losing, and that one neither gains nor
»oses, while the other loses.
IN TIIR ASSOCIATION OF TWO COLORS OP EQUAL TONE,
THR HEIGHT OP THE TONE MAY INFLUENCE THE
BEAUTY OF THE ASSOCIATION.
Ex. A deep indigo-blue, and an equally deep red, gain
by contact : the blue by losing violet, will become pure
APPENDIX. 333
blue ; the red, acquiring orange, will become brighter.
But if we take light tones of the same scales, the blue
may become too green to be good as a blue, and the red,
by acquiring orange, may become too yellow to be a
good red.
In the association of two colors belonging to the same
scale, or to scales nearly allied, but of tones very widely
apart, the contrast of tone may have a favorable influ-
ence upon the beauty of the light tone :
Because, if the latter is not a pure color, its associa-
tion with the deep tone brightening it, will purify what
gray it has.
INFLUENCE OF THE CONTIGUITY OF
WHITE ON COLORS.
White substances contiguous to colored substances
appear sensibly modified when viewed together, although
the modification may not be very apparent unless we
are familiar with Ihe law of contrast; but knowing this
law, the modification may be recognized if the colors
opposed to the white be not too deep. Thus : if red and
white are placed in contact, the white becomes tinged
with the complementary of red, which is green, and
makes the red appear deeper and brighter.
Black and white, which may be considered as com-
plementary to each other, conformably to the law of
contrast of tone, differ more when viewed in contact than
when alone, because the effect of the white light reflected
by the black is more or less neutralized by the light of
the white stripe ; and it is by an analogous action that
white heightens the tone of the colors with which it is
placed in contact.
All the primary colors gain by association with white,
but the resulting binary assortments are not all equally
agreeable ; the height of tone of the color has a great in-
fluence upon the effect of its assortment with white ;
thus —
Light blue and light red assort better with white than
dark blue and dark red, because the latter present too
great a contrast of tone.
Wliite placed beside a color strengthens its tone ; i1
334 APPENDIX.
acts as if we took away from the color the white light
that enfeebled its intensity.
INFLUENCE OF THE CONTIGUITY OF
BLACK ON COLORS.
A black surface being deeper than the color with
which it is in contact, contrast of tone must tend to
deepen it still more, while it must tend to lower the tone
of the contiguous color, for exactly the same reason that
white, if in contact with it, would hei«:hten it.
Black surfaces appear tinted with the complementary
of the colored light of the contiguous body; but the tint
will be very faint, because it is manifested upon a ground
possessing but a feeble power of reflecting light.
The lowering of the tone of a color in contact with
Black is alw^ays perceptible; but it is very remarkable
that the Black itself is weakened when the contiguous
color is sombre, yielding a luminous complementary.
Black may be advantageously combined not only with
sombre colors to produce harmonies of analogy, but also
with light and brilliant colors to produce harmonies of
contrast, as may be seen in the works of Chinese artists.
No assortment of the primary colors with Black is
disagreeable, but a generic difference of harmony exists
between these assortments, which is not presented in the
same degree in the binary assortment of the same colors
with white. For the splendor of the white is so domi-
nant in the latter, that whatever be the difference in
light or brilliancy observable between the different
colors associated, there will always be harmony of con-
trast.
The deep tones of all the scales, and even of the Blue
and Violet scales (which, strictly speaking, are not
deep), form with Black harmonies of analogy and not
of contrast. So also do the unbroken tones of the Red,
Orange, Yellow, Green, and the very light tones of the
Violet and Blue scales.
The association of Black with sombre colors, as Blue
and Violet, the complemenlaries of which. Orange and
Greenish Yellow, are luminous, may diminish the contrast
of tone, if the colors arc in contiguity with Black, or not
APPENDIX. 335
rery distant ; in this case the Black loses much of its
vigor.
Blacic placed beside a color lowers its tone ; it acts as
if we added Black to the complementary of the contigu-
ous color. In some cases it impoverishes it, as in the
case of certain yellows.
The modifications Black patterns undergo upon dif-
ferent colored grounds, are as follows :
Upon a Red ground, they appear Dark Green.
Upon an Orange ground, they appear E^uish-Black.
Upon a Yellow ground, they appear Black, of a fee-
ble Yiolet tint, on account of the great contrast
of tone.
Upon a Green ground, they appear Reddish-Gray.
Upon a Blue ground, they appear Orange-Gray.
Upon a Violet ground, they appear Greenish Yellow
Gray.
INFLUENCE OP THE CONTIGUITY OF GRAY
ON COLORS.
Gray bodies properly selected as to height of tone,
when contiguous to colored bodies, exhibit the phe.
nomena of contrast of color more strikingly than either
black or white substances do.
If, instead of normal gray, we placed' a colored body in
contact with a Gray of a complementary tint, these
tints will be remarkably heightened by the compleraen-
taries added to them by the colored bodies. Thus, if an
orange color be placed on a bluish-gray, this latter will
be singularly heightened with blue, the complementary
of orange.
All the primary colors gain in purity and brilliancy
by the proximity of gray ; but the effects are far from
being similar, or even analogous to those which result
from the proximity of the same colors with white.
White allows each color to preserve its integrity, and
even heightens them by contrast, and can never be
taken for a color itself. But Gray can; for with the
darkest colors, as Blue and Violet, and with tlie deep
tones in general, it produces associations which enter
into analogous harmonies, while with the brilliant colors.
1S8Q APPENDIX.
as Red, Orange, Yellow, and the light tones of Greeu^
tb.ey form harmonies of contrast. Although White con*
trasts more with the sombre colors than with the lumi-
nous, there is not the same difference between White
and these two classes of colors as there is between theiu
and Gray.
The ground as well as the interval or distance wc
make between the colored bodies, has some influence on
the effect.
HARMONY OF COLORS.
There are six distinct Harmonies of Colors, which may
be comprised under two groups :
FIRST GROUP. — HARMONIES OF ANALOGOUS COLORS.
1^. Harmony of scale, proceeding from the simulta-
neous view of different tones of a single scale, more or
less approximating.
2°. Harmony of hues, proceeding from the simulta-
neous view of tones of nearly the same height, or nearly
80, belonging to scales more or less approximating.
3°. Harmony of a dominant colored light, proceeding
from the simultaneous view of different colors assorted
conformably to the law of contrast, but one of them pre-
dominating, as if they were seen through a glass stained
with a faint tone of that color.
SECOND GROUP. — HARMONIES OF CONTRAST.
1^. Harmony of contrast of scale, arising from two
distinct tones of the same scale.
2^. Harmony of contrast of hues, arising from tones
of different heights, each belonging to contiguous scales.
3^. Harmony of contrast of colors, arising from the
fiimultaneous view of colors belonging to widely different
scales, assorted according to the law of contrast ; the
difference in height of juxtaposed tones may also aug-
ment the contrast of color.
1. In the harmony of contrast, the complementary
assortment is superior to every other ; the tones must,
however, be nearly of equal intensity.
2. The primaries grouped in pairs assort better as a
harmony of contrast than an arrangement formed of one
APPENDIX. 337
of these primaries and a binary of which that prhnary
is an element, thus —
Bhic and Yellow harmonize better than Red and
Orange, because the binary Orange contains Red
as one of its elements.
Red and Blue harmonize better than Red and Violet,
because the binary Violet contains Red as one of
its elements.
Yellow and Red harmonize better than Yellow and
Orange, because the binary Orange contains V el-
low as one of its elements.
3. The assortment of red, yellow, and blue with a
binary containing the primary, contrasts better when
the primary is more luminous than the binary.
Therefore, in this assortment, it is bettor for the pri-
mary to be of a lower tone than the binary, thus —
Red and Violet harmonize better than Blue and
Violet.
Yellow and Orange harmonize better than Red and
Orange.
Yellow and (jreen harmonize better than Blue and
Green.
4. When two colors do not look well together, sepa-
rate them with white. It is better for the white to be
placed between each color th^jn between every two
colors.
5. Black never produces a bad effect when placed be-
tween two luminous colors, and is, therefore, often pre-
ferable to white for separating colors from each other,
thus —
Red and Oranire do not go well together, but if sep-
arated by black an agreeable and harmoniou?
effect is produced.
6. Black harmonizes with sombre colors. Blue and
Violet, and with broken tones of luminous colors pro-
duces harmony of analogy sometimes with a good effect.
7. Black does not associate so well with a luminous
and a sombre color, as it does with two luminous colors.
In all the following assortments Black is inferior to
White.
Red and Blue, Orange and Blue.
20
838 APPENDIX.
Red and Violet, Orange and Violet.
Yellow and Blue, Green and Violet.
Green and Blue.
8. Although Gray does not produce a bad eflect with
two luminous colors, yet it is generally inferior to Black
and to White
9. Gray with sombre colors and broken tones of lumi-
nous colors produces harmonies of analogy, not so vigor-
ous as those with black.
It separates colors which do not assort well together.
ON THE SELECTION OF THE KIND OF HAR-
MONY FOR A GIVEN OBJECT.
In proceeding to the selection of an assortm'^nt of
colored objects, we have to take into consideration suita-
bility or appropriateness to the object in view.
Where the greatest brilliancy and splendor are desired,
we resort to the contrast produced by complementary
colors. In the selection of flowers to form a bouquet,
or the furnishing of a palace, the principle is the same;
we arrange the colors so that the greatest contrast both
In tone and in the quality of the colors employed is pro-
duced.
Any one familiar with the law of Contrast will attain
this aim witli better success, even with inferior colors,
than another ignorant of the law could obtain with the
most brilliant colors.
But where the artist is free to choose, he will Consider
the aspect of the apartment, and whether it is to be used
by daylight or artificial light A room with a cold
northern aspect, used in the daytime, sJiould be furnished
with objects of light warm tones; while in a room with
a southern aspect, light hues of sombre colors may bo
advantageously employed.
He must never lose sight of the effect of contrast of
tone. Thus, in a room papered with the deep crimson
paper so commonly employed, the tone is so deep, tliat
it forms a strong contrasting background to all light-
colored objects placed in it; but dark-colored objects
are lost for want of relief. In such a paper, contrast of
color goes almost for nothing, as a blue or a green
APPENDIX. ^39
paper, of the same depth of tone, would produce near the
same effect.
In rooms that are feebly lighted, and chiefly by dif-
fused dayliglit, light tones of soiabie colors, or luminous
colors, are preferable for covering the walls ; but then
other colored portions of the fittings should be colored
in analogous harmony, and violent contrast avoided.
In undertaking to apply the principles laid down by
M. Chevreul, most persons overlook the importance of
tone, or intensity, but which is of equal importance with
color. A deep tone of a bright peagreen, of an orange,
or of a red, may produce a very crude, vulgar effect,
when light tones of the same colors would do the con
trary.
Very pleasing effects may be produced by adopting
the Harmony of Analogous Colors.
Suppose a room to be furnished in blue, or red, or
green, we may proceed with all the tones of one hue of
green, for instance, or mingle the tones, of nearly equal
intensity, of the various blue and yellow greens that lie
on each side of pure green. 'J'he distribution of these
in the room will require careful consideration, but pro-
bably tlie most satisfactory effect will be attained by
taking the lightest tones and brightest hues for the
walls, and the deepest for the carpet. The color of the
wood for the chairs, etc., will contrast sufficiently to se-
cure distinct relief. 1'he curtains and the furniture may
be of intermediate quality of color, and the effect will be
greatly enchanced by the introduction of white.
The artist must not omit to take into consideration
the infl'ience of form, size, and suitability, when pro-
ceeding to carry out the principles of Contrast.
INDEX.
■*•*■
PAGE
Av Jdwts 177
AN.be^ Viirnish 59
ADvUhvst Colored Foil 127
Auoi^n- Green 206
AntJiDony, Yellow of. 33
Apparatus 7
Arrangement of Colors in Strip-
ing 232
Arriingement of Letters 213
Azure 36
Azure Blues 141
Balloons, Varnish for 175
Bird'«-Eye Maple in Distemt>ec.. 197
Black Bardella 208
Black, Jb'ish Oil 136
Black and Gold Mai-ble 203
Black Rosewood, to imitate 169
Blacks 22
Black Varnish for Coaches and
Iron-work 170
Black Varnish for old Straw or
Chip Hats 63
Bioe Foil 127
Blues 33
Blues in glass Staining 140
Bluish Gray for Rllxtnres 161
Bluish Green 142
Blue Verditer 37
Boiled Oil 217
Bougival White 21
Brass. Lacquer for 117
Bniss, to Gild 113
Brass Work, to clean, for Lac-
quenng 119
Brick colour 42
Brick Red 147
Brittleness of Boiled Oil when
Dry 217, 219
Bronzing 120
Bronzing on Wood 121
Bronzing Iron 121
Brown Gun BQ.rrels 173
Brown lied, Fish Oil 135
Rtowns 41
Brown Yellow )chre 14*:
Brunswick Green 39
Brush, Camel Hair, use of 226
Brushes 13, 191
Brushes for striping 334
Brushes and Pencils, cleanliness
of...? 89
Buff 4S
Burns and Scalds 184
Caniers Hair Brush, use of. 226
Camel's Hair Pencil, use of in
striping 234
Camphorated Copal Varnish 57
Caoutchouc or Gum-Elastic Var-
nish 60
Carmine 26
Carmines and Greens, Fluxes for. 139
Carnation 43
Carriage Boily, Ironiug 222
Carved Wood Gilding 107
Carver's Polish 72
Ceruse 19
Changing Varnishes 64
Charcoal Blacks 22
Chestnut colour 43
Chimneys, to cover with Lead
Ore 171
Chlorine 54
Chocolate colour 44
Chocolate colour, Fish ^il 136
Chromate of Lead 31
Chrome Yellow 31
Cleanliness in Working 8S
Clean Marble, Sienna, Jasper,
and Porphyry 171
Clean Pictures 173
Clean Silver Furniture 170
Clock Faces, Varnish for 174
Cloth, to Paint 161
Clove Brown 149
Coaches, Varnish for 170
Coach Painting and Varnishing.. 217
Coating, White 70
Coats of Rough Stuff 22--'
(341)
;]42
INDEX.
PAUE
OiK-hhieal I.ak« 28
Colic, Paintei-'s 177
Colour. Grinding 225
ColourH.arraiigement in Striping. 232
'Xtlour-lieighteningCompoaitioQS 74
Colouring Yellow 79
Colours 19
ColourB, iipplication of, in Glass
Staining 163
Colours, l-ishOil 130
Colours for Oak 191
Colonre, Grinding and Washing... 83
Coluuri*, llannony of. 168
Colours in Iron, in Glass Stain-
ing 148
Colours of Gold in Glass Stain-
ing 147
Combs :... 190
Complete Instructions for Coach
Painting and Yarnisbing 217
Compound colours 42
Copal Varnisl) 56
C^pal Varni:^h in imitation of
Tortoisc-Mlioll 57
Copper and Brass, to Tin 161
Copper Foil 125
Copper, to Gild 113
Cork Combs 191
Court Plaster 166
Cracking of Varnish 225
Crawling of Varnish 228
Cream, ^Painter's 81
Djuk-coloured "Woods, Polish for. 71
Dark Lead colour 44
" Dead Coat" 218
Deep Black 152
Deep Blood Red 147
Deep Nankin Yellow 146
Deep Violet 148
Deep Yellow 145
Deip Yellow Ochre 146
Doibysbiro Spar 208
Diet of Painters 187
Directions for Graining and Imi-
tating Wood and Marbles 190
Diseases 177
Distemper, BirdVEye Maple in.. 197
Distemper, Mahogany in 201
Distemper, Painting in 94
Distemper, to grain Pollard and
Iioot of Oak in 196
Dove Marble 208
Dragon, Pistache, and Olive
Green 143
Drawings, Gilding 115
l-AOl
Drawings, Varnish for 65
Dryer, A 219
Dryer for Raw Oil 219
Drying Oils 49
Drying Quality of Boiled Oil 218
Dust to be £.\cluded from the
Paint Shop 217
Dutch or German Odd 7f
Eagle Marine coloured Foil 129
Edges of Paper, Gilding 11?
Egyptian Green Marble 2i^2
Emerald Green 142
Enamel Blue 3€
Ethereal Solution of Gold 7€
Extra Jobs 22*
Fat Oils 48
Fawn colour ■.. 44
Flesh colour 44
Flesh Red 149
Fine Black Varnish for Coaches
and Iron-work 170
Finishing polish 73
Finishing up to receive colo** 223
Fish Oil colours 130
Fixed Wax Yellow 146
Fixed Yellow 144
Flake White 19
Flaxen Gray 42
Fluxes , 139
Flux for Carmines and Greens.... 139
Foil, Copper 125
Foils 1-25
Foils, to Colour 126
Forms of Letters 211
French Polish 72. 102
Furnace used in Glass Staining... 154
Furniture, Oil for 173
Furniture, Paste for 172
Garnet Red Foil 127
General Observations 187
German Gold 76
Giallolini 32
Gild Copper, Brass, &c M3
Gilding carved Wo«Ki wit hWater
Size 107
Gilding Ghiss and Porcelain ilS
Gilding Leather 114
Gilding Mateiials 74
Gilding Plaster or Marble Mith
Water Size Ill
Gilding, Practice of. 107
Gilding the edges of Paper 11€
Gliding Wood in Oil '.)%
INDEX.
843
PAQE )
'illdii.g Writings, DrawiDga 115
Uild Letters, to 214
Gild on Glass 215
iMld Steel 112
(Hags Mattrass 17
vllass Staining 137
Glass, Staining Application of
colours on 152
Glass Staining, Furnace and Muf-
fle used in 164
Glass, to Gild 113
Glass, to Write, Gild, and Orna-
ment on 215
Glass, Tarnish for 63
Glue and Isinglass 82
Gold colours 43
Gold Coloured Copal Varnish 56
Gold, Ethereal Solution of. 76
Gold, Mosaic 75
Gold Oil colour 78
Gold Powder 74
Gold water Size 78
Gracefulness 229
Graining colour 191
Grain Maple in Oil 199
Granites 209
Grass Green 44, 143
Gray Flux 139
Gray, I'laxen 42
Grayish-black for Mixtures 151
Gray, Light 42
Green Foil 128
Green, Grass 44
Green Lake 40
Greens 37
Greens, Fish Oil 132, 134
Greens iiiGhuss Staining 142
Green Veiditcr 40
Grinding and Washing colours... 83
Grindstone 7
Gum Elastic Varnish 60
Gun barrel, to Brown 173
Gutta Percha Combs 100
Gypsum 21
Hair Brown 150
Hard Carmine 148
Bard Varnish 62
Harmony of colours 158
Hatchet's Brown 41
Hats, Varnish for 03
Hollows, Filling up 223
Hungary Green 38
Imitate Black Rosewood 169
Ii&itate RosewtKxl 168
PAOB
Imitate Tortoise-Shell 167
Imitating Wood and Marble 190
Imitation Marbles to PoUnIi 210
Indigo 34
Indigo Blue 141
Indigo Grinding Mill 9, 11
Ink Spots, to take, out of Mahog-
any 172
Inside Painting, White for 171
Instructions for Sign Writing 211
Instructions in C^ch Painting
and Varnishing 217
Ironing Caniage body, when to
be done 222
Iron, to Tin 161
Isabella Yellow 147
Isinglass 82
Italian Green 38
Italian Jasper 207
Ivory Black 22
Japan, Blown, in Preparation of
Haw Oil , 219
Japan for a Dryer 219
Japtiniiing 123
Japanning, colour required 123
Japan, Tortoise Shell 124
Jasper, toClean 171
Jon(|iiil 43
Jonqnillo Yellow 145
Ljicqner fur Brass 117
lacquer for Philosophical In-
struments in
Lacquer, Gold coloured 118
Lacquering 117
Lacquer of various Tints 119
Lake 28
Lamp Black 23
Lamp Black with Priming Coat. 220
Lavender Blue 142
Lavender, Oil of. 45
Lead colour 43
Lead colour. Dark 44
Lead, Fish Oil 133
Le.ul Ore, to cover backs of Chini-
neyswith 171
Leather, Gilding 114
Lemon Yellow 43
Lettei-s, Form of. 211
Letters, Kaise 213
Letters, Setting out 213
iietters, to Gild 214
Letters to make appear to stand
out 213
Letters, to Shadow 213
Ui
INDEX.
PAOR
Mght Gniy 42
Light Timber colour 44
hight Willow colour 44
Linen Cloths, to Thicken 165
IJnseeU Oil 46
Linseed Oil Varnish... 66
Liver Brown 150
.viaiMer Carmine 28
MndUer Lake 28
Mahogany in Distemper 201
MuhoRanV in Oil 201
Mahi')gany, to Imitate 44
Miiho^jiuiy, to take Ink Spots out
of 172
Manuscript or Text Hand, prac-
tice is necessary for a Sign
Wilter 211
Maple in Oil 1»9
Marlde, Black Bardella 208
Marble, Black and Gold 204
Marble, Dove 208
Marble, Egyptian Green 206
Marble. Gilding Ill
Muble, Italian Jasper 207
Marble, Rouge Hoi 20i)
Marble 203
Marble, Sjiint Ann's 205
Marble, Sienna 203
Marble, imitating 190
Marbles, Principal adapted to
general use in decoration 203
Marble, to clean 171
Marble, Verd Antique 203
Massicot 30
Mastic Varnish 60
Milk, Painting in 07
Minium 25
Moll-stick 16
Mordant Varnishes 65
M«»aic Gold 75
Mufllerused in Glass Staining.... 154
MuUor 7
Muriate of Gold 77
Nankin Yellow 146
Naples Yellow 32
Nausea 184
New Brown 41
Nnt Oil 46
Oak, imitating 190
Oak, Root of. 196
'>ak-wood colour 42
Oil, Boiletl 217
Wl-Cloth, to make 162
Oil for Fumitaro 173
Oil, Mahogany in aOl
Oil of Lavender •.. Al
Oil of Poppies 45
Oil of Spike 45
Oil of Turpentine 48
Oil, Pilchard 50
Oil, Preparing 217
Oil, Raw 217
Oil, Raw, preparation of. 219
Oils 45
Oils, Drying 49
Oil, to grain Maple in 199
Oil, to prepare for Fish Oil Col-
ours 130
Olivecolour 43
Orange colour 43
Orange Yellow 147
Ornamenting and Striping 229
Ornament on Glass 215
Ornament on Panel 230
Orpiment 32
Paint and Oil, mixing for Strip-
ing 233
Painter, Diet of. 187
Painter's Colic 177
Painter's Cream 81
Painters, Diseases and Acci-
dents 177
Painting, Coach 217
Painting in Milk 97
Painting, Practice of. 91
Palette-knife IS
Pale Yellow Ochre 146
Panel, Ornaments in 230
Paste for Furniture 172
Patent Yellow 31
Pearl Gray 42
Pencils 15
Pictures, to Clean 173, 174
Pigments f.>r Painting on Glass.. 137
Pilchard Oil 60
Place to do Work in 217
Plaster, Gilding Ill
Plaster of Paris 21
Poisonous Substances, effects of... 181
Polish, Carver's 72
P»»lishe8 70
Polish, Finishing 73
Polish for Dark-coloured Woods. 71
Polish for Tunbridge-waro 71
Polish, French 72, 102
Polish imitation Marbles, to 210
Polish, Water-proof. 72
Pollard Oak ><15
^
INDKX.
345
PAGE
Pollaru Oak in Distemper 196
Poppies, Oil of 45
Porcelain, to Gild 113
Porphyry, to Clean 171
Portland Stone colour 44
Practice of Gilding 107
Practice of Painting 91
E*ractice of Varnishing and Pol-
ishing 100
Practicing Sign Writing, Arti-
cles necessary in 212
Preparatory Size 78
Preparing Oil 217
Priming Coat -MO
Printers' Ink 165
Prussian Blue «. 33
Pumice Stone, Smoothing with... 222
Pure Purple 148
Purple 43
Putty Powder 70
Raise Letters 213
Kawlinson's Indigo Grindrng-
mill 11
Raw Oil 217
]{xi\v on, Advantages of. 219
Raw Oil in Ship Painting 219
Raw Oil, Preparation of. 219
Receipts, Useful • 159
Red 24, 30
Red Lead 25
Red Lead. Drying Qualities of... 219
Red Shell-lac Varnish 55
Rosewood 202
Rosewood, Black, to imitate 169
Rosewood, to imitato 168
Root of Oak 196
Root of Oak in Distemper 196
Rotten Stone 81
Rouge Roi, or Royal Red Marble. 206
Rough Stuffing 221
Rubber 17
Ruby Coloured Foil 127
Sail-Cloth, to Paint 162
Saint Ann's 205
Sandpapering after Priming 220
Sandpapering Wood-work 220
«atin Wood 200
Satin Wood, to imitate 44
Saxon Blue 36
Saxon Green 38
Scalds and Burns 184
Scheelo's Green 38
Schweinfurt Green 39
Second Coat on Carriages 220
1>AG&
Second Coat, Rubbing down
after 226
Sepia Brown 150
Setting out of Letters 213
Shading 232
Shadow Lettei-s, to 213
Shell-lac Varnish 54
Shell-lac Varnish, Red 55
Ship Painting, Raw Oil in 219
Sienna.. 203
Sienna, to Clean 171
Sign Writing 211
Sign Writing a mere Mechanical
\f^ 211
Silver by Heatrto-V."."*— 160
Silver Furniture, to Clean 17C
Silver or Pearl Gray 42
Sizes 78, 82
Sky Blue 141
Smalt 36
Smoothing with Pumice Stone.... 220
Smoothing with Sandpaper 220
Sole Leather, use of, in Smooth-
ing after Priming 220
Spanish Brown 29
Spanish White 21
Spatulas 17
Spike, Oil of. 45
Spirit colour 194
Spirits, Effect of, upon Painters.. 187
r^pints of Wine 52
Spirits of Wine, to increase the
Strength of Common Recti-
fied 159
Steel, to Gild , 112
Sticking Plaster 166
Striping, Arrangement of colours
in 232
Striping, Brushes for 234
Striping. Mixing the Paint and
Oil for 23:}
Striping an<l Ornamenting 229
Striping, use of Camel Hair Pen-
cils in 2.34
Striping, Varnish in 23.'1
Stone colour 44
Stone colour. Fish Oil 135
Sugar of Lead and Vitriol as a
Dryer 211-
Suitable place tc Work in 217
Sulphur Yellojv 144
Taylor's Indigfi Grinding mill. ... 9
Timber colour. Livrbt 44
Tunbridge-w;ire. P.>li-<h for 71
Tin Foil 12/
346
INDEX.
PAGE
Tin, to 161
T(M)l)) and Apparatus 7
Tmquoiso Blue ^ 141
Tortoise Shell Japan 124
Tortoise Shell, to imitate 167
Tortoise Shell, Varnish in imita-
tion of. 67
Tripoli 70
Turner'8 YoUow 31
Turpontioe, mixing with Boilod
Oil :.... 218
Turpentine, Oil of. 48
Turi>entine Varnish 55
Turpentine, Varnish made with.. 67
Ultramarine 35
Umber 41
Useful Receipts 169
Varnish, Amber 59
Tarnish, Camphorated Copal 57
Varnish, Copal 56
Varnish, Cracking 225
Varnish, Crawling 228
Varnished Silk, to prepare 164
Varnishes » 51
Varnishes, Care in Making 68
Varnish, Changing 64
Varnishes, General Observations
on 66
Varnishes, Mordant 65
Varnishes for Paling and Coarse
Wood-work 62
Varnish for Balloons 175
Varnish for Clock Faces 174
Varnish for Coaches and Iron-
work 170
Varnish for Coloured Drawings... 63
Varnish for Drawings and Card-
work 64
Varnish for Glass 63
Varnish for Violins 61
Varnish, Gold-coloured Copal 56
Varnish, Gum-elastic 60
Varnishing 227
Varnishing after Striping 235
Varnishing Carriages 235
Varnishing Coaches 217
Varnishing and Polishing, prac-
tice of 100
Varnish in Striping 233
Varnish, Linseed Oil 56
Varnish, Mastic 60
Varnish in Ornaments 231
Varnish PolL*«h 70
Vnrnijh to iuiitatc the ChiMe«e... 170
rkiin
Varnish to preserre Glass 108
Varnish, Turpentine 58
Varnish, AVhite Hard 62
Venetian Emerald 40
Verd Antique 206
Verdigris 87
Vermeil 80
Vernulion t. 24
Verona Green 88
Violet Blue 142
Violet colour 43
Violins, Varnish for 61
Vitriol as a Dryer 219
Voider 13
Wainscot, to imitate 44
Walnlit 197
Walnut-tree colour 43
Washing and Grinding colours... 88
Washing off Rotten Stone 227
Water-proof Polish 72
Waxin? 105
Wax Yellow 145 *
Weakness of the Wrists 180
White 150
White Chalk 22
White Coating 79
White for inside Painting 171
White Hard Varnish 62
White Lead 19
White of Troyes 22
Whites 19
Willow colour 44
Wood Brown 150
Wood Gilding In Oil 112
Wood and Marble, imitating 190
Wood-woi k. Sand Papering 220
Wrists, Weakness of. 180
Write on Glass 215
Writings, Gilding 115
Yellow 30
Yellow Arsenic 32
Yellow, Colouring 79
Yellow, Fish Oil 136
Yellow Foil 128
Yellow for Browns and Greens... 144
Yellowish-Gray for Browns ai.d
Red 161
Yellow, Lemon 43
Yellow Ochre 30
Yellow of Antimony 33
Yellow Pink 3.".
Yellows in Glass Staining 143
Zaffre 36
INDEX TO APPENDIX.
-•••-
PAUE
AHorbiog Colors 324
Acetate of Lead as a Dryer 309
Adulterations of White Lead 245
AfBuities of Pigments in Drying 309
Alchemy 272
Analogous Colors, Harmonies
of 336, 339
Analogous Uarmouy, fittings col-
ored in 339
Analysis of Light and Color 320
Antimony Yellows 253
Antwerp Blue 269
Antwerp Brown 292
Armenian Blue 266
Arrangement of Colors in a room 339
Arsenic, Sulphuret of. 256
Arsenic Yellow 256
Artist must consider fonn, etc... 1339
Ashes, Ultramarine 267,294
Aspect to be Considered 338
Asphaltum 292
Associations of Coloi-s 329
Association of Colore of Equal
tone 332
Association of Complementary
Colors 331
Association of non-complemcii*
tary Colors 331
Associations, Binary, of Colors... 3:U
Assortment of Colored Objects... 33S
Assortment of Red, Yellow and
Blue, with a binary containing
the primary contrasts better
when primary is more lumi-
nous than binary 331
Assortments ol Primary Colors
and Black a34
Aurantium 270
Avoid violent Contra-st 339
Azure 200,268
Barytlc Adulterations of Lead... 245
Beauty Influenced by Contrast
of tone 333
Boauty Influenced by tone 332
fiflS
Bice Green 276
Binary Assu-iations of Colors 331
Binary Colore 319
Bitumen 292
Bl.ick 295
Black advantageous to produce
harmonies of Analogy 334
Black appears tinted by con-
tiguity 334
Black, Blue 298
Black, Deepened by Contrast 334
Black, Frankfort 298
Black Harmonizes with S<mibre 337
Black Inferior to White, when... 337
Black, influence on Colors 334
Black Lead 295, 290
Black Lowere tone 335
Black Manganese 299
Black may diminish Contrast of
tone 834
Black, Mineral 299
Black not well with Sombre and
Lundnous 337
Bhick Ochre 299
Black on Coloretl grounds, molli-
fied 335
Black Paper 299
Black preferable for separating
Luminous C«^lors 337
Black, Hussian 299
Black, Spanish 298
Black, Synthesis <.f. 296
Black to separate Luminous Col-
ore. 337
Black weakened by Sombre Col-
ore 334
Black with Deep tones 334
Black with Primary Colore 334
Black with Unbroken tones 334
Black and White in contrast 333
Blanc, D' Argent 247
Blue 263
Blue, Antwerp 269
Blue, Armenian 266
Blue Black 298
347
348
INDEX TO APPENDIX.
PAUE
muc, Cobalt 268
Blue, Dumont's 268
Blue, Enaniel 268
Blue, Gray 32;i
Blue, Uaerleni 269
lilue, Hungary 268
Blue Ochre 295
Blue, Paris 268
Blue Pigments 322
Blue Powder 268
Blue, Prussian 322
Blue, Pure 322
Blue, Roval 268, 269
Blue, Saxon 268
Blue, Tbeuard's 268
BIuo, Vienna 268
Bluo, White and Green 338
Blue, Whitd and Orange 337
Blue, White and Red 337
Blue, White and Yellow 338
Blue in Nature 266
Blue with Red 330
Blue with Yellow 330
Blue and Orange 330
Blue and Red better than Violet
and Red 337
Bine and Yellow harmonize best 337
Body of a Pigment 242
Bone Brown 291
Bouquet, Principle to form 338
Brilliancy obtained from contrast
of Complenientaries 338
Brilliujit Colors lose by want of
Contrast 338
Brilliants form harmonies with
Giay 336
Bringing out grain of Wood 312
Broken Colors 319
Brown 287
Brown, Antwerp 292
Brown, Bone 291
Brown, Campania 289
Brown, Cappagh 290
Brown, intense Madder 284
Brown, Iron 291
Brown, Ivory 291
Brown, Madder 2S4
Brown, MangaiicHc 289
Brown, Mineral 290
Brown Ochre 254, 291
Brown Pink 282
Brown, Prussian 293
Brown, Rubens 291
Brown, Vandyke 289
Biowns, Ciiledonian 290
Drowns, Hibernian 290
PAOB
Brun de Mars 266, 291
Brunswick Green 276
Burning Paint 317
Burnt Carmine 279
Burnt Sienna Earth 271
Burnt Umber , 290
Burnt Verdigris 286
»
Cadmium, Sulphuret of 256
Cadmium, Yellow 256
Caledonian Browns 290
Campania Brown 289
Canvas, Priming for 312
Cappagh Brown 290
Carbonate of Lead 246
Carbon, Oxide of. 299
Carburet of Iron 299
Care in Painting 310
Care in Using Dryera 310
Carmine a Pure Red 322
Carmine, Burnt 279
Carmine, Field's 263
Carmine, Madder 263
Carmines, Durable 263
Cassel-earth 289,291
Ciissius' Purple precipitate 279
Castle-earth 291
Ceruse 244
Charcoal 298
Chevreul's llarmouyof Colore, etc 318
Chinese Artists use harmonies
of contrast , 334
Chinese Greens 274, 275
Chinese Lake 263
Chinese Yellow 255
Chromate of Mercury 271
Chrome Orange 270
Circumstances which modify a
Color 325
Citrine 280, 323
Citron, Mixed 281
Citron, Yellow 248
Classes of Grays 323
Cleaning 316
Cleanliness, necessary with use
of Lead 245
Clear Calling 311
Cobalt Blue 268
Cobalt Greens 274, 275
Cold Colors 319
Coldness from Blue 264
Cologne Earth 291
Color, Analysis of. 320
Color, An Equivocal term 244
Color, Circumstances which Mo-
dify 326
INDEX TO APPENDIX.
349
'^
1
PAGE
Color, Coutmst of. 326
Colored Grays 319, 323
Colored Grounds Modify Black... 335
Colored Objects, Assortment of.. 338
Colors, Associations of. 329
Colon* best separated by White.. 337
Colors, Binary 319
Colors, Binary A%80ciations of.... 331
Colors, Broken 319
Colors, Cbevreul's Principles 318
Colors, Cold 319
Colors, Complementary 319, 324
Colors, Compound, with a simple
Color a part of it 329
Colors, Compound, with same
simple CuIoi-8 329
C«'lor8, Compound 321
Colors, Contact of. 326
Colors, Harmony of. 336
Colors, Ilnrniony of Analogous... 339
Colors, Ilarmuny of Contrast of.. 336
Colors in Contact, one Improved,
the other Injured 332
Colors in Contiguity 329
Colors, Inherent .• 241
Colors, Luminous 319
Colors, Mixing 243
Colors, Mixture of. ;.... 321
Colors Modify White by Con-
tiguity 333
Colors, Neutral 295
Colors, Normal 319, 321
Colors of Objects 324
Colors, Primary 250, 319, 321
Colors, Primary witli While 333
Colors, Pure Sectmdary 322
Colors, Secondary 269, 319, 321
Colors, semi-neutral 287
Coloi-8, Simple 321
Colors, Sombre 319
Colors, Source of 320
Colors, Tertiary 280, 319
Colors, Transient 241
Colors, Union <»f 322
Colors, Warm 319
Colors and Coloring 241
CoinplementariesC'inti-ftsted, give
Splendour and Brilliancy 338
Complementary asdortnieitt Su-
perior in harmony of Contrast 336
Complementary Coloi-s 319, 324
Conr.plementary Colors, Associa-
ti< n of. 331
Composition oi Black 322
Composition of Gray 322
iUixapontion of Green 323
30
VkQE
Composition of Orange 323
Composition of Violet 323
Composition of White 322
Compound Colore 321
Compound Color with a shnple
Color which forms part 329
Compovnd Colora, with the same
simple Color 329
Compounds of the same simple
Colors 33')
Compound and a simple Ct>lor
not in the Compound 330
Contiguity of Black 334
Contiguity of Gray 336
Contiguity of White 333
Contiguity, Result of Placing
Colors in 329
Contiguity Tints, Black 334
Contiguity, Two Simple Colors in 330
Contrast, Avoid Violent 339
Contrast deepens Black 334
Contrast, Harmonies of. 336
Contrast, Law of. Necessary to
know 338
Contrast, Mixed 327
Contrast of Black and White 333
Contrast of Color 326
Contrast of Colors 318
Contmst of Colors, Ilainioiiy of. 336
Contrast of Color Improved by
Gray 335
Contrast of Color Lost with
Crimson 338
Contrast of Complementarics
gives Splendor and Bril-
liancy 338
Contrast of Hues, Ilaimony of... 386
Contrast of Scale, Harmony of... 336
Contrast of Tone 326
Contrast of Tone diminished by
Black 334
Contrast of Tone Influences
Beauty 333
Contrast of Tone must bo re-
garded 338
Contrast, Principles of, How
carried out 339
Contrast, Successive 327
Copper, Oxide of. 2S6
Copper, Prusslate of 2S4
Cork, Burned 298
Crayon Pigments 307
Crems 246
Crimson Ground requires Light
Colors 338
CuUen'5 Earth 291
350
INDEX TO APPENDIX.
PAGE
CyanuH 266
Dark Russet 284
Dark with White too great con-
trast 333
Daylight, Diffused, Effect on
Colors 339
Decomposition of Light 320
Deep Tones with Black 3^4
Definitions of Colifers 319
Desiccation 308
Destructive Effects of White Lead 245
Diffused Daylight, Effect on OA-
ors 339
Distemper Painting 315
Distemper Pigments 307
Dumont's Blue 268
Durable Carmines 263
Durability of a Pigment 242
Dntih Ultramarine 268
Dutch Wliito 246
Earth, Cassel or Castle 291
Karth, Cologne 291
Effect Influenced by Ground 336
Kffect Influenced by interval.... 336
Effects of Yellow 251
Elements, Photogenic 241
Elements, Sciogenic 241
Emerald Green 276
Enamel Blue 26S
Enamel Painting pigments 306
English Red 261
Euchrome 290
External Work 311
Factitious Ultramarine 267
Fading of Paintings 241
Falsalo 290
Familiarity with Law of Contrast
necessary 338
Feeble Light requires Luminous
Colors, etc 339
Field's Carmine 203
Field's Purple 279
Field's Russet 284
Flake White 246
Flaltinj,' 311
Florentine Lake 263
Flowers, How to form Bouquet.. 338
Form, Influence on Colors 331
Form must be Considered 339
Foxiness 288
Frankfort Black 1 298
French Polishing 312
French Ultramarine 267
PAOI
French White 247
Fresco 313
Fresco Pigments 307
Fuller's Earth for Removing
Varnish 317
Furnishing, by Contrast 338
Gall-Stone 267
Galena 300
Gamboge 356
Gamboge, A Pure Yellow 322
German Ultramarine 267
GialloUni 252
Giallolini tli foitiace. 252
Gloss, Influeiice on Colors 331
Gold Purple 279
Grain of Wood, to bring ont 312
Grauiing 312
Graphite 299
Gray 293
Gray, Blue 3-23
Gray, Colored 323
Gray, Green 823
Gray heightens Tints 335
Gray, How Composed 322
Gray inferior to Black and White
with Luminous 338
Gray, Influence on Colors 335
(rray ini[)rore8 contrast of Color 335
Gray improves PrimaHes 335
(intV, Mineral 294
U ray (Normal) 319,323
Gray, Omngo 323
Gray Oxide 248
Gi-ay produces Analogous har-
moniu:* 335
Gray-Red 328
Grays, Clsvsses of. 323
Grays, Colored 319
Grays, Mi.xed 294
Gray, Stone 248
Gray, Violet 323
Gray, Yellow 323
Green 248, 272,286
Green Bice 275
Green, Brunswick 275
Green, Composition of .323
Green, Emerald 276
Green, Gray 323
Green, Holly 276
Green, Hooker's 274
Green, Invisible 270
Greenish-Yellow and Violet 330
Green Lakes 276
Green Mineral 276
Green, Mouliu's ^, 277
INDEX TO APP-ENDIX.
gol
HAOE
^rcen, Native „ 275
aioon, Olive 2SC
Oieeui Orange Mith 329
Orton, PruHfirtu 274, '^76
Oiuen, Pure <J22
Gieen, Rinmunn's 275
Green, Scbeele'g 286
Green, Varley's 274
Green, Verona 275
Green, White and Blue 338
Green, White and Violet.^ 338
Groea, Zinc 276
Greou and Red 330
Green and Yellow, better than
Green and Blue 337
Greens, Chrome 274, 275
Greens, Cobalt 274, 275
Greens, Mixed 274
Gruuiid influences effect 336
Grounds 310
Haerlem Blue 260
Hamburgh Lake 263
Hamburgh White 246
Harmonies by Gray 335
Harmonies of Analogous Colors.. 336
Harmonies of Analogy from
Black 834
Harmonies of Contrast 336
Harmonies of Contrast for Black 334
Harmony, Fittings colored in
Analogous 339
Harmony of Analogous Colors... 339
Harmony of Colors 318
Harmony of Contrast, Comple-
mentary Assortment superior
in 336
Harmony of Contrast of Colors... 336
Harmony of Contrast of Huhs... 336
Ilannuuy of Contrast of Scale... 336
Harmony of dominant colored
Light 336
Harmony of Hue 336
Harmony of Scale 336
Harmony, Selection of. 338
Height of Tone influences Beauity
of Association 332
Hibernian Browne 290
Holly Green 275
Hooker's Green 274
Hue 320
Hue, Harmony of. 336
Hues , 242
Hues, Harmony of Cimtrast of... 336
Hues of Grays 323
UuuKHry Bl.je 268
P.iGE
Imitating Marble 315
Importance of Tone 339
Improvement by association of
non -complementary Colors 332
Indian I^ke .". 263
Indian Red 260
Indigo and Violet 330
Injprovement of Contrast of Gray 335
Inferior Colors improved by Con-
trast % 338
Influence of Contiguity of Bhick 334
Influence of Contiguity of Gray. 335
Influence of White on C<dors 333
Inherent Colors 241
Injurj' of Two Colore by associa-
tion 332
Inside Work 311
Intense Madder Brown 284
Intensity very important, 339
Interval influences Effect 336
Internal Work 311
InTisible Green 276
Iodide of Mercury 259
Iodine Scarlet 259
Iron Brown 291
Iron, Carburet of. 299
Iron, Phosphate of. 296
Iron Yellow 256
Ivory Brown 291
Jaune de Mars 255
Jews' Pitch 292
Killing off the Knots 310
Kind of Light to be considereil... 338
King's Yellow 255
Knots, Killing off the 310
Kremnitz Wliite 246
Krems 246
Kremser White 246
Lacca 263
Lac Lake 263
Laque Mineral 270
Lake, Chinese 263
Lake, Florentine 263
Lake, Hnmburgh 263
Lake, Indian 263
Lake, Purple 280
Lake, Roman 263
Li\ke, Scarlet 262
Lake, Venetian 263
Lake, Yellow 257
Lakes, Green 276
Lakes, Madder 261
Lapis Liznli 266
352
INDEX TO APPENDIX.
PAGE
T^aw of CoutJ-ast, NecesMiry to
know 338
riead, Acetate aa a Dryer 309
Lead, Black 295, 299
Lead, Carbouate uf. 246
Load, Orange 271
Lead, Oxide of. 271
Lead, Protoxide of. 253
Lead, Sulphate of 247
Lead, Snlphnret ^ 300
Lead, White '. 244
Lead, White, Adulterations of... 245
Lead, White, Destructive 245
Lead, White, Oxides of. 244
Li^ht 320
Light, Analysis of. 320
Liglit, Decomposition of. ;.... 320
Light Ked 261
Ligiit with Wiiite better tlian
Dark 333
Luminous Coloi-s 319
Lundnous Culoi-s separated by
Black 337
Luminous and Sombre not well
with Black 337
Madder Brown 284
Madder Carmine 263
Madder Lakes 261
Madder Purple 279
Manganese Black 299
Manganese Brown 289
Manganese, Oxide of.. 289
Marble, Imitating 315
Mars, Orange 271
Mars, Scarlet 270
Martel on Harmony, etc., of Co.
ors : 318
Massicot 253
Masticot 253
Mercury, Chromate of. 271
Mercury, Iodide <»f. 259
Mineral Black 299
Mineral Brown 290
Mineral Gi-ay 294
Mineral Green 276
Mineral Pitch 292
Mineral Purple 280
Mineral Yellow 2:3, 256
Mixed Citrine 281
Mixed Contrast 327
Mixed Grays 294
Mixed Greens 274
Mixed Olive 2^6
Mixed Purples 278
Mixed Russet 28;J
PAOI
Mixing Colors 243
Mixing for Pure Secondary Col-
m-s 322
Mixture of Colors 321
Modes of Painting 310
Modifications in Colors by Con-
tact 326
Modifications of Black on Colored
Grounds .'i3l-
MouHn's Green 277
Mutual Improvemeut by associa-
tion 331.
Mutual Injury by association.... 332
Naples Yellow 252
Native Green 275
Native Manganese Brown 290
Nerodi Foglio 299
Neutral C«jlor8 * 295
Neutrals 244
Non-Coniplementaries Improve
by association 332
Nou-Complementaiies Injured
by association 332
Non-Complementary Colors, As-
sociation of.. 331
Normal Colors 319, 321
Normal Gray 319, 823
Northern Aspect requires Light
Warm tones 838
Objects, Colors of 324
Ochre, Black 299
Ochre, Blue 296
Ochre, Brown 254, 291
Ochre, Orange 271
•>.'hre, Oxford , 254
Oohre, Purple 280
Ochre, Red 260
Ochre, Roman 254
Ochre, Russet 285
Ochre, Scarlet 261
Ochre, Spanish 271
Ochre, Spruce 263
Ochre, Stone 254
Ochre, Yellow 263
Ocre de Rue , 254
Oil Painting 310
Olive 2J">, 323
Olive Green 28d
Olive, Mixed 283
Operations of Painting 310
Oi-ange , 269
Orange, Bliick and Red harn;o
niae 307
Orange, Chrome TtQ
INDSX TO APPENDIX
353
PAQE
Orange, Gomp«ieltion of. 323
Onmge de Mars.... .^ 256
Onifigo, Omy 323
Onuigc Lead 271
(^niiige, Mars 271
Oiango Ochre 271
Orange Orpinieiit 272
Orange Russet 284
Orange, White and Blue 337
Orange, White and Violet 338
Orange ^'ithOreen 329
Orange with Retl 329
Orange with Yellow 330
Orange Yellow 248
Orange and Yellow better then
Orangeand Red 337
Orange and Bine «.... 330
Ores of Zinc 248
Oi'piment, Orange 272
Orpinient, Red 272
Orpiment, Yellow 256, 272
Ontside Work 311
Oxford Ochre 254
Oxide, Gray 248
Oxide of Carbon 299
Oxide of Copper 286
Oxideof Lead 271
Oxide of Manganese 289
Oxide (.f Zinc 247
Oxides of Lead, White 244
Painting, Care in 310
Painting, Distemper 315
Painting in Oil 310
Painting in Fresco 313
Painting, Monies of 310
Paintings, Why they Fade 241
Paint, Removing 317
Paper. Black 299
Paper, Priming fir 312
Paris Blue 268
Pearl Whiti' 249
Persian Hed 361
PluMphiito I'f Iron 295
Photogenic Klements 241
Pigment, R.mI 322
Pigments 319
Pigments, Bine 322
Pigments not uffectetl by Heat... 3'!6
Pigments not aiffVcted by Lime... 307
Pigments not cliiingod by Light,
etc.. nor Sulphuretted hy-
drogen, etc .303
Pigments, Qualities of. 242
Pigments, Tables of. 800
Plguionts Trassparont 306
PAOS
Pigments which change by Inm,
etc '.- 306
Pigments which cliange by Lead,
etc 304
Pigments which change by Lightf
Oxygen, and pure air, but not
by shade. Sulphuretted Hy-
drogen damp, and foul air ^101
Pigments which change by Ligh t,
etc., and Sulphuretted Iiy-
drogen, etc 30'i
Pigments which change by shade
etc., and not by Light, etc 301
Pink, Brown 282
Pitch, Jews' 29i
Pitch, Mincml 292
Plaster, Priming ft>r 313
Phwtic Painting 314
PliimbHgo 295, 299
Points to Notice in Dryers 310
Points to Study in arranging
Cob.red Objects 338
Polishing, French 312
Powder, Blue 268
Precipitate, Casf«ius' Purple 279
Primaries < Jain byOn«y 336
Primaries in pairs better as a
harmony of contrast 336
Primaries with Black 334
Primary C.l mk 250, 319. 321
Pilmary Colors impnivc by as-
sociation with \Vhit«' 333
Prhnary 311
Principles <»f Contrast. Imw car-
ried ont 339
Prismatic Spectrum 320
Protoxide of Lead « 1'63
Prussian Blue 322
Prussian Brown 291,293
Prussian Green 274, 276
Prussian lied 261
Prussiate of Copper... 284
Pure Blue 322
Pure Coloi-s 322
PureGreen 323
PureReil 322
Pure Sectndary Colors 322
Pure Yellow ." 322
Purity of Ultranmrine 322
Purple 277
Purple, Field's 270
Purple, Gold 27S
Purple, Like 280
Purple, Miulder 279
Purple, Mineral 280
I*urple Ochre SM
354
INDEX TO APPENDIX.
PAGE
Fnrplb Precipitate, Gassings 279
Pinplo Uiibiate 279
Purples, Mixed 278
Putty, How used 310
Qualities of Pigments 242
Raw Sienna Earth 255
Realgar 272
Hsd 257
Red, Black and Orange harmon-
ize 837
Red, English 261
Red, Gray 323
Red, Indian 260
Red, Light 261
Red Ochre 260
Red, Orange with 329
Red Orpnnent 272
Red, Persian 261
Red Pigment 322
Red, Prnsf^ian 261
Red, Pure 322
Red, Venetian 261
Red, White and Blue 337
Red White and Violet 338
Red with Blue 330
Red with Yellow 330
Red and Blue better than Red
and Violet.« 337
Red and Green 3^J0
Red and Violet better than Blue
and Violet 337
Red and Yellow, better than
Orange and Yellow 337
Reflecting Colors 324
Relief, IIo\^ secured 339
Removing Paint 317
Removing Varnish 316
Restoring 31fi
Result of Colors in Contiguity... 329
Rinmann's Green 275
Roman Lake 26.'J
Roman Oflire 264
Roman White 247
Room. How Objects airangi'd
in.. a.'jg
Rouge de Mars 2r»r>, 2«)1
Royal Blue Jes, 26 >
Rouge de Mai-s 25.5
Ruben's Bmwn 291
Rubiate, IMnple 279
Jiubia Tiw'ioiia 284
Rubric 2f51
Rules of Painting 313
Kuwet 2S2, 323
PAQl
Russet, Dark 284
Russet, Field's 284
Russet, Mixed 283
Russet Ochre 285
Rnsset, Orange 284
Russian Black 299
Sandarac 272
Saxon Blue... 268
Scagliola 315
Scale 320
Scale, Harmony of. 336
Scale, Harmony of Contrast of... 336
Scarlet, Iodine 259
Scarlet Lake 262
Scarlet Ochre 261
Scheele's Green 286
Sciogenic Elements 241
Secondary Colors 269, 819, 821
Secondary Colors, Pure S22
Selection of Harmony 338
Semi-Neutral Colors 287
Shade 242
Shades 320
Siccatives 308
Silver White 247
SimpleColors 321
Simple Colors in Contiguity 330
Simultaneous Contrast of Color.. 327
Size, How used 311
Size, must be considered 339
Smalt 268
Snow W^hite 248
Solvents for Varnish 316
Sombre Colors 319
Sombre Colors weaken Black 334
Sombre Harmonize with Black.. 337
Sombre and Luminous not well
with Black 387
Source of Color 320
Sttuthern aspect requirof^ light
hues of Sombre Colors 338
Spanish Black 298
Spanish Ochre 271
Spectrum, Prismatic 32C
Siilendor obtained by Contrast of
Complementaries 3'18
Spruce Ochre 2.i3
StAin Graining 312
Standard of Color 321
Stone Gray 218
Stone Ochre 254
Stone, Priming for 312
Straw Color 250
Stucco, Priming f »r 312
Successive Con t nut 327
INDEX TO APPENDIX.
3r)0
PAGE
Suitability uinst be considered... 339
Stiitability of object in assort-
ment 338
Sulphate of Lead 247
Sulphate of Zinc as a Dryer 309
Sulphuret of Arsenic 255
Snipliuret of Cadmium 256
8ulphuret of Lead 300
Synthesis of Black 296
Tables of Pignients 300
Terra Camagione 261
Terra di Sienna 255, 271
Terra Puzznoli 261
Terre de Cassel 291
Terro Verte 274
Tertiaries 323
Tertiary Colors 280,319
Thenard's Blue 268
Tints 242, 250, 320
Tints Heightened by Gray 335
Tin White 249
Tone, Contrast of 326
Tone iiiflnencefl Beauty of as-
sociation .' 332
Tone Lowered by Black 335
Tone, Must regard Contrast of... 338
Tone Strengthened by White 333
Tone, Very important 339
Tones 319
Tones deep and unbroken with
Black 304
Transient Colors 241
Transparencies 313
Transparent Pigments 305
Ultramarine , 266, 822
Ultramarine Ashes U07, 294
Ultramarine, Dutch 268
Ultramarine, Factitiuns 267
Ultramarine, French and Uer-
man 267
Umber 282, 290
Unbroken Tones with Black 334
Union of Colors 322
Vandyke Bn.wn 289
Varley's Green 274
Varnish, Kemoving 316
Varnish, Solvents f)r 316
Venetian Lake 2fi3
Venetinn Bed 261
Venetian White 246
Verdetto 275
VerJigiia, Burnt 286
Verona Green 275
PACK
Vienna, Blue 268
Vienna, White 246
Violent Contrast avoided 339
Violet, Composition of. 323
Violet de Mars 280
Violet, Gray 323
Violet, White and Green 338
Violet, White and Orange 338
Violet, White and Bed 338
Violet and Greenish Yellow 330
Violet and Indigo 330
Violet and Red, better than Vio-
let and Blue 337
Warm Colors 319
Water Colors 305
White 243
White allows each Color its in-
tegrity 336
White, Dutch 246
White, Flake 246
White, French 247
White, Hamburgh 246
White, How composed 322
White improves Primary Colors
by Association 333
White, influence on Colors 333
White, Kremnitz 246
White, Kremser 246
White Lead 244
White Lead, Adulterations, etc.. 245
White Lead, Destructive 245
White Modified by contiguity.... 333
White not a Color 335
White Oxides of Lead 244
White, Pearl 249
White, Roman 247
White, Silver .' 247
White, Snow 248
White Strengthens Tone 333
White superior to Black, when.. 337
White, Tin 249
White to sepanUe C<tlors 337
White, Vienna , 24H
White, Venetian 2-16
White, Zinc 247
White and Black in Contrast.... 333
Wood, Priming for 312
Work Exposed to Weather 311
Yellow 250
Yellow, Arsenic 256
Yellow, Cadmium 256
Yellow, Chinese 255
Yellow, Effects of. 251
Yellow, Gray S23
.^56
INDEX TO APPENDIX.
PAGB
Ifellow, Iron 255
iftllow, King's , 255
Yellow Lake 257
yellow. Mineral 253, 256
Yollow Ochre 253
Yellow, Orange with 330
Yellow Orpiinent 256, 272
Yellow Pigmont 322
Yellow, Pnre 322
Yellow, Red with 330
Yellow, White and Blue «.... 338
Yellow with Blue 830
Yellow and Blue harmonize best 337
fellow and Qreen, better than
Blue and Green 887
PAOB
Yellow and Orange, bettor than
Red and Orange 337
Tellow and R«d, hotter than
Yellow and Orange 387
Yellows, Antimony 253
Yellows 248
Zaffre aCiS
Zinc, Green 27<i
Zinc, Ores of. 248
Ziuc, Oxide of. 247
Zinc, Stone itn
Zinc, Sulphate as a Dryer )A9
Zinc, White 2il
TBB SVP.
Pounded by Mathew Carey, 1785-
CATALOGUE
OF
PRACTICAL Ai SCIIIIIFIC BOOKS
PUBLISHED BV
HENRY CAREY BAIRD & CO.,
JNDUSTRIAL PUBLISHERS, BOOKSELLERS, AND IMPORTERS,
810 WALNUT STREET.
PHILADELPHIA.
86^ Any of the Books comprised in this Catalogue will be sent free of
postage at the printed prices to any address in the World.
Descriptive Catalogue, 96 pages, 8vo,, and our other Catalogues,
the whole covering all of the branches of Science Applied to the
Arts, sent free and free of postage to any one in any part
of the world, who will furnish us with his address.
i^^Where not otherwise stated, all of the Books in this Catalogue are
bound in muslin.
"^— .
OA-T^LOGf-TJE
OF
ppactical and ^cientic Boo^^
PUBLISHED BY
Henry Carey Baird & Co
INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS,
810 Walnut Street, Philadelphia.
Any of the Books comprised in this Oatalogne will he sent by maH, free tf
postage, to any address in the world, at the pnblioation prices.
A DescriptiTe Oatali^e, 96 pages, 8to., will be sent free and free of postagOi
to any one in any ^xrt of the world, who will fnmish his address.
Where not otherwise stated, all of the Books in this Oatalogne are bound
in mnslin.
AMATEUR MECHANICS' WORKSHOP:
A treatise containing plain and concise directions for the manipula-
tion of Wood and Metals, including Casting, Forging, Brazing,
Soldering and Carpentry. By the author of the " Lathe and Its
Uses." Third edition. Illustrated. 8vo. . . . $3.00
ANDRES.— A Practical Treatise on the Fabrication of Volatile
and Fat Varnishes, Lacquers, Siccatives and Sealing
Waxes.
From the German of Erwin Andres, Manufacturer of Varnishes
and Lacquers. With additions on the Manufacture and Application
of Varnishes, Stains for Wood, Horn, Ivory, Bone and Leather.
From the German of Dr. Emil Winckler and Louis E. Andes.
The whole translated and edited by William T. Brannt. With 11
illustrations. i2mo. ^2.50
ARLOT.— A Complete Guide for Coach Painters :
Translated from the French of M. Arlot, Coach Painter; for
eleven years Foreman of Painting to M. Eherler, Coach Maker,
Paris. By A. A. Fesquet, Chemist and Engineer. To which is
added an Appendix, containing Information respecting the Materials
and the Practice of Coach and Car Painting and Varnishing in the
United States and Great Britain. i2mo. . . . $1.25
L..
HENRY CAREY BAIRD & CO.'S CATALOGUE.
ARMENGAUD, AMOROUX, AND JOHNSON.— The Practi-
cal Draughtsman's Book of Industrial Design, and Ma-
chinist's and Engineer's Drawing Companion :
Forming a Complete Course of Mechanical Engineering and Archi-
tectural Drawing. From the French of M. Armengaud the elder,
Prof, of Design in the Conservatoire of Arts and Industry, Paris, and
MM. Armengaud the younger, and Amoroux, Civil Engineers. Re-
written and arranged with additional matter and plates, selections from
and examples of the most useful and generally employed mechanism
of the day. By William Johnson, Assoc. Inst. C. E. Illustrated
by hfcy folio steel plates, and fifty wood-cuts. A new edition, 4to.,
half morocco $10.00
ARMSTRONG. — The Construction and Management of Steam
Boilers :
By R. Armstrong, C. E. With an Appendix by Robert Mallet,
C. E., F. R. S. Seventh Edition. Illustrated, i vol. i2mo. 75
ARROWSMITH.— Paper-Hanger's Companion :
A Treatise in which the Practical Operations of the Trade are 7**^
Systematically laid down: with Copious Directions Preparatory to
Papering; Preventives against the Effect of Damp on Walls; the
various Cements and Pastes Adapted to the Several Purposes of
the Trade; Observations and Directions for the Panelling and
Ornamenting of Rooms, etc. By James Arrowsmith. i2mo.,
cloth ^1.25
ASH TON. — ^The Theory and Practice of the Art of Designing
Fancy Cotton and Woollen Cloths from Sample :
Giving full instructions for reducing drafts, as well as the methods of
spooling and making out harness for cross drafts and finding any re-
quired reed; with calculations and tables of yarn. By Frederic T.
AsHTON, Designer, West Pittsfield, Mass. With fifty-two illustrations.
One vol. folio ^10.00
AUERBACH— CROOKES.-^Anthracen :
Its Constitution, Properties, Manufacture and Derivatives, including
Artificial Alizarin, Anthrapurpurin, etc., with their applications in
Dyeing and Printing. By G. Auerbach. Translated and edited
fiom the revised manuscript of the Author, by Wm. Crookes, F. R.
S., Vice-President of the Chemical Society. 8vo. . . I5.00
BAIRD.— Miscellaneous Papers on Economic Questions.
By Henry Carey Baird. {^In preparation.)
BAIRD.— The American Cotton Spinner, and Manager's and V
Carder's Guide :
A Practical Treatise on Cotton Spinning ; giving the Dimensions and
Speed of Machinery, Draught and Twist Calculations, etc.; with
notices of recent Improvements : together with Rules and Examples
for making changes in the sizes and numbers of Roving and Yarn.
Compiled from the papers of the late Robert H. Baird. i2mo.
j(5i.5o
HENRY CAREY BAIRD & CO.'S CATALOGUE.
BAIRD. — Standard Wages Computing Tables :
An Improvement in all former Methods of Computation, so arranged
that wages for days, hours, or fractions of hours, at a specified rate
per day or hour, may be ascertained at a glance. By T. Spangler
Baird. ' Oblong folio ^500
BAKER. — Long- Span Railway Bridges :
Comprising Investigations of the Comparative Theoretical and
Practical Advantages of the various Adopted or Proposed Type
Systems of Construction ; with numerous Formulae and Tables. By
B. Baker. i2mo. $150
BAKER.-— The Mathematical Theory of the Steam-Engine :
With Rules at length, and Examples worked out for the use o\
Practical Men. By T. Baker, C. E., with numerous Diagrams.
Sixth Edition, Revised by Prof. J. R. Young. i2mo. . 75
BARLOW. — ^The History and Principles of Weaving, by
H^nd and by Power :
Reprinted, with Considerable Additions, from " Engineering," with
a chapter on Lace-making Machinery, reprinted from the Journal of
the '* Society of Arts." By Alfred Barlow. With several hundred
illustrations. 8vo., 443 pages j^ 10.00
BARR. — A Practical Treatise on the Combustion of Coal:
Including descriptions of various mechanical devices for the Eco-
nomic Generation of Heat by the Combustion of Fuel, whether solid,
liquid or gaseous. 8vo ^2.50
BARR. — A Practical Treatise on High Pressure Steam Boilers :
Including Results of Recent Experimental Tests of Boiler Materials,
together with a Description of Approved Safety Apparatus, Steam
Pumps, Injectors and Economizers in actual use. By Wm. M. Barr.
204 Illustrations. 8vo ^^3.00
BAUERMAN. — A Treatise on the Metallurgy of Iron :
Containing Outlines of the History of Iron Manufacture, Methods of
Assay, and Analysis of Iron Ores, Processes of Manufacture of Iron
and Steel, etc., etc. By H. Bauerman, F. G. S., Associate of the
Royal School of Mines. Fifth Edition, Revised and Enlarged.
Illustrated with numerous Wood Engravings from Drawings by J. B.
Jordan. i2mo ^2.00
BAYLES.— House Drainage and Water Service :
In Cities, Villages and Rural Neighborhoods. With Incidental Con.
sideration of Certain Causes Affecting the Healthfulness of Dwell*
ings. By James C. Bayles, Editor of " The Iron Age " and " The
Metal Worker." With numerous illustrations. 8vo. cloth, $3.00
BEANS.— A Treatise on Railway Curves and Location of
Railroads :
By E. W. Beans, C. E. Illustrated. i2mo. Tucks . $1.50
BECKETT. — A Rudimentary Treatise on Clocks, and Watches
and Bells :
By Sir Edmund Beckett, Bart., I.L. D., Q. C. F. R. A. S. With
numerous illustrations. Seventh Edition, Revised and Enlarged.
i2mo $2.25
HENRY CAREY BAIRD & CO.'S CATALOGUE.
BELL. — Carpentry Made Easy :
Or, The Science and Art of Framing on a New and Improved
System. With Specific Instructions for Building Balloon Frames, Barn
Frames, Mi'l Frames, Warehouses, Church Spires, etc. Comprising
also a System of Bridge Building, with Bills, Estimates of Cost, and
valuable Tables. Illustrated by forty-four plates, comprising nearly
200 figures. By William E. Bell, Architect and Practical Builder.
8vo. .......... $S'^^
BEMROSE. — Fret-Cutting and Perforated Carving:
With fifty-three practical illustrations. By W. Bemrose, Jr. I vol.
quarto .......... fe.oo
BEMROSE.— Manual of Buhl-work and Marquetry:
With Practical Instructions for Learners, and ninety colored designs.
By W. Bemrose, Jr. i vol. quarto .... ^53.00
BEMROSE.— Manual of Wood Carving:
With Practical Illustrations for Learners of the Art, and Original and
Selected Designs. By William Bemrose, Jr. With an Intro-
duction by Llewellyn Jewitt, F. S. A., etc. With 12S illustra-
tions, 4to. fc'OO
BILLINGS.— Tobacco :
Its History, Variety, Culture, Manufacture, Commerce, and Various
Modes of Use. By E. R. Billings. Illustrated by nearly 200
engravings. 8vo $3'^^
BIRD. — The American Practical Dyers' Companion:
Comprising a Description of the Principal Dye-Stuffs and Chemicals
used in Dyeing, their Natures and Uses ; Mordants, and How Made ;
with the best American, English, French and German processes for
Bleaching and Dyeing Silk, Wool, Cotton, Linen, Flannel, Felt,
Dress Goods, Mixed and Hosiery Yarns, Feathers, Grass, Felt, Fur,
Wool, and Straw Hats, Jute Yarn, Vegetable Ivory, Mats, Skins,
Furs, Leather, etc., etc. By Wood, Aniline, and other Processes,
together with Remarks on Finishing Agents, and Instructions in the
Finishing of Fabrics, Substitutes for Indigo, Water-Proofing of
Materials, Tests and Purification of Water, Manufacture of Aniline
and other New Dye Wares, Harmonizing Colors, etc., etc. ; embrac-
ing in all over 800 Receipts for Colors and Shades, accompanied by
1 70 Dyed Samples of Raw Materials and Fabrics. By F. J. Bird,
Practical Dyer, Author of »*^The Dyers* Hand-Book." 8vo. ;^ 10.00
BLINN. — A Practical WTorkshop Companion for Tin, Sheet-
Iron, and Copper-plate Workers :
Containing Rules for describing various kinds of Patterns used by
Tin, Sheet-Iron and Copper-plate Workers; Practical Geometry;
Mensuration of Surfaces and Solids; Tables of the Weights of
Metals, Lead-pipe, etc.; Tables of Areas and Circumferencci
of Circles ; Japan, Varnishes, Lackers, Cements, Compositions, etc.,
etc. By Leroy J. Blinn, Master Mechanic. With over One
Hundred Illustrations. i2mo. if>2.5o
\t-
X
HENRY CAREY BAIRD & CO.'S CATALOGUE.
BOOTH.— Marble Worker's Manual :
Containing Practical Information respecting Marbles in general, their
Cutting, Working and Polishing ; Veneering of Marbke ; Mosaics ;
Composition and Use of Artificial Marble, Stuccos, Cements, Receipts,
Secrets, etc., etc. Translated from the Ft«nch by M. L. Booth.
With an Appendix concerning American Marbles. l2mo., cloth $1.50
fiOOTH and MORPIT.— The Encyclopaedia of Chemistry,
Practical and Theoretical :
Embracing its application to the Arts, Metallurgy, Mineralogy,
Geology, Medicine and Pharmacy. By James C. Booth, Melter
and Refiiner in the United States Mint, Professor of Applied Chem-
istry in the Franklin Institute, etc., assisted by Campbell Morfit,
author of " Chemical Manipulations," etc. Seventh Edition. Com-
plete in one volume, royal 8vo., 978 pages, with numerous wood-cuts
and other illustrations ....... 1^5 ^oo
BRAMWELL.— The Wool Carder's Vade-Mecum :
A Complete Manual of the Art of Carding Textile Fabrics. By W.
C. Bramwell. Third Edition, revised and enlarged. Illustrated,
pp. 4.00. i2mo. ........ $2.50
BRANNT.— A Practical Treatise on the Raw Materials and the
Distillation and Rectification of Alcohol, and the Prepara-
tion of Alcoholic Liquors, Liqueurs, Cordials, Bitters, etc. :
Edited chiefly from the German of Dr. K. Stammer, Dr. F. Eisner,
and E. Schubert. By Wm. T. Brannt. Illustrated by thirty-one
engravings. i2mo. .....•• ^2.50
BRANNT. — The Techno-Chemical Receipt Book :
Containing several thousand Receipts comprising the latest and mobt
useful discoveries in Chemical Technology and Industry. Editel
from the German of Drs. E. Winckler, Heintze and MiERZiNSKl,
with additions by W. T. Brannt. {In preparation.)
BROWN. — Five Hundred and Seven Mechanical Movements:
Embracing all those which are most important in Dynamics, Hy-
draulics, Hydrostatics, Pneumatics, Steam-Engines, Mill and other
Gearing, Presses, Horology and Miscellaneous Machinery ; and in-
cluding many movements never before published, and several of
which have only recently come into use. By Henry T. Brown.
i2mo $1.00
BUCKMASTER.— The Elements of Mechanical Physics :
By J. C. Buckmaster. Illustrated with numerous engravings.
l2mo $i'SO
BULLOCK. — The American Cottage Builder :
A Series of Designs, Plans and Specitications, from $200 to j^20,ooo,
for Homes for the People; together with Warming, Ventilation,
Drainage, Painting and Landscape Gardening. By John Bullock,
Architect and Editor of " The Rudiments of Architecture and
Building,'* etc., etc. Illustrated by 75 engravings. 8vo. S3.50
BULLOCK. — The Rudiments of Architecture and Building :
For the use of Architects, Builders, Draughtsmen, Machinists, En-
gineers and Mechanics. Edited by John Bullock, author of " The
American Cottage Builder." Illustrated by 250 Engravings. 8vo. 1^3.50
HENRY CAREY BAIRD & CO.'S CATALOGUE.
BURQH. — Practical Rules for the Proportions of Modem
Engines and Boilers for Land and Marine Purposes.
By N. P. BuRCH, Engineer. i2mo. . . . . $1.50
BURNS. — The American Woolen Manufacturer:
A Practical Treatise on the Manufacture of Woolens, in two parts.
Part First gives full and explicit instructions upon Drafting, Cross-
Drawing, Combining Weaves, and the correct arrangement of Weights,
Colors and Sizes of Yarns to produce any desired fabric. Illustrated
with diagrams of various weavings, and twelve samples of cloth for
explanation and practice. Part Second is fully supplied with ex-
tended Tables, Rules, Examples, Explanations, etc. ; gives full and
practical information, in detailed order, from the stock department to
the market, of the proper selection and use of the various grades and
staples of wool, with the admixture of waste, cotton and shoddy; and
the proper application and economical use of the various oils, drugs,
dye stuffs, soaps, belting, etc. Also, the most approved method for
Calculating and Estimating the Cost of Goods, for all Wool, Wool
Waste and Cotton and Cotton Warps. With Examples and Calcula-
tions on the Circular motions of Wheels, Pinions, Drums, Pulleys
and Gears, how to speed them, etc. The two parts combined form a
whole work on the American way of manufacturing more complete
than any yet issued. Ey George C. Burns. 8vo. . . ^^6.50
BYLES.— Sophisms of Free Trade and Popular Political
Economy Examined.
By a Barrister (Sir John Barnard Bvles, Judge of Common
Pleas). From the Ninth English Edition, as published by the
Manchester Reciprocity Association. i2mo. . . . ^1.25
BOWMAN.— The Stmcture of the Wool Fibre in its Relation
to the Use of Wool for Technical Purposes :
Being the substance, with additions, of Five Lectures, delivered at
the request of the Council, to the members of the Bradford Technical
College, and the Society of Dyers and Colorists. By F. H. Bow-
man, D. Sc, F. R. S. E., F. L. S. Illustrated by 32 engravings.
8vo ;^6.50
BYRN.— The Complete Practical Distiller:
Comprising the most perfect and exact Theoretical and Practical De-
scription of the Art of Distillation and Rectification ; including all of
the most recent improvements in distilling apparatus ; instructions for
preparing spirits from the numerous vegetables, fruits, etc ; directions
for the distillation and preparation of all kinds of brandies and other
spirits, spirituous and other compounds, etc. By M. La Fayette
Byrn, M. D. Eighth Edition. To which are added Practical
Directions for Distilling, from the French of Th. Fling, Brewer and
Distiller. i2mo • . . $1.50
BYRNE. — Hand-Book for the Artisan, Mechanic, and Engi-
neer:
Comprising the Grinding and Sharpening of Cutting Tools, Abrasive
Processes, Lapidary Work, Gem and Glass Engraving, Varnishing
and Lackering, Apparatus, Materials and Processes for Grinding and
y
HENRY CAREY BAIRD & CO.'S CATALOGUE.
Polishing, etc. By Oliver Byrne. Illustrated by 185 wood en-
gravings. 8vo. . ^5.00
BYRNE. — Pocket-Book for Railroad and Civil Engineers :
Containing New, Exact and Concise Methods for Ikying out Railroad
Curves, Switches, Frog Angles and Crossings ; the Staking out of
work ; Levelling ; the Calculation of Cuttings ; Embankments ; Earth-
work, etc. By Oliver Byrne. iSmo., full bound, pocket-lx)ok
form $^'7S
BYRNE.— The Practical Metal- Worker's Assistant :
Comprising Metallurgic Chemistry ; the Arts of Working all Metals
and Alloys ; Forging of Iron and Steel ; Hardening and Tempering ;
Melting and Mixing; Casting and Founding; Works in Sheet Metal;
the Processes Dependent on the Ductility of the Metals ; Soldering ;
and the most Improved Processes and Tools employed by Metal-
workers. With the Application of the Art of Electro-Metallurgy to
Manufacturing Processes; collected from Original Sources, and from
the works of Holtzapflfel, Bergeron, Leupold, Plumier, Napier,
Scoffern, Clay, Fairbairn and others. By Oliver Byrne. A new,
revised and improved edition, to which is added an Appendix, con-
taining The Manufacture of Russian Sheet-Iron. By John Percy,
M. D., F. R. S. The Manufacture of Malleable Iron Castings, and
Improvements in Bessemer Steel. By A. A. Fesquet, Chemist and
Engineer. With over Six Hundred Engravings, Illustrating every
Branch of the Subject. 8vo ^7-oc
BYRNE.— The Practical Model Calculator:
For the Engineer, Mechanic, Manufacturer of Engine Work, Navai
Architect, Miner and Millwright. By Oliver Byrne. 8vo., nearly
600 pages $4.$^
CABINET MAKER'S ALBUM OF FURNITURE:
Comprising a Collection of Designs for various Styles of Furniture.
Illustrated by Forty-eight Large and Beautifully Engraved Plates.
Oblong, 8vo $3.50
CALLINGHAM.— Sign Writing Mid Glass Embossing:
A Complete Practical Illustrated Manual of the Art. By James
Callingham. i2mo $1.50
CAMPIN. — A Practical Treatise on Mechanical Engineering:
Comprising Metallurgy, Moulding, Casting, Forgjing, Tools, Work-
shop Machinery, Mechanical Manipulation, Manufacture of Steam-
Engines, etc. With an Appendix on the Analysis of Iron and Iron
Ores. By Francis Campin, C. E. To which are added. Observations
oa the Construction of Steam Boilers, and Remarks upon Furnaces
used for Smoke Prevention ; with a Chapter on Explosions. By R.
Armstrong, C. E., and John Bourne. Rules for Calculating the
Change Wheels for Screws on a Turning Lathe, and for a Wheel-
cutting Machine. By J. La Nicca. Management of Steel, Includ-
ing Forging, Hardening, Tempering, Annealing, Shrinking and
Expansion ; and the Case-hardening of Iron. By G. Ede. 8vo.
Illustrated with twenty-nine plates and 100 wood engravings $5.00
Jrf\
HENRY CAREY BAIRD & CO.'S CATALOGUE.
CAREY. — A Memoir of Henry C. Carey.
By Dr. Wm. Elder. With a portrait. 8yo., cloth . . 75
V CAREY.— The Works of Henry C. Carey :
Harmony of Interests : Agricultural, Manufacturing and Commer<
cial. 8vo. $i-S^
Manual of Social Science. Condeased from Carey's ** Principles
of Social Science." By Kate McKean. i vol. i2mo. . $2.25
Miscellaneous Works. With a Portrait. 2 vols. 8vo. $6.00
Past, Present and Future. 8vo. . •» . . . ^^2.50
Principles of Social Science. 3 volumes, 8vo. . . j^ 10.00
The Slave-Trade, Domestic and Foreign; Why it Exists, and
How it may be Extinguished (1853). 8vo. . . . ^2.00
The Unity of Law : As Exhibited in the Relations of Hiysical,
Social, Mental and Moral Science {1872J. 8vo. . . $3'SO
CLARK. — Tramways, their Construction and Working :
Embracing a Comprehensive History of the System. With an ex-
haustive analysis of the various modes of traction, including horse-
power, steam, heated water and compressed air; a description of the
varieties of Rolling stock, and ample details of cost and working ex-
penses. By D. KiNNEAR Clark. Illustrated by over 200 wood
engravings, and thirteen folding plates. 2 vols. 8vo. . if>l2.50
COLBURN.— -The Locomotive Engine :
Including a Description of its Structure, Rules for Estimating its
Capabilities, and Practical Observations on its Construction and Man-
agement. By Zerah Colburn. Illustrated. i2mo. . $1.00
COLLENS.— The Eden of Labor ; or, the Christian Utopia.
By T. Wharton Collens, author of ** Humanics," "The History
of Charity," etc. i2mo. Paper cover, j^ 1. 00; Cloth . t(>l«2S
S<( COOLEY. — A Complete Practical Treatise on Perfumery :
Being a Hand-book of Perfumes, Cosmetics and other Toilet Articles.
With a Comprehensive Collection of Formulae. By Arnold J.
CoOLEY. i2rao $1.50
COOPER.— A Treatise on the use of Belting for the Trans-^
mission of Power.
With numerous illustrations of approved and actual methods of ar-
ranging Main Driving and Quarter Twist Belts, and of Belt Fasten-
ings. Examples and Rules in great number for exhibiting and cal-
culating the size and driving power of Belts. Plain, Particular and
Practical Directions for the Treatment, Care and Management of
Belts. Descriptions of many varieties of Beltings, together with
chapters on the Transmission of Power by Ropes; by Iron and
Wood Friction al Gearing ; on the Strength of Belting Leather ; and
on the Experimental Investigations of Morin, Briggs, and others. By
John H. Cooper, M. E. 8vo I3.50
vRAIK. — The Practical American Millwright and Miller.
By David Craik, Millwright. Illustrated by numerous wood en-
gravings and two folding plates. 8vo $5'00
-1
K
HENRY CAREY BAIRD & CO.'S CATALOGUE.
CRISTIANI.— A Technical Treatise on Soap and Candles :
With a Glance at the Industry of Fats and Oils. By R. S. Cris-
TiANi, Chemist. Author of " Perfumery and Kindred Arts." Illus-
trated by 176 engravings. 581 pages, 8vo. . . . ^^7.50
CRISTIANI.— Perfumery and Kindred Arts:
A Comprehensive Treatise on Perfumery, containing a History of
Perfumes from the remotest ages to the present time. A complete
detailed description of the various Materials and Apparatus used in
the Perfumer's Art, with thorough Practical Instruction and careful
Formulae, and advice for the fabrication of all known preparations of
the day, including Essences, Tinctures, Extracts, Spirits, Waters,
Vinegars, Pomades, Powders, Paints, Oils, Emulsions, Cosmetics,
Infusions, Pastilles, Tooth Powders and Washes, Cachous, Hair Dyes,
Sachets, Essential Oils, Flavoring Extracts, etc. ; and full details for
making and manipulating Fancy Toilet Soaps, Shaving Creams, etc.,
by new and improved methods. With an Appendix giving hints and
advice for making and fermenting Domestic Wines, Cordials, Liquors,
Candies, Jellies, Syrups, Colors, etc., and for Perfuming and Flavor-
ing Segars, Snuff and Tobacco, and Miscellaneous Receipts for
various useful Analogous Articles. By R. S. Cristiani, Con-
sulting Chemist and Perfumer, Philadelphia. Svo. . • if>5.oo
CUPPER.— The Universal Stair-Builder :
Being a new Treatise on the Construction of Stair-Cases and Hand-
Rails; showing Plans of the various forms of Stairs, method of
Placing the Risers in the Cylinders, general method of describing
the Face Moulds for a Hand- Rail, and an expeditious method of
Squaring the Rail. Useful also to Stonemasons constructing Stone
Stairs and Hand-Rails ; with a new method of Sawing the Twist
Part of any Hand- Rail square from the face of the plank, and to a
parallel width. Also, a new method of forming the Easings of the
Rail by a gauge ; preceded by some necessary Problems in Practical
Geometry, with the Sections of Prismatic Solids. Illustrated by 29
plates. By R. A. Cupper, Architect, author of "The Practical
Stair-Builder's Guide." Third Edition. Large 4to. . $2.50
DAVIDSON.— A Practical Manual of House Painting, Grain-
ing, Marbling, and Sign- Writing :
Containing full information on the processes of House Painting in
Oil and Distemper, the Formation of Letters and Practice of Sign-
Writing, the Principles of Decorative Art, a Course of Elementary
Drawing for House Painters, Writers, etc., and a Collection of Useful
Receipts. With nine colored illustrations of Woods and Marbles,
and numerous wood engravings. By Ellis A. Davidson. i2mo.
$3.00
DAVIES. — A Treatise on Earthy and Other Minerals and
Mining :
By D. C. Da VIES, F. G. S., Mining Engineer, etc. Illustrated by
76 Engravings. i2mo t5^5.oo
fO HENRY CAREY BAIRD & CO.'S CATALOGUE.
DAVIES. — A Treatise on Metalliferous Minerals and Mining:
By D. C. Davies, F. G. S., Mining Engineer, Examiner of Mines,
Quarries and Collieries. Illustrated by 148 engravings of Geological
Formations, Mining Operations and Machinery, drawn from th«
practice of all parts of the world. 2d Edition, i2mo., 450 pages $5.00
0AVIE8.— A Treatise on Slate and Slate Quarrying:
Scientific, Practical and Commercial. By D. C. Davies, F. G. S.,
Mining Engineer, etc. With numerous illustrations and folding
plates. i2mo. $2. SO
DAVIS. — A Practical Treatise on the Manufacture of Bricks,
Tiles, Terra-Cotta, etc. :
Including Common, Pressed, Ornamentally Shaped, and Enamelled
Bricks, Drain-Tiles, Straight and Curved Sewer- Pipes, Fire-Clays,
Fire- Bricks, Terra-Cotta, Roofing-Tiles, Flooring-Tiles, Art-Tiles,
Mosaic Plates, and Imitation of Intarsia or Inlaid Surfaces; com-
prising every important Product of Clay employed in Architecture,
Engineering, the Blast- Furnace, for Retorts, etc., with a History and
the Actual Processes in Handling, Disintegrating, Tempering, and
Moulding the Clay into Shape, Drying Naturally and Artificially,
Setting and Burning, Enamelling in Polychrome Colors, Composition
and Application of Glazes, ett. ; including Full Detailed Descriptions
of the most modern Machines, Tools, Kilns, and Kiln-Roofs used.
By Charles Thomas Davis. Illustrated by 228 Engravings and
6 Plates. 8vo., 472 pages . . . . . . $S'0O
DAVIS. — The Manufacture of Leather:
Being a description of all of the Processes for the Tanning, Tawing,
Currying, Finishing and Dyeing of every kind of Leather ; including
the various Raw Materials and the Methods for Determining their
Values; the Tools, Machines, and all Details of Importance con-
nected with an Intelligent and Profitable Prosecution of the Art, with
Special Reference to the Best American Practice. To which are
added Complete Lists of all American Patents for Materials, Pro-
cesses, Tools, and Machines for Tanning, Currying, etc. By Charles
Thomas Davis. Illustrated by 302 engravings and 12 Samples of
Dyed Leathers. One vol., 8vo., 824 pages . . . ^lo.cx)
DAWIDOWSKY— BRANNT.— A Practical Treatise on the
Raw Materials and Fabrication of Glue, Gelatine, Gelatine
Veneers and Foils, Isinglass, Cements, Pastes, Mucilages,
etc. :
Bnsed upon Actual Experience. By F. Dawidowsky, Technical
Chemist. Translated from the German, with extensive additions,
including a description of the most Recent American Processes, by
William T. Brannt, Graduate of the Royal Agricultural College
of Eldena, Prussia. 35 Engravings. i2mo. . . . if>2.50
OE GRAFF.— The Geometrical Stair-Builders' Guide:
Being a Plain Practical System of Hand-Railing, embracing all its
necessary Details, and Geometrically Illustrated by twenty-two Steel
Engravings ; together with the use of the most approved principles
of Practical Geometry. By SiMON De Graff, Architect. 4to.
1^2.50
HENRY CAREY BAIRD & CO\S CATALCXIUE. n
D£ KONINCK— DI£TZ.— A Practical Manual of Chemical
Analysis and Assaying :
As applied to the Manufacture of Iron from its Ores, and to Cast Iron,
Wrought Iron, and Steel, as found in Commerce. By L. L. De
KoNiNCK, Dr. Sc, and E. Dietz, Engineer. Edited with Notes, by
Robert Mallet, F. R. S., F. S. G., M. I. C. E., etc. American
Edition, Edited with Notes and an Appendix on Iron Ores, by A. A.
Fesquet, Chemist and Engineer. i2mo. . . . ;^2.50
DUNCAN.— Practical Surveyor's Guide:
Containing the necessary information to make any person of com-
mon capacity, a finished land surveyor without the aid of a teacher.
By Andrew Duncan. Illustrated. i2mo. . . . $1.25
DUPLAIS. — A Treatise on the Manufacture and Distillation
of Alcoholic Liquors :
Comprising Accurate and Complete Details in Regard to Alcohol
from Wine, Molasses, Beets, Grain, Rice, Potatoes, Sorghum, Aspho-
del, Fruits, etc. ; with the Distillation and Rectification of Brandy.
Whiskey, Rum, Gin, Swiss Absinthe, etc., the Preparation of Aro-
matic Waters, Volatile Oils or Essences, Sugars, Syrups, Aromatic
Tinctures, Liqueurs, Cordial Wines, Effervescing Wines, etc., the
Ageing of Brandy and the improvement of Spirits, with Copious
Directions and Tables for Testing and Reducing Spirituous Liquors,
etc., etc. Translated and Edited from the French of MM. DUPLAIS,
Ain6 et Jeune. By M. McKennie, M. D. To which are added the
United States Internal Revenue Regulations for the Assessment and
Collection of Taxes on Distilled Spirits. Illustrated by fourteen
folding plates and several wood engravings. 743 pp. 8vo. $10 00
DUSSAUCE. — A General Treatise on the Manufacture of
Vinegar :
Theoretical and Practical. Comprising the various Methods, by the
Slow and the Quick Processes, with Alcohol, Wine, Grain, Malt,
Cider, Molasses, and Beets; as well as the Fabrication of Wood
Vinegar, etc., etc. By Prof. H. Dussauce. 8vo. . $5 00
DUSSAUCE.— Practical Treatise on the Fabrication of Matches,
Gun Cotton, and Fulminating Powder.
By Professor H. Dussauce. i2mo <^3 00
DYER AND COLOR-MAKER'S COMPANION:
Containing upwards of two hundred Receipts for making Colors, on
the most approved principles, for all the various styles and fabrics now
in existence ; with the Scouring Process, and plain Directions for
Preparing, Washing-off, and Finishing the Goods. i2mo. $1 2$
EDWARDS. — A Catechism of the Marine Steam-Engine,
For the use of Engineers, Firemen, and Mechanics. A Practical
Work for Practical Men. By Emory Edwards, Mechanical Engi-
neer. Illustrated by sixty-three Engravings, including examples of
the most modern Engines. Third edition, thoroughly revised, with
much additional matter. 12 mo. 414 pages . . . $200
EDWARDS. — Modem American Locomotive Engines,
Their Design, Construction and Management. By Emory Edwards.
Illustrated i2mo. . • |2 00
#£ HENRY CAREY BAIRD & CO.'S CATALOGUE.
EDWARDS. — Modem American Marine Bngines, Boilers, and
Screw Propellers,
Their Design and Construction. Showing the Present Practice of
the most Eminent Engineers and Marine Engine Builders in the
United States. Illustrated by 30 large and elaborate plates. 4to. 1(5.00
EDWARDS.— The Practical Steam Engineer's Guide
In the Design, Construction,* and Management of American Stationary,
Portable, and Steam Fire- Engines, Steam Pumps, Boilers, Injectors,
Governors, Indicators, Pistons and Rings, Safety Valves and Steam
Gauges. For the use of Engineers, Firemen, and Steam Users. By
Emory Edwards. Illustrated by 119 engravings. 420 pages.
i2mo $2 50
ELDER.— Conversations on the Principal Subjects of Political
Economy.
By Dr. William Elder. 8vo $2 s^
ELDER.— Questions of the Day,
Economic and Social. By Dr. William Elder. 8vo. . $^ 00
ELDER. — Memoir of Henry C. Carey.
By Dr. William Elder. 8vo. cloth 75
BRNI. — Mineralogy Simplified.
Easy Methods of Determining and Classifying Minerals, including
Ores, by means of the Blowpipe, and by Humid Chemical Analysis,
based on Professor von Kobell's Tables for the Determination of
Minerals, with an Introduction to Modem Chemistry. By Henry
Erni, A.M., M.D., Professor of Chemistry. Second Edition, rewritten,
enlarged and improved. i2mo. ..... I>300
FAIRBAIRN.— The Pnnciples of Mechanism and Machinery
- of Transmission *
Comprising the Principles of Mechanism, Wheels, and Pulleys,
Strength and Proportions of Shafts, Coupling of Shafts, and Engag-
ing and Disengaging Gear. By Sir William Fairbairn, Bart.
C. E. Beautifully illustrated by over 150 wood-cuts. In one
volume, i2mo. ^2.50
FITCH.— Bessemer Steel,
Ores and Methods, New Facts and Statistics Relating to the Types
of Machinery in Use, the Methods in Vogue, Cost and Class of Labor
employed, and the Character and Availability of the Ores utilized in
the Manufacture of Bessemer Steel in Europe and in the United States ;
together with opinions and excerpts from various accepted authorities.
Compiled and arranged by Thomas W. Fitch. 8vo. . $^ 00
FLEMING. — Narrow Gauge Railways in America.
A Sketch of their Rise, Progress, and Success. Valuable Statistics
as to Grades, Curves, Weight of Rail, Locomotives, Cars, etc. By
Howard Fleming. Illustrated, 8vo $1 S^
FORSYTH.— Book of Designs for Headstones, Mural, and
other Monuments :
Containing 78 Designs. By James Forsyth. With an Introduction
by Charles Boutell, M. A. 4 to., cloth . . . $5 00
I
HENRY CAREY BAIRD & CO.'S CATALOGUE. 13
PRANKEL— HUT^TER.— A Practical Treatise on the Manu-
facture of Starch, Glucose, Starch- Sugar, and Dextrine :
Based on the German of Ladislaus Von Wagner, Professor in the
Royal Technical High School, Buda-Pest, Hungary, and olher
authorities. By Julius Frankel, Graduate of the Polytechnic
School of Hanover. Edited by Robert Hutter, Chemist, Practical
Manufacturer of Starch-Sugar. Illustrated by 58 engravings, cover-
ing every branch of the subject, including examples of the most
Recent and Best American Machinery. 8vo., 344 pp. . ^3.50
GEE.— The Goldsmith's Handbook :
Containing full instructions for the Alloying and Working of Gold,
including the Art of Alloying, Melting, Reducing, Coloring, Col-
lecting, and Refining; the Processes of Manipulation, Recovery of
Waste ; Chemical and Physical Properties of Gold ; with a New
System of Mixing its Alloys; Solders, Enamels, and other Useful
Rules and Recipes. By George E. Gee. i2mo. . . $i-7S
GEE.— The Silversmith's Handbook :
Containing full instructions for the Alloying and Working of Silver,
including the different modes of Refining and Melting the Metal ; its
Solders ; the Preparation of Imitation Alloys ; Methods of Manipula-
tion ; Prevention of Waste; Instructions for Improving and Finishing
the Surface of the Work ; together with other Useful Information and
Memoranda. By George E. Gee, Jeweller. Illustrated. i2mo.
>k GOTHIC ALBUM FOR CABINET-MAKERS :
Designs for Gothic Furniture. Twenty-three plates. Oblong ^2.00
GREENWOOD.— Steel and Iron :
Comprising the Practice and Theory of the Several Methods Pur-
sued in their Manufacture, and of their Treatment in the Rolling-
Mills, the Forge, and the Foundry. By William Henry Green-
wood, F. C. S. Asso. M. I. C. E., M. I. M. E., Associate of the Royal
School of Mines. With 97 Diagrams, 536 pages. i2mo. . $2.00
GREGORY. — Mathematics for Practical Men :
Adapted to the Pursuits of Surveyors, Architects, Mechanics, and
Civil Engineers. By Olinthus Gregory. 8vo., plates . ^3.00
GRIER.— Rural Hydraulics :
A Practical Treatise on Rural Household Water Supply. Giving a
full description of Springs and Wells, of Pumps and Hydraulic Ram,
with Instructions in Cistern Building, Laying of Pipes, etc. By W.
W. Grier. Illustrated 8vo 75
GRIMSHAW.— Modem Milling:
Being the substance of two addresses delivered by request, at the
Franklin Institute, Philadelphia, January 19th and January '27th,
1881. By Robert Grimshaw, Ph. D. Edited from the Phono-
graphic Reports. With 28 Illustrations. 8vo. . . $1.00
GRIMSHAW.— Saws :
The History, Development, Action, Classification, and Comparison
of Saws of all kinds. IVitA Copious Appendices, Giving the details
14 HENRY CAREY BAIRD & CO.'S CATALOGUE.
of Manufacture, Filing, Setting, Gumming, etc. Care and Use of
Saws; Tables of Gauges; Capacities of Saw- Mills; List of Saw-
Patents, and other valuable information. By Robert Grimshaw.
Second and greatly enlarged edition, with Supplement ^ and 354 Illus-
trations. Quarto ^'OO
GRIMSHAW. — ^A Supplement to Qrimshaw on Saws :
Containing additional practical matter, more especially relating to the
Forms of Saw-Teeth, for special material and conditions, and to the
Behavior of Saws under particular conditions. 120 Illustrations, By
Robert Grimshaw. Quarto $2.00
GRISWOLD. — Railroad Engineer's Pocket Companion for the
Field :
Comprising Rules for Calculating Deflection Distances and Angles,
Tangential Distances and Angles, and all Necessary Tables for En-
gineers; also the Art of Levelling from Preliminary Survey to the
Construction of Railroads, intended Expressly for the Young En-
gineer, together with Numerous Valuable Rules and Examples. By
W. Griswold. i2mo., tucks t'^'lS
GRUNER. — Studies of Blast Furnace Phenomena:
By M. L. Gruner, President of the General Council of Mines of
France, and lately Professor of Metallurgy at the Ecole des Mines.
Translated, with the author's sanction, with an Appendix, by L. D.
B. Gordon, F. R. S. E., F. G. S. 8vo. . . . $2.50
GUETTIER.— Metallic Alloys:
Being a Practical Guide to their Chemical and Physical Properties,
their Preparation, Composition, and Uses. Translated from the
French of A. Guettier, Engineer and Director of Founderies,
author of " La Fouderie en France," etc., etc. By A. A. Fesquet,
Chemist and Engineer. i2mo. ^3.00
HASERICK.— The Secrets of the Art of Dyeing Wool, Cotton,
and Linen,
Including Bleaching and Coloring Wool and Cotton Hosiery and
Random Yarns. A Treatise based on Economy and Practice. By
E. C. Haserick. Illustrated by 323 Dyed Patterns of the Yarns
or Fabrics. 8vo. . . $2^.0Q
HATS AND FELTING :
A Practical Treatise on their Manufacture. By a Practical Hatter.
Illustrated by Drawings of Machinery, etc. 8vo. . . $1.25
HENRY. — The Early and Later History of Petroleum :
With Authentic Facts in regard to its Development in Western Penn*
sylvania. With Sketches of the Pioneer and Prominent Operators,
together with the Refining Capacity of the United States. By J. T.
Henry. Illustrated 8vo.
HOFFER. — A Practical Treatise on Caoutchouc and Gutta
Percha,
Comprising the Properties of the Raw Materials, and the manner of
Mixing and Working them ; with the Fabrication of Vulcanized and
Hard Rubbers, Caoutchouc and Gutta Percha Compositions, Water-
HENRY CAREY BAIRD & CO.»S CATALOGUE. 15
proof Substances, EHistic Tissues, the Utilization of Waste, etc., etc.
From the German of Raimund Hoffer. By W. T. Brannt.
Illustrated i2mo $2.50
HOPMANN.— A Practical Treatise on the Manufacture of
Paper in all its Branches :
By Carl Hofmann, I^ate Superintendent of Paper-Mills in Germany
and the United Slates ; recently Manager of the ** Public Ledger **
Paper-Mills, near Elkton, Maryland. Illustrated by no wood en-
gravings, and five large Folding Plates. 4to., cloth; about 400
pages ^30.00
HUGHES. — American Miller and Millwright's Assistant:
By William Carter Hughes. lamo $1-$^
HULME. — Worked Examination Questions in Plane Geomet-
rical Drawing :
For the Use of Candidates for the Royal Military Academy, Wool-
wich ; the Royal Military College, Sandhurst ; the Indian Civil En-
gineering College, Cooper's Hill ; Indian Public Works and Tele-
graph Departments ; Royal Marine Light Infantry ; the Oxford and
Cambridge Local Examinations, etc. By F. Edward Hulme, F. L.
S., F. S. A., Art-Master Marlborough College. Illustrated by 300
examples. Small quarto ^3-75
JERVIS.— Railroad Property:
A Treatise on the Construction and Management of Railways;
designed to afford useful knowledge, in the popular style, to the
holders of this class of property ; as well as Railway Managers, Offi-
cers, and Agents. By John B. Jervis, late Civil Engineer of the
Hudson River Railroad, Croton Aqueduct, etc. i2mo., cloth j^2.oo
KEEN E.— A Hand-Book of Practical Gauging:
For the Use of Beginners, to which is added a Chapter on Distilla-
tion, describing the process in operation at the Custom-House for
ascertaining the Strength of Wines. By James B. Keene, of H. M.
Customs. 8vo. $1.25
^ KELLEY. — Speeches, Addresses, and Letters on Industrial and
Financial Questions :
By Hon. William D. Kelley, M. C. 544 pages, 8vo. . ;^3.oo
KELLOGG. — A New Monetary System :
The only means of Securing the respective Rights of Labor and
Property, and of Protecting the Public from Financial Revulsions.
By Edward Kellogg. Revised from his work on «* Labor and
other Capital." With numerous additions from his TP^n««!cript
Edited by Mary Kellogg Putnam. Fifth edition. To which w
added a Biographical Sketch of the Author. One volume, i2mo.
Paper cover $i.OQ
Bound in cloth 1.50
KEMLO.— Watch-Repairer's Hand-Book:
Being a Complete Guide to the Young Beginner, in Taking Apart,
Putting Together, and Thoroughly Cleaning the English Lever and
other Foreign Watches, and all American Watches. By F. Kemlo,
Practical Watchmaker. With Illustrations. i2mo. . ^1.25
16 HENRY CAREY BAIRD & CO/S CATALOGUE.
KENTISH.->A Treatise on a Box of Instruments,
And the Slide Rule ; with the Theory of Trigonometry and Ix>ga.
rithms, including Practical Geometry, Surveying, Measuring of Tim-
ber, Cask and Malt Gauging, Heights, and Distances. By Thomas
Kentish. In one volume. i2mo. .... j^i.25
KERL.— The Assayer's Manual :
An Abridged Treatise on the Docimastic Examination of Ores, and
Furnace and other Artificial Products. By Bruno Kerl, Professof
in the Royal School of Mines ; Member of the Royal Technical
Commission for the Industries, and of the Imperial Patent-Office,
Berlin. Translated from the German by Wiluam T. Brannt,
Graduate of the Royal Agricultural College of Eldena, Prussia.
Edited by William H. Wahl, Ph. D., Secretary of the Franklin
Institute, Pliiiadelphia. Illustrated by sixty-five engravings. 8vo.
$3.00
KINGZETT.— The History, Products, and Processes ef the
Alkali Trade :
Including the most Recent Improvements. By Charles Thomas
KiNGZETT, Consulting Chemist. With 23 illustrations. 8vo. 1^2.50
KINSLEY. — Self- Instructor on Lumber Surveying :
For the Use of Lumber Manufacturers, Surveyors, and Teachers.
By Charles Kinsley, Practical Surveyor and Teacher of Surveying.
i2mo. .......... j^2.oa
KIRK.^The Founding of Metals :
A Practical Treatise on the Melting of Iron, with a Description of the
Founding of Alloys; also, of all the Metals and Mineral Substances
used in the Art of Founding. Collected from original sources. By
Edward Kirk, Practical Foundryman and Chemist. Illustrated.
Third edition. 8vo. ....... $2.50
KITTREDGE.— The Compendium of Architectural Sheet-
Metal Work :
Profusely Illustrated. Embracing Rules and Directions for Estimates,
Items of Cost, Nomenclature, Tables of Brackets, Modillions, Den-
tals, Trusses, Stop-Blocks, Frieze Pieces, etc. Architect's Specifica-
tion, Tables of Tin-Roofing, Galvanized Iron, etc., etc. To which is
added the Exemplar of Architectural Sheet- Metal Work, containing
details of the Centennial Buildings, and other important Sheet-Metal
Work, Designs and Prices of Architectural Ornaments, as manufac-
tured for the Trade by the Kittredge Cornice and Ornament Com-
pany, and a Catalogue of Cornices, Window-Caps, Mouldings, etc., as
manufactured by the Kittredge Cornice and Ornament Company,
The whole supplemented by a full Index and Table of Contents. By
A. O. Kittredge. 8vo., 565 pages .... $5.00
LANDRIN.— A Treatise on Steel :
Comprising its Theory, Metallurgy, Properties, Practical Working,
and Use. By M. H. C. Landrin, Jr., Civil Engineer. Translated
from the French, with Notes, by A. A. Fesquet, Chemist and En-
gineer. With an Appendix on the Bessemer and the Martin PrO'
cesses for Manufacturing Steel, from the Report of Abram S. Hewitt
HENRY CAREY BAIRD & CO.'S CATALOGUE. 17
United States Commissioner to the Universal Exposition, Paris, 1867.
l2mo 4^300
LARDEN.— A School Course on Heat :
By W. Larden, M. A. 321 pp. i2mo ^((2.00
JUARDNER.— The Steam-Engine :
For the Use of Beginners. By Dr. Lardner. Illustrated. i2mo.
75
LARKIN. — The Practical Brass and Iron Founder's Guide :
A Concise Treatise *on Brass Founding, Moulding, the Metals and
their Alloys, etc.; to which are added Recent Improvements in the
Manufacture of Iron, Steel by the Bessemer Process, etc., etc. By
James Larkin, late Conductor of the Brass Foundry Department in
Reany, Neafie & Co.'s Penn Works, Philadelphia. Fifth edition,
revised, with extensive additions. i2mo. . . . ^2.25
t'EROUX. — A Practical Treatise on the Manufacture of
Worsteds and Carded Yams :
Comprising Practical Mechanics, with Rules and Calculations applied
to Spinning ; Sorting, Cleaning, and Scouring Wools ; the English
and French Methods of Combing, Drawing, and Spinning Worsteds,
and Manufacturing Carded Yarns. Translated from the French of
Charles Leroux, Mechanical Engineer and Superintendent of a
Spinning-Mill, by Horatio Paine, M. D., and A. A. Fesquet,
Chemist and Engineer. Illustrated by twelve large Plates. To which
is added an Appendix, containing Extracts from the Reports of the
International Jury, and of the Artisans selected by the Committee
appointed by the Council of the Society of Arts, London, on Woolen
and Worsted Machinery and Fabrics, as exhibited in the Paris Uni-
versal Exposition, 1867. 8vo. $5.00
LEFFEL. — The Construction of Mill-Dams :
Comprising also the Building of Race and Reservoir Embankments
and Head-Gates, the Measurement of Streams, Gauging of Water
Supply, etc. By James Leffel & Co. Illustrated by 58 engravings.
8vo. ^2.50
LESLIE.— Complete Cookery:
Directions for Cookery in its Various Branches. By Miss Leslie.
Sixtieth thoasand. Thoroughly revised, with the addition of New
Receipts. In i2mo., cloth |(i>.5o
LIEBER. — Assayer's Guide :
Or, Practical Directions to Assayers, Miners, and Smelters, for the
Tests and Assays, by Heat and by Wet Processes, for the Ores of all
the principal Metals, of Gold and Silver Coins and Alloys, and of
Coal, etc. By Oscar M. Lieber. i2mo. . . . iii.25
LOVE. — The Art of Dyeing, Cleaning, Scouring, and Finish-
ing, on the Most Approved English and French Methods :
Being Practical Instructions in Dyeing Silks, Woolens, and Cottons,
Feathers, Chips, Straw, etc. Scouring and Cleaning Bed and Win-
dow Curtains, Carpets, Rugs, etc. French and English Cleaning,
any Color or Fabric of Silk, Satin, or Damask. By Thomas Love,
a Working Dyer and Scourer. Second American Edition, to which
|8 HENRY CAREY BAIRD & CO.'S CATALOGUE.
are added General Instructions for the use of Aniline Colors. 8vo.
343 P^gcs ^S'OO
LUKIN.—Amongst Machines:
Embracing Descriptions of the various Mechanical Appliances used
in the Manufacture of Wood, Metal, and other Substances. i2mo.
LUKIN. — The Boy Engineers :
What They Did, and How They Did It. With 30 plates. i8mo.
LUKIN.— The Young Mechanic :
Practical Carpentry. Containing Directions for the Use of all kinds
of Tools, and for Construction of Steam- Engines and Mechanical
Models, including the Art of Turning in Wood and Metal. By John
LuKiN, Author of "The Lathe and Its Uses," etc. Illustrated.
i2mo $1.75
MAIN and BROWN. — Questions on Subjects Connected with
the Marine Steam-Engine :
And Examination Papers* with Hints for their Solution. By
Thomas J. Main, Professor of Mathematics, Royal Naval College,
and Thomas Brown, Chief Engineer, R. N. i2mo., cloth . 1^1.50
MAIN and BROWN. — The Indicator and D3mamometer:
With their Practical Applications to the Steam-Engine. By Thomas
J. Main, M. A. F. R., Ass't S. Professor Royal Naval College,
Portsmouth, and Thomas Brown, Assoc. Inst. C. E., Chief Engineer
R. N., attached to the R. N. College. Illustrated. Svo. . $l.SO
MAIN and BROWN.— The Marine Steam-Engine.
By Thomas J. Main, F. R. Ass't S. Mathematical Professor at the
Royal Naval College, Portsmouth, and Thomas Brown, Assoc.
Inst. C. E., Chief Engineer R. N. Attached to the Royal Naval
College. With numerous illustrations. Svo. . . . 1^5.00
MARTIN.— Screw-Cutting Tables, for the Use of Mechanical
Engineers :
Showing the Proper Arrangement of Wheels for Cutting the Threads
of Screws of any Required Pitch ; with a Table for Making the Uni-
versal Gas-Pipe Thread and Taps. By W. A. Martin, Engineer.
8to. 50
MICHELL.— Mine Drainage:
Being a Complete and Practical Treatise on Direct-Acting Under-
ground Steam Pumping Machinery. With a Description of a large
number of the best known Engines, their General Utility and the
Special Sphere of their Action, the Mode of their Application, and
their Merits compared with other Pumping Machinery. By Stephen
MiCHELL. Illustrated by 137 engravings. 8vo., 277 pages . $6.00
MOLESWORTH.— Pocket-Book of Useful Formulae and
Memoranda for Civil and Mechanical Engineers.
By Guilford L. Molesworth, Member of the Institution of Civil
Engineers, Chief Resident Engineer of the Ceylon Railway. Full-
bound in Pocket-book form Itl.OO
HENRY CAREY BAIRD & CO.'S CATALOGUE. 19
MOORE. — The Universal Assistant and the Complete Me-
chanic :
Containing over one million Industrial Facts, Calculations, Receipts,
Processes, Trades Secrets, Rules, Business Forms, Legal Items, Etc.,
in every occupation, from the Household to the Manufactory. By
R. Moore. Illustrated by 500 Engravings. i2mo. . $2.50
MORRIS. — Easy Rules for the Measurement of Earthworks :
By means of the Prismoidal Formula. Illustrated with Numerous
Wood-Cuts, Problems, and Examoles, and concluded by an Exten-
sive Table for finding the Solidity in cubic yards from Mean Areas.
The whole being adapted for convenient use by Engineers, Surveyors,
Contractors, and others needing Correct Measurements of Earthwork.
By Elwood Morris, C. E. 8vo $1.50
V" MORTON. — The System of Calculating Diameter, Circumfer-
ence, Area, and Squaring the Circle :
Together with Interest and Miscellaneous Tables, and other informa-
tion. By James Morton. Second Edition, enlarged, with the
Metric System. i2mo $1.00
NAPIER.— Manual of Electro-Metallurgy :
Including the Application of the Art to Manufacturing Processes.
By James Napier. Fourth American, from the Fourth London
edition, revised and enlarged. Illustrated by engravings. 8vo. ^51. 50
NAPIER. — A System of Chemistry Applied to Dyeing.
By James Napier, F. C. S. A New and Thoroughly Revised Edi-
tion. Completely brought up to the present state of the Science,
including the Chemistry of Coal Tar Colors, by A. A. Fesquet,
Chemist and Engineer. With an Appendix on Dyeing and Calico
Printing, as shown at the Universal Exposition, Paris, 1867. Illus-
trated. 8vo. 422 pages $5. 00
NEVILLE.— Hydraulic Tables, Coefficients, and Formulae, for
finding the Discharge of Water from Orifices, Notches,
Weirs, Pipes, and Rivers :
Third Edition, with Additions, consisting of New Formulae for the
Discharge from Tidal and Flood Sluices and Siphons ; general infor-
mation on Rainfall, Catchment- Basins, Drainage, Sewerage, Water
Supply for Towns and Mill Power. By Tohn Neville, C. E. M. R.
I. A. ; Fellow of the Royal Geological Society of Ireland. Thick
l2mo. .......... $S'S^
NEWBERY. — Gleanings from Ornamental Art of every
style :
Drawn from Examples in the British, South Kensington, Indian,
Crystal Palace, and other Museums, the Exhibitions of 185 1 and
1862, and the best English and Foreign works. In a series of 100
exquisitely drawn Plates, containing many hundred examples. By
RolBERT NEWBERY. 4tO. $12.50
NICHOLLS. —The Theoretical and Practical Boiler-Maker and
Engineer's Reference Book:
Containing a variety of Useful Information ^or Employers of Labor,
Foremen and Working Boiler-Makers, Iron, Copper, and Tinsmiths,
90 HENRY CAREY BAIRD & CO/S CATALOGUE.
Draughtsmen, Engineers, the General Steam-using Public, and for th«
Use of Science Schools and Classes. By Samuel Nicholls. Illus-
trated by sixteen plates, i2mo. .*.... $2,$c>
NICHOLSON.— A Manual of the Art of Bookbinding:
Containing full instructions in the different Branches of Forwarding,
Gilding, and Finishing. Also, the Art of Marbling Book-edges and
Paper. By James B. Nicholson. Illustrated. i2mo., cloth I2.25
NICOLLS.— The Railway BuUder:
A Hand-Book for Estimating the Probable Cost of American Rail-
way Construction and Equipment. * By William J. Nicolls, Civil
Engineer. Illustrated, full bound, pocket-book form . $2.00
NORMANDY.— The Commercial Handbook of Chemical An-
alysit :
Or Practical Instructions for the Determination of the Intrinsic or
Commercial Value of Substances used in Manufactures, in Trades,
and in the Arts. By A. Normandy. New Edition, Enlarged, and
to a great extent rewritten. By Henry M. Noad, Ph.D., F.R.S.,
thick i2mo $5-00
N ORRIS. — ^A Handbook for Locomotive Engineers and Ma-
chinists :
Comprising the Proportions and Calculations for Constructing Loco-
motives ; Manner of Setting Valves ; Tables of Squares, Cubes, Areas,
etc., etc. By Septimus Norris, M. E. New edition. Illustrated,
l2mo $1.50
NORTH.— The Practical Assayer :
Containing Easy Methods for the Assay of the Principal Metals and
Alloys. Principally designed for explorers and those interested in
Mines. By Oliver North. Illustrated. i2mo. . $2.50
NYSTROM. — A New Treatise on Elements of Mechanics :
Establishing Strict Precision in the Meaning of Dynamical Terms :
accompanied with an Appendix on Duodenal Arithmetic and Me-
trology. By John W. Nystrom, C. E. Illustrated. 8vo. ^2.00
KYSTROM. — On Technological Education and the Construc-
tion of Ships and Screw Propellers :
For Naval and Marine Engineers. By John W. Nystrom, late
Acting Chief Engineer, U. S. N. Second edition, revised, with addi-
tional matter. Illustrated by seven engravings. i2mo. . $1.50
O'NEILL. — A Dictionary of Dyeing and Calico Printing :
Containing a brief account of all the Substances and Processes in
use in the Art of Dyeing and Printing Textile Fabrics ; with Practical
Receipts and Scientific Information. By Charles O'Neill, Analy-
tical Chemist. To which is added an Essay on Coal Tar Colors and
their application to Dyeing and Calico Printing. By A. A. Fesquet,
Chemist and Engineer. With an appendix on Dyeing and Calico
Printing, as shown at the Universal Exposition, Paris, 1867. 8vo.,
491 pages . . , I5.00
ORTON. — Underground Treasures*.
How and Where to Find Them. A Key for the Ready Determination
of all the Useful Minerals within the United States. By James
■
i
HENRY CAREY BAIRD & CO.'S CATALOGUE. 21
Orton, A.m., Late Professor of Natural History in Vassar College,
N. Y.; Cor. Mem. of the Academy of Natural Sciences, Philadelphia,
and of the Lyceum of Natural History, New York ; author of the
" Andes and the Amazon," etc. A New Edition, with Additions.
Illustrated $1.50
OSBORN.— The Metallurgy of Iron and Steel :
Theoretical and Practical in all its Branches ; with special reference
to American Materials and Processes. By H. S. OsBORN, LL. D.,
Professor of Mining and Metallurgy in Lafayette College, Easton,
Pennsylvania. Illustrated by numerous large folding plates and
wood-engravings. 8vo. 1(25.00
OVERMAN.— The Manufacture of Steel :
Containing the Practice and Principles of Working and Making Steel.
A Handbook for Blacksmiths and Workers in Steel and Iron, Wagon
Makers, Die Sinkers, Cutlers, and Manufacturers of Files and Hard-
ware, of Steel and Iron, and for Men of Science and Art. By
Frederick Overman, Mining Engineer, Author of the " Manu-
facture of Iron," etc. A new, enlarged, and revised Edition. By
A. A. Fesquet, Chemist and Engineer. i2mo. . . 1 1.50
OVERMAN.— The Moulder's and Founder's Pocket Guide :
A Treatise on Moulding and Founding in Green-sand, Dry-sand, Loam,
and Cement ; the Moulding of Macliine Frames, Mill-gear, Hollow-
ware, Ornaments, Trinkets, Bells, and Statues; Description of Moulds
for Iron, Bronze, Brass, and other Metals ; Plaster of Paris, Sulphur,
Wax, etc. ; the Construction of Melting Furnaces, the Melting and
Founding of Metals ; the Composition of Alloys and their Nature,
etc., etc. By Frederick Overman, M. E. A new Edition, to
which is added a Supplement on Statuary and Ornamental Moulding,
Ordnance, Malleable Iron Castings, etc. By A. A. Fesquet, Chem-
ist and Engineer. Illustrated by 44 engravings. i2mo. . $2.00
PAINTER, GILDER, AND VARNISHER'S COMPANION :
Containing Rules and Regulations in everything relating to the Ar;«
of Painting, Gilding, Varnishing, Glass-Staining, Graining, Marbling,
Sign- Writing, Gilding on Glass, and Coach Painting and Varnishing;
Tests for the Detection of Adulterations in Oils, Colors, etc. ; and a
Statement of the Diseases to which Painters are peculiarly liable, with
the Simplest and Best Remedies. Sixteenth Edition. Revised, wiih
an Appendix. Containing Colors and Coloring — Theoretical ano
Practical. Comprising descriptions of a great variety of Additional
Pigments, their Qualities and Uses, to which are added, Dryers, anc'
Modes and Operations of Painting, etc. Together with Chevreui's
Principles of Harmony and Contrast of Colors. i2mo. Cloth $1.50
PALLETT.— The Miller's, Millvmght's, and Engineer's Guide.
By Henry Pallett. Illustrated. i2mo. . . . $3.00
PEARSE. — A Concise History of the Iron Manufacture of the
American Colonies up to the Revolution, and of Pennsyl-
vania until the present time.
By John B. Pearse. Illustrated i2mo. . . . $2.00
€2 HENRY CAREY BAIRD & CO/S CATALOGUE.
PERCY. — The Manufacture of Russian Sheet-Iron.
By John Percy, M. D., F. R. S., Lecturer on Metallurgy at the
Royal School of Mines, and to The Advance Cla$s of Artillery
Officers at the Royal Artillery Institution, Woolwich ; Author of
" Metallurgy." With Illustrations. 8vo., paper . . 50 cts.
PERKINS.— Gas and Ventilation :
Practical Treatise on Gas and Ventilation. With Special RelatioH
to Illuminating, Heating, and Cooking by Gas. Including Scientific
Helps to Engineer-students and others. With Illustrated Diagrams.
By E. E. Perkins. i2mo., cloth $1.2$
PERKINS AND STOWE.— A New Guide to the Sheet-iron
and Boiler Plate Roller : v
Containing a Series of Tables showing the Weight of Slabs and Piles
to Produce Boiler Plates, and of ihe Weight of Piles and the Sizes of
Bars to produce Sheet-iron; the Thickness of the Bar Gauge
in decimals ; the Weight per foot, and the Thickness on the Bar or
Wire Gauge of the fractional parts of an inch; the Weight per
sheet, and the Thickness on the Wire Gauge of Sheet-iron of various
dimensions to weigh ii2 lbs. per bundle; and the convereion of
Short Weight into Long Weight, and Long Weight into Short.
Estimated and collected by G. H. Perkins ami J. G. Stowe. JJ2.50
S POWELL— CHANCE— HARRIS.— The Principles of Glass
Making.
By Harry J. Powell, B. A. Together with Treatises on Crown and
Sheet Glass; by Henry Chance, M. A. And Plate Glass, by H.
G. Harris, Asso. M. Inst. C. E. Illustrated i8mo. . Ii-So
PROTEAUX.— Practical Guide for the Manufacture of Paper
and Boards.
By A. Proteaux. From the French, by Horatio Paine, A. B.,
M. D. To which is added the Manufacture of Paper from Wood,
by Henry T. Brown. Illustrated by six plates. 8vo.
PROCTOR.— A Pocket-Book of Useful Tables and Formulae
for Marine Engineers.
By Frank Proctor. Second Edition, Revised and Enlarged.
Full bound pocket-book form ...... $l-SO
REGNAULT. — Elements of Chemistry.
By M. V. Regnault. Translated from the French by T. Forrest
Betton, M. D., and edited, with Notes, by James C. Booth, Melter
and Refiner U. S. Mint, and William L. Faber, Metallurgist and
Mining Engineer. Illustrated by nearly 700 wood engmvings. Com-
prising nearly 1,500 pages. In two volumes, 8vo., cloth . $7.50
RIFFAULT, VERGNAUD, and TOUSSAINT.— A Practical
Treatise on the Manufacture of Colors for Painting :
Comprising the Origm, Definition, and Classification of Colors ; the
Treatment of the Ra^/- Materials ; the best Formulae and the Newest
Processes for the Preparation of every description of Pigment, and
the Necessary Apparatus and Directions for its Use ; Dryers ; the
Testing, Application, and Qualities of Paints, etc., etc. By MM.
^^iFFAUi.T. Vergnaud, and Toussaint. Revised and Edited by M*
HENRY CAREY BAIRD & CO/S CATALOGUE. 23
F. Malepeyre. Translated from the French, by A. A. Fesquet,
Chemist and Engmeer. Illustrated by Eighty engravings. In one
vol., 8vo., 659 pages $7^S^
ROPER. — A Catechism of High- Pressure, or Non-Condensing
Steam -Engines :
Including the Modelling, Constructing, and Management of Steam-
Engines and Steam Boilers.- With valuable illustrations. By Ste-
phen Roper, Engineer. Sixteenth edition, revised and enlarged,
i^mo., tucks, gilt edge . . . . . . . $2.00
ROPER. — Engineer's Handy- Book :
Containing a full Explanation of the Steam-Engine Indicator, and its
Use and Advantages to Engineers and Steam Users. With Formulae
for Estimating the Power of all Classes of Steam- Engines ; also.
Facts, Figures, Questions, and Tables for Engineers who wish to
qualify themselves for the United Stales Navy, the Revenue Service,
the Mercantile Marine, or to take charge of the Better Class of Sta-
tionary Steam-Engines. Sixth edition. i6mo.. 690 pages, tucks,
gilt edge . . . . fe.50
ROPER. — Hand-Book of Land and Marine Engines :
Including the Modelling, Construction, Running, and Management
of Land and Marine Engines and Boilers. With il?ustrations. By
Stephen Roper, Engineer. Sixth edition. i2mo.,ti'cks, gilt edge.
fc.50
ROPER.— Hand-Book of the Locomotive :
Including the Construction of Engines and Boilers, and the Construc-
tion, Management, and Running of Locomotives. By Stephen
Roper. Eleventh edition. i8mo., tucks, gilt edge . ^2.50
ROPER. — Hand-Book of Modern Steam Fire-Engines.
With illustrations. By Stephen Roper, Engineer. Fourth edition,
i2mo., tucks, gilt edge $3.50
ROPER. — Questions and Answers for Engineers.
This little book contains all the Questions that Engineers will be
asked when undergoing an Examination for the purpose of procuring
Licenses, and they are so plain that any Engineer or Fireman of or-
dinary intelligence may commit them to memory in a short time. By
Stephen Roper, Engineer. Third edition . . . $3.00
ROPER. — Use and Abuse of the Steam Boiler.
By Stephen Roper, Engineer. Eighth edition, with illustrations.
i8mo., tucks, gilt edge . . • j^2.oo
ROSE.— The Complete Practical Machinist :
Embracing Lathe Work, Vise Work, Drills and Drilling, Taps and
Dies, Hardening and Tempering, the Making and Use of Tools,
Tool Grinding, Marking out Work, etc. By Joshua Rose. Illus-
trated by 356 engravings. Thirteenth edition, thoroughly revised
and in great part rewritten. In one vol., i2mo., 439 pages ^2.50
ROSE.— Mechanical Drawing Self-Taught:
Comprising Instructions in the Selection and Preparation of Drawing
Instruments, Elementaiy Instruction in Practical Mechanical Draw-
C4 HENRY CAREY BAIRD & CX).'S CATALOGUE.
ing, together with Examples in Simple Geometry and Elementary
Mechanism, including Screw Threads. Gear Wheels, Mechanical Mo-
tions, Engines and Boilers. By Joshua Rose, M. E., Author of
** The Complete Practical Machinist," " The Pattern-maker's A.^sist-
ant," ** The Slide-valve." Illustrated by 330 engravings. 8vo., 313
pages ^4.00
ROSE.— The Slide- Valve Practicajly Explained:
Embracing simple and complete Practical Demonstrations of the
operation of each element in a Slide-valve Movement, and illustrating
the effects of Variations in their Proportions by examples carefully
selected from the most recent and successful practice. By Joshua
Rose, M. E., Author of "The Complete Practical Machinist," " The
Pattern-maker's Assistant," etc. Illustrated by 35 engravings |l.oo
ROSS. — The Blowpipe in Chemistry, Mineralogy and Geology :
Containing all Known Methods of Anhydrous Analysis, many Work-
ing Examples, and Instructions for Making Apparatus. By Lieut.-
CoLONEL W. A. Ross, R. A. F., G. S. With 120 Illustrations.
l2mo 1^1.50
SHAW.— Civil Architecture :
Being a Complete Theoretical and Practical System of Building, con^
taining the Fundamental Principles of the Art. By Edward Shaw,
Architect. To which is added a Treatise on Gothic Architecture, etc.
By Thomas W. Silloway and George M. Harding, Architects.
The whole illustrated by 102 quarto plates finely engraved on copper.
Eleventh edition. 4to . $10.00
SHUNK.— A Practical Treatise on Railway Curves and Loca-
tion, for Young Engineers.
By William F. Shunk, Civil Engineer. i2mo. Full bound pocket-
lx>ok form ......... |(2.oo
SLATER.— The Manual of Colors and Dye Wares.
By J. W. Slater. i2mo 153-75
SLOAN. — American Houses:
A variety of Original Designs for Rural Buildings. Illustrated by
twenty-six colored Engravings, with Descriptive References. By
Samuel Sloan, Architect, author of the " Model Architect,'* etc.
etc. 8vo $1.50
SLOAN. — Homestead Architecture :
Containing Forty Designs for Villas, Cottages, and Farm-houses, with
Essays on Style, Construction, Landscape Gardening, Furniture, etc.,
etc. Illustrated by upwards of 200 engravings. By Samuel Sloan,
Architect. 8vo $3S^
SM BATON. —Builder's Pocket-Companion :
Containing the Elements of Building, Surveying, and Architecture ;
with Practical Rules and Instructions connected with the subject. By
A. C. Smeaton, Civil Engineer, etc. i2mo. . . ^ . $1.50
SMITH.— A Manual of Political Economy.
By E. Peshine Smith. A new Edition, to which is added a full
Index. I2m<). * $^'2$
\
HENRY CAREY BAIRD & CO.'S CATALOGUE. 25
SMITH. — Parks and Pleasure -Grounds :
Or Practical Notes on Country Residences, Villas, Public Parks, and
Gardens. By Charles H. J. Smith, Landscape Gardener and
Garden Architect, etc., etc. i2mo. . . . . ^2.00
SMITH.— The Dyer's Instructor :
Comprising Practical Instructions in the Art of Dyeing Silk, Cottonj
Wool, and Worsted, and Woolen Goods; containing nearly 800
Receipts. To which is added a Treatise on the Art of Padding; and
the Printing of Silk Warps, Skeins, and Handkerchiefs, and the
various Mordants and Colors for the different styles of such work.
By David Smith, Pattern Dyer. i2mo. . . . jjlj.oo
SMYTH. — A Rudimentary Treatise on Coal and Coal-Mining.
By Warrington W. Smyth, M. A., F. R. G., President R. G. S.
of Cornwall. Fifth edition, revised and corrected. With numer-
ous illustrations. i2mo. . . . . . . $^*7S
SNIVELY. — A Treatise on the Manufacture of Perfumes and
Kindred Toilet Articles.
By John H. Snively, Phr. D., Professor of Analytical Chemistry in
the Tennessee College of Pharmacy. 8vo. . . . $3.00
SNIVELY.— Tables for Systematic Qualitative Chemical Anal-
ysis.
By John H. Snively, Phr. D. 8vo. . . . . ;J5i.oo
SNIVELY.— The Elements of Systematic Qualitative Chemical
Analysis :
A Hand-book for Beginners. By John H. Snively, Phr. D. i6mo.
$2.00
STEWART.-^The American System :
Speeches on the Tariff Question, and on Internal Improvements,
principally delivered in the House of Representatives of the United
States. By Andrew Stewart, late M. C. from Pennsylvania.
With a Portrait, and a Biographical Sketch. 8vo. . . $3.00
STOKES.— The Cabinet Maker and Upholsterer's Companion :
Comprising the Art of Drawing, as applicable to Cabinet Work ;
Veneering, Inlaying, and Buhl-Work ; the Art of Dyeing and Stain*
ing Wood, Ivory, Bone, Tortoise-Shell, etc. Directions for Lacker-
ing, Japanning, and Varnishing; to make French Polish, Glues,
Cements, and Compositions; with numerous Receipts, useful to work-
men generally. By J. Stokes. Illustrated. A New Edition, with
an Appendix upon French Polishing, Staining, Imitating, Varnishing,
etc., etc. i2nio jf5i.2S
STRENGTH AND OTHER PROPERTIES OF METALS:
Reports of Experiments on the Strength and other Projjerties of
Metals for Cannon. With a Description of the Machines for Testing
Metals, and of the Classification of Cannon in service. By Officers
of the Ordnance Department, U. S. Army. By authority of the Secre-
tary of War. Illustrated by 25 large steel plates. Quarto . ;$iio.oo
SULLIVAN.— Protection to Native Industry.
By Sir Edward Sullivan, Baronet, author of *'Ten Chapters on
Social Reforms." 8vo • ^1.50
26 HENRY CAREY BAIRD & CO.'S CATALCKJUE.
SYME. — Outlines of an Industrial Science.
By David Syme. i2mo. |2.cx>
TABLES SHOWING THE WEIGHT OF ROUND,
SQUARE, AND FLAT BAR IRON, STEEL, ETC.,
By Measurement. Cloth 63
TAYLOR.— Statistics of Coal :
Including Mineral Bituminous Substances employed in Arts and
Manufactures ; with their Geographical, Geological, and Commercial
Distribution and Amount of Production and Consumption on the
American Continent. With Incidental Statistics of the Iron Manu-
facture. By R. C. Taylor. Second edition, revised by S. S. Halde-
MAN. Illustrated by five Maps and many wood engravings. 8vo.,
cloth $10.00
TEMPLETON. — The Practical Examinator on Steam and the
Steam-Eng^e :
With Instructive References relative thereto, arranged for the Use of
Engineers, Students, and others. By William Templeton. En-
gineer. i2mo. $i'2S
THAUSING.— The Theory and Practice of the Preparation of
Malt and the Fabrication of Beer:
With especial reference to the Vienna Process of Brewing. Elab-
orated from personal experience by Julius E. Thausing, Professor
at the School for Brewers, and at the Agricultural Institute, Mddling,
near Vienna. Translated from the German by William T. Brannt,
Thoroughly and elaborately edited, with much American matter, and
according to the latest and most Scientific Practice, by A. Schwarz
and Dr. A. H. Bauer. Illustrated by 140 Engravings. 8vo., 815
pages ' . . $10.00
THOMAS.— The Modem Practice of Photography :
By R. W. Thomas, F. C. S. 8vo. .... 75
THOMPSON.— Political Economy. With Especial Reference
to the Industrial History of Nations :
By Robert E. Thompson, M. A., Professor of Social Science in the
University of Pennsylvania. i2mo. .... ;<^i.50
THOMSON.— Freight Charges Calculator:
By Andrew Thomson, Freight Agent. 24mo. . . I1.25
TURNER*S (THE) COMPANION:
Containing Instructions in Concentric, Elliptic, and Eccentric Turn-
i'.ig; also various Plates of Chucks, Tools, and Instruments; and
Directions for using the Eccentric Cutter, Drill, Vertical Cutter, and
Circular Rest; with Patterns and Instructions for working them.
i2mo #1.25
TURNING: Specimens of Fancy Turning Executed on the
Hand or Foot- Lathe :
With Geometric, Oval, and Eccentric Chucks, and Elliptical Cutting
Frame. By an Amateur. Illustrated by 30 exquisite Photographs.
4to. . . $5.00
URBIN—BRULL.— A Practical Guide for Puddling Iron and
Steel.
By Ed. Urbin, Engineer of Arts and Manufactures. A Prize Essay,
HENRY CAREY BAIRD & CO.'S CATALOGUE. 27
read before the Association of Engineers, Graduate of the School of
Mines, of Liege, Belgium, at the Meeting of 1865-6. To which is
added A Comparison of the Resisting Properties of Iron and
Steel. By A. Brull. Translated from the French by A. A. Pec-
quet, Chemist and Engineer. 8vo. . . . . $1.00
VAILB.— Galvanized-Iron Cornice-Worker's Manual :
Containing Instructions in Laying out the Different Mitres, and
Making Patterns for all kinds of Plain and Circular Work. Also,
Tables of Weights, Areas and Circumferences of Circles, and other
Matter calculated to Benefit the Trade. By Charles A. Vaile.
Illustrated by twenty-one plates. 4to $5.00
VILLE. — On Artificial Manures :
Their Chemical Selection and Scientific Application to Agriculture.
A series of Lectures given at the Experimental Farm at Vincennes,
during 1867 and 1874-75. By M. Georges Ville. Translated and
Edited by William Crookes, F. R. S. Illustrated by thirty-one
engravings. Svo., 450 pages ...... $6.00
VILLE. — The School of Chemical Manures :
Or, Elementary Principles in the Use of Fertilizing Agents. From
the French of M. Geo. Ville, by A. A. Fesquet, Chemist and En-
gineer. With Illustrations. i2mo. . . . . ^(1.25
VOGDES. — The Architect's and Builder's Pocket-Companion
and Price-Book:
Consisting of a Short but Comprehensive Epitome of Decimals, Duo-
decimals, Geometry and Mensuration ; with Tables of United States
Measures, Sizes, Weights, Strengths, etc., of Iron, Wood, Stone,
Brick, Cement and Concretes, Quantities of Materials in given Sizes
and Dimensions of Wood, Brick and Stone; and full and complete
Bills of Prices for Carpenter's Work and Painting ; also. Rules for
Computing and Valuing Brick and Brick Work, Stone Work, Paint-
ing, Plastering, with a Vocabulary of Technical Terms, etc. By
Frank W. Vogdes, Architect, Indianapolis, Ind. Enlarged, revised,
and corrected. In one volume, 368 pages, full-bound, pocket-book
form, gilt edges . . . - $2.00
Cloth . . »...••• 1.50
WAHL. — Galvanoplastic Manipulations :
A Practical Guide for the Gold and Silver Electroplater and the Gal-
vanoplastic Operator. Comprising the Electro- Deposition of all
Metals by means of the Battery and the Dynamo-Electric Machine,
as well as the most approved Processes of Deposition by Simple Im-
mersion, with Descriptions of Apparatus, Chemical Products employed
in the Art, etc. Based largely on the " Manipulations Hydioplas-
tiques" of Alfred Roseleur. By William H. Wahl, Ph. D.
( Heid), Secretary of the Franklin Institute. Illustrated by 189 en-
gravings. 8vo., 656 pages ^7*50
WALTON.— Coal-Mining Described and Illustrated:
By Thomas H. Walton, Mining Engineer. Illustrated by 24 large
and elaborate Plates, after Actual Workings and Apparatus. ;jJ5.oo
28 HENRY CAREY BAIRD & CO/S CATALOGUE.
WARE.—The Sugar Beet.
Including a History of the Beet Sugar Industry in Europe, Varieties
of the Sugar Beet, Examination, Soils, Tillage, Seeds and Sowing,
Yield and Cost of Cultivation, Harvesting, Transportation, Conserva-
tion, Feeding Qualities of the Beet and of the Pulp, etc. By Lewis
S. Ware, C. E., M. E. Illustrated by ninety engravings. 8vo.
WARN.— The Sheet-Metal Worker's Instructor:
For Zinc, Sheet-Iron, Copper, and Tin-Plale Workers, etc. Contain-
ing a selection of Geometrical Problems ; also. Practical and Simple
Rules for Describing the various Patterns required in the different
branches of the above Trades. By Reuben H. Warn, Practical
Tin-Plate Worker. To which is added an Appendix, containing
Instructions for Boiler- Making, Mensuration of Surfaces and Solids,
Rules for Calculating the Weights of different Figures of Iron and
Steel, Tables of the Weights of Iron, Steel, etc. Illustrated by thirty-
two Plates and thirty-seven Wood Engravings. 8vo. . $3.00
WARNER. — New Theorems, Tables, and Diagrams, for the
Computation of Earth-work :
Designed for the use of Engineers in Preliminary and Final Estimates,
of Students in Engineering, and of Contractors and other non-profes-
sional Computers. In two parts, with an Appendix. Part I. A Prac-
tical Treatise; Part II. A Theoretical Treatise, and the Appendix.
Containing Notes to the Rules and Examples of Part I. ; Explana-
tions of the Construction of Scales, Tables, and Diagrams, and a
Treatise upon Equivalent Square Bases and Equivalent Level Heights.
The whole illustrated by numerous original engravings, comprising
explanatory cuts for Definitions and Problems, Stereometric Scales
and Diagrams, and a scries of Lithographic Drawings from Models :
Showing all the Combinations of Solid Forms which occur in Railroad
Excavations and Embankments. By John Warner, A. M., Mining
and Mechanical Engineer. Illustrated by 14 Plates. A new, revised
and improved edition. 8vo. ...... I^.oo
WATSON.— A Manual of the Hand-Lathe :
Comprising Concise Directions for Working Metals of all kinds.
Ivory, Bone and Precious Woods; Dyeing, Coloring, and French
Polishing; Inlaying by Veneers, and various methods practised to
produce Elaborate work with Dispatch, and at Small Expense. By
Egbert P. Watson, Author of " The Modem Practice of American
Machinists and Engineers." Illustrated by 78 engravings. #1.50
WATSON. — The Modem Practice of American Machinists and
Engineers :
Including the Construction, Application, and Use of Drills, Lathe
Tools, Cutters for Boring Cylinders, and Hollow -work generally , with
the most Economical Speed for the same; the Results verified by
Actual Practice at the Lathe, the Vise, and on the Floor. Togethei
HENRY CAREY BAIRD & CO.'S CATALOGUE; 29
with Workshop Management, Economy of Manufacture, the Steam-
Engine, Boilers, Gears, Belling, etc., etc. By Egbert P. Watson.
Illustrated by eighty-six engravings. l2mo. . . . $2.^Q
WATSON.— The Theory and Practice of the Art of Weaving
by Hand and Power :
With Calculations and Tables for the Use of those connected with the
Trade. By John Watson, Manufacturer and Practical Machine-
Maker. Illustrated by large Drawings of the best Power Looms.
8vo. . . ' . • $7'$^
WATT.— The Art of Soap Making :
A Practical Hand-book of the Manufacture of Hard and Soft Soaps,
Toilet Soaps, etc., including many New Processes, and a Chapter on
the Recovery of Glycerine from Waste Leys. By Alexander
Watt. 111. i2mo. ^3.00
WEATHERLY.— Treatise on the Art of Boiling Sugar, Crys-
tallizing, Lozenge-making, Comfits, Gum Goods,
And other processes for Confectionery, etc., in which are explained,
in an easy and familiar manner, the various Methods of Manufactur-
ing every Description of Raw and Refined Sugar G6ods, as sold by
Confectioners and others. i2nio. ..... $l'S^
WEDDING.— Elements of the Metallurgy of Iron.
By Dr. Hermann W^edding, Royal Privy Counsellor of Mines, Ber-
lin, Prussia. Translated from the second revised and rewritten Ger-
man edition. By William T. Brann t, Graduate of the Royal Ag-
ricultural College at Eldena, Prussia. Edited by William H.
Wahl, Ph. D., Secretary of the Franklin Institute, Philadelphia.
Illustrated by about 250 engravings. 8vo., about 500 pages {^In prep-
aration.^
WEINHOLD.— Introduction to Experimental Physics, Theo-
retical and Practical.
Including directions for Constructing Physical Apparatus and for
Making Experiments. By Adolf F. Weinhold, Professor in the
Royal Technical School at Chemnitz. Translated and edited, with
• the author's sanction, by Benjamin Loewy, F. R. A. S., with a
preface, by G. C. Foster, F. R. S. Illustrated by three colored plates
and 404 wood-cuts. 8vo., 848 pages .... |(6.oo
WIGHTWICK.— Hmts to Young Architects :
Compnsmg Advice to those who, while yet at school, are destined
to the Profession ; to such as, having passed their pupilage, are about
to travel ; and to those who, having completed their education, are
about to practise. Together with a Model Specification involviiig a
great variety of instructive and suggestive matter. By Georgk
Wightwick, Architect. A new edition, revised and considerably
enlarged; comprising Treatises on the Principles of Construction
and Design. By G. Huskisson Guillaume, Architect. Numerous
Illustrations. One vol. i2mo jp2.00
WILL. — Tables of Qualitative Chemical Analysis.
With an Introductory Chapter on the Course of Analysis. By Pro-
fessor Heinrich Will, of Giessen, Germany. Third American,
JO HENRY CAREY BAIRD & CO.'S CATALOGUE.
from the eleventh German edition. Edited by Charles F. Himes,
,Ph. D., Professor of Natural Science, Dickinson College, Carlisle, Pa.
8vo. . . • $1*5^
WILLIAMS.— On Heat and Steam :
Embracing New Views of Vaporization. Condensation, and Explo-
sion. By Charles Wye Williams, A. I. C. E. Illustrated 8vo.
WILSON. — A Treatise on Steam Boilers :
Their Strength, Construction, and Economical Working. By Robert
Wilson. Illustrated i2mo I2.50
WILSON. — Cotton Carder's Companion :
In which is given a descrij)tion of the manner of Picking, Baling,
Marketing, Opening, and Carding Cotton ; to which is added a list of
valuable Tables, Rules, and Receipts, by Foster Wilson. i2mo.
ti.so
WILSON.^First Principles of Political Economy :
With Reference to Statesmanship and the Progress of Civilization.
By Professor W. D. Wilson, of the Cornell University. A new and
revised edition. i2mo $i.SO
WOHLER. — A Hand-book of Mineral Analysis.
By F. WOhler, Professor of Chemistry in the University of GSttin*
gen. Edited by Henry B. Nason, Professor of Chemistry in the
Renssalaer Polytechnic Institute, Troy, New York. Illustrated
i2mo 1^3.00
WORSSAM.— On Mechanical Saws:
From the Transactions of the Society of Engineers, 1869. By S. W.
WoRSSAM, Jr. Illustrated by eighteen large plates. 8vo. . ^(2.50
RECENT ADDITIONS.
CREW. — ^A Practical Treatise on Petroleum :
Comprising its Geographical Distribution, its Geology, Chemistry,
Mining, Refining, Preparation, and Uses. Together with a Descrip-
tion of Gas Wells and the Application of Gas as Fuel, etc. By Ben-
jamin J. Crew. Illustrated. Svo. (In preparation.)
DAVIS. — A Treatise on Steam -Boiler Incrustation and Meth-
ods for Preventing Corrosion and the Formation of Scale :
By Charles T. Davis. Illustrated by 65 engravings. Svo. I2.00
^'v
p