draw with white marking chalk on front of it the plan or
arrangement of outline it is intended to adopt--straight or
curved, as the case may be. A rule is used for marking the
straight lines and a piece of twine for the curved lines. Now
divide these guide lines up into as many spaces as there are
letters to go on, carefully proportioning them. Then apply the
cement to the back of the letters with a knife, laying on equally
around both the inside edges. Place the letter upon the window in
the space marked for it and work it up and down, back and forth,
pressing against the glass, so as to expel the air and secure a
good adhesion, and taking care to press equally on top and bottom
of the letter, as otherwise there is a likelihood of breaking.
It is advisable, in cementing larger sized letters than six
inches, to leave the letters lay for an hour after placing the
cement around the edges, and then to give another coat of cement
and attach the letters immediately. The object is to prevent all
the cement from working inside the concave parts of the letters.
In affixing larger and heavy letters, small pieces of beeswax
(or, in summer, sealing wax) should be employed to keep them
in position until the cement sets. As soon as the letters are
attached to the glass take a small stick of wood, sharpen it on
the end and clean away all superfluous cement, keeping the end
of the stick constantly wet. Particular care should be taken to
leave no openings between the letters and the glass (especially
around the top edges) which would allow water to get in between.
If wax has been used, remove it after a few days and clean with
a rag. The sign is then complete for long service. The above
method will answer equally well on any smooth surface such as
stone, iron, marble, wood.
To make the cement, mix two parts of white lead ground in oil
with three parts of dry white lead, and thin it down to the
consistency of soft putty with some good furniture or copal
varnish. Then take small parts of it and grind them on a stone or
glass plate in the manner of painters grinding color with a bowl
or palette knife. This is to be continued until the cement is
entirely smooth and cornless, and then it is ready for use.
To remove enameled letters, the most convenient way is to
scratch away around the edges all the cement you can from under
the letters. Use for this purpose a very thin knife or a piece
of thin sheet steel. You will soon reach the soft part of the
cement; then cut away with a sawing motion and twist them off.
Do not attempt to pry the letters off, or they may break. If the
cement should be very hard, say after a number of years, use a
little kerosene oil, which is applied on the top edges of the
letters, so as to work in and soften the cement.
WALL SIZING FOR KALSOMINING.
There are many things about wall sizing, which depend largely upon
good judgment for success, because the treatment must be varied
according to the condition of the wall or ceiling. A good size is
made of good white glue, ½ pound; alum, 1 pound.
Dissolve the glue in the usual way; that is, soak it in cold water
until soft, then pour off the cold water and pour on the hot water;
and stir until the glue is dissolved.
Dissolve the alum in hot water.
Then stir the glue, and put in the alum water. Thin the mixture
with water to the right consistency to work well.
If one coat is not sufficient, give it two; or if there are porous
places in the wall, touch them up.
In many cases a simple glue size is sufficient, but if you use the
glue and alum size as above directed, you will be pretty sure of a
good foundation for kalsomine.
One of the most difficult things to overcome in preparing ceilings
for kalsomine is the water stain, which is liable to be invisible
until developed by a coat of kalsomine. If you find water stains on
a ceiling and suspect that there may be others which do not show,
go over the ceiling with a thin wash of whiting mixed in clear
water, which when dry will develop all hidden stains. To kill a bad
stain, first put on a coat of oil, japan and turps, equal parts;
second, put on a coat of good heavy shellac; third, give the spots
a coat of flat lead. This treatment is for dark stains; for light
stains a coat or two of shellac will stop the stain. It is best to
put a coat of keg lead thinned with turps over the shellac, because
kalsomine is liable to scale off from shellac.
On cheap work, if the stain is not too dark, it may be kept back by
pasting a piece of paper over it. If the wall has been kalsomined
it is always in order to wash off the old kalsomine. If the work
has been whitewashed, either take it off or first give it a wash
of strong vinegar, then a glue size, which, if put on thin and
plentifully while warm in a warm room, is about the best size I
know of for whitewash. I have often used it successfully when it
was not practicable on account of the weakness of the ceiling
or other cause to take off the old whitewash. Two thin coats of
good glue size on firm whitewash makes as fair a foundation for
kalsomine as can be made on old whitewash.
When it will not pay you to wash off the old kalsomine, a coat or
two of the wall sizing described above will make a good foundation.
SIGN PAINTING.
To the beginner I will say: Learn the letters; get a variety of
alphabets in your head; the more you have the better you will be
prepared to do a pleasing variety of sign writing. A variety of
letters arranged in alphabets are given in the following pages as
a convenient means of reference for the painter who may desire to
refresh his memory, as to the form of any letter represented, or to
make a study of them with a view of acquiring a knowledge of the
formation of letters generally.
[Illustration: No. 1. GOTHIC CONDENSED
A B C D E F G
H I J K L M N
O P Q R S T U
V W X Y Z & .
]
[Illustration: No. 1. GOTHIC CONDENSED--continued.
a b c d e f g h
i j k l m n o p q
r s t u v w x y z
1 2 3 4 5 6
7 8 9 0 , .
]
[Illustration: No. 2. BLANCHARD.
A B C D E F G H
I J K L M N O P
Q R S T U V W X
Y Z &
1 2 3 4 5 6 7 8 9 0
a b c d e f g h i j
k l m n o p q r s
t u v w x y z , .
]
[Illustration: No. 3. ALASKAN.
A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z &
1 2 3 4 5 6 7 8 9 0 , .
]
[Illustration: No. 4. OLD STYLE EXTENDED.
A B C D E F
G H I J K L M
N O P Q R S T
U V W X Y Z & , .
a b c d e f g h
i j k l m n o
p q r s t u v
w x y z 1 2 3
4 5 6 7 8 9 0
]
[Illustration: No. 5. LINING GOTHIC.
A B C D E
F G H I J
K L M N
O P Q R S
T U V W
X Y Z & , .
1 2 3 4 5
6 7 8 9 0
]
[Illustration: No. 6. CONDENSED DE VINNE.
A B C D E F G H
I J K L M N O
P Q R S T U V
W X Y Z & , .
1 2 3 4 5 6 7 8 9 0
a b c d e f g h i j
k I m n o p q r s
t u v w x y z
]
[Illustration: No. 7. GOTHIC SHADED.
A B C D E
F G H I J K
L M N O P
Q R S T U
V W X Y Z
& , .
1 2 3 4 5
6 7 8 9 0
]
[Illustration: No. 8. RONALDSON SLOPE.
_A B C D E F G H I J
K L M N O P Q R S T
U V W X Y Z & , .
1 2 3 4 5 6 7 8 9 0_
]
[Illustration: No. 9. FLORENTINE.
A B C D E F G H
I J K L M N O P
Q R S T U V W X
Y Z & , .
1 2 3 4 5 6 7 8 9 0
]
[Illustration: No. 10. FRENCH OLD STYLE.
A B C D E F G H I
J K L M N O P Q R
S T U V W X Y Z & , .
]
[Illustration: No. 11. LIVERMORE.
_A B C D E F G H I
J K L M N O P Q
R S T U V W X Y Z
& , . a b c d e f g h i j
k l m n o p q r s t u v
w x y z 1 2 3 4 5 6 7
8 9 0_
]
[Illustration: No. 12. CASLON OLD STYLE.
A B C D E F G
H I J K L M N
O P Q R S T U
V W X Y Z & , .
1 2 3 4 5 6 7 8 9
0 a b c d e f g h
i j k l m n o p q
r s t u v w x y z
]
[Illustration: No. 13. SATANICK.
A B C D E
F G H I J K
L M N O P
Q R S T U
V W X Y Z
]
[Illustration: No. 13. SATANICK--continued.
a b c d e f g h
i j k l m n o p
q r s t u v w x
y z 1 2 3 4 5 6
7 8 9 0 . , ! ? &
]
[Illustration: No. 14. COLUMBUS.
A B C D E F G
H I J K L M N O
P Q R S T U V W
X Y Z & , . 1 2 3
4 5 6 7 8 9 0 a
b c d e f g h i j
k l m n o p q r s
t u v w x y z
]
[Illustration: No. 15. BRADLEY.
A B C D E F G H I J K
L M N O P Q R S T U
V W X Y Z a b c d e f
g h i j k l m n o p q r s
t u v w x y z & , .
]
[Illustration: No. 16. DORIC ITALIC.
_A B C D E F G H I
J K L M N O P Q R
S T U V W X Y Z , .
& 1 2 3 4 5 6 7 8 9 0_
]
LIST OF PRICES AND MODE OF MEASUREMENT.
Prices for Painting and Glazing.
SQUARE MEASURE.
Plain weather boarding, close fencing,
ledge doors, partitions, paling
fences, etc. All common colors, viz.:
White, light yellow, slate, pearl,
light drab or cream color, for each
coat, per yard 8 cents
Each coat of varnish 10 cents
PANEL WORK.
Flush panel work, panel doors, recesses,
etc., the above colors, for
each coat, per yard 10 cents
The same in two colors 12 cents
The same in three colors 14 cents
Striping after other work is finished,
per foot, lineal measure 1 cent
For expensive or unused colors, per
yard, additional 1 cent
For each coat of varnish, per yard 12 cents
For each coat of shellac, per yard 12 cents
BRICK WORK.
_Per Yard._
First coat 15 cents
Second coat 12 cents
Third coat 10 cents
Penciling 15 cents
Mastic or cement, first coat 20 cents
Additional coats, same as brick.
INSIDE WALL PAINTING.
_Per Yard._
First coat 12 cents
Second coat 10 cents
Third coat 8 cents
STOPPING AND CLEANING.
Ordinary puttying, charge price of first coat for the several kinds
of work. Puttying longitudinal joints in ceilings, siding, floors,
etc., to be charged from two to four times the price of first coat
for the several kinds of work, at the discretion of the measurer.
SURFACING, STAINING AND VARNISHING.
Each coat surfacing 10 cents
Each coat stain 8 cents
Each coat varnish 12 cents
LINEAL MEASURE.
Pilasters, architraves, frames, jambs, base mouldings, etc:
----_Each Coat_----
_Girth._ _Per Foot._ _Varnish._
1 to 4 inches ½c ¾c
4 to 6 inches ¾c 1 c
6 to 8 inches 1 c 1¼c
8 to 10 inches 1¼c 1½c
10 to 12 inches 1½c 1¾c
12 to 14 inches 1¾c 2 c
14 to 16 inches 2 c 2¼c
16 to 18 inches 2¼c 2½c
18 to 20 inches 2½c 2¾c
20 to 22 inches 2¾c 3 c
22 to 24 inches 3 c 3¼c
Larger dimensions taken in square measure.
Column mantels as above.
Panel jambs, door casings, etc., to be measured by the above rule.
Plain rosettes, add one foot to length.
Carved rosettes, add two feet to length.
Other carved or ornamental work at the discretion of the measurer.
MODE OF MEASURING.
Begin at wall, press line in all quirks to bead at edge of jamb
casing for girth. For jambs take inner sash rabbet to corner bead,
double the height and measure between jambs for length.
STRING BOARD, ETC.
_Per Foot._
Plain, each coat 2 cents
Bracketed, each coat 3 cents
Carved, each coat 4 cents
Staff beads, each coat ½ cent
Edge of shelves, each coat ¼ cent
CORNICES AND COLUMNS--PLAIN.
_Per Foot._
Girth, 1 to 2 feet, each coat 3 cents
Girth, 2 to 3 feet, each coat 4 cents
Girth, 3 to 4 feet, each coat 5 cents
Girth, 4 to 5 feet, each coat 6 cents
Plain caps on columns, add to length two feet.
Ornamental caps on columns, add to length four feet.
CORNICES WITH BRACKETS.
_Per Foot._
Girth, 1 to 2 feet, each coat 4 cents
Girth, 2 to 3 feet, each coat 6 cents
Girth, 3 to 4 feet, each coat 8 cents
Girth, 4 to 5 feet, each coat 10 cents
Girth, 5 to 6 feet, each coat 12 cents
Larger dimensions in proportion.
Dental cornices, same price as brackets.
MODE OF MEASURING.
For girth, begin at top, press line into all quirks and over each
member to the bottom, and to the length add one-half the medium
girth of the brackets multiplied by their number.
PRIMING OR TRACING AND GLAZING SASH.
EACH SIZE, PER LIGHT.
_Old_
_Priming_ _Glazing_
_or_ _New_ _and Glass_
_Tracing._ _Glazing._ _S.S._
8 to 10 × 12 to 14 $0.01¼ $0.05 $0.20
12 × 16 or 18 .01½ .08 .35
14 × 24 .02 .10 .40
18 × 24 .03 .14 .50
_D.S._
24 × 30 $ .05 $ .18 $1.00
26 × 36 .06 .20 1.30
30 × 36 .08 .25 1.65
36 × 40 .10 .30
40 × 44 .12 .35
40 × 50 .14 .40
40 × 50 .16 .50
50 × 60 .18 .60
50 × 70 .20 .75
These prices do not apply when called out to glaze one or two
lights.
For back puttying add one-quarter, and for bedding add one-half, to
the above rates.
In new glazing cost of glass not included.
All breakage at the risk of the owners, if glass is furnished by
them. To all bills of glass furnished by the trade 20 per cent.
will be charged additional.
PLATE GLASS.
Sizes same as table above, at same prices. Sizes above to 90 square
feet, 5 per cent. on net cost delivered; 90 to 108 square feet, 8
per cent.; 108 square feet and upwards, 10 per cent.
Removing old glass, same as above. The owner to pay cost of taking
up large glass above first floor.
Unless otherwise provided for, glazier puts glass in at his own
risk of breakage, but cutting will be at owner’s risk.
SANDING.
First coat of sand equal to two coats of paint, in addition to
paint.
Second coat of sand equal to three coats of paint, in addition to
paint.
GRAINING--SQUARE MEASURE.
_Per Yard._
Plain oak $0.40
Plain walnut or ash .70
Plain satinwood or maple .70
Plain mahogany or cherry .70
Shaded oak .50
Penciled oak or ash 1.00
Penciled chestnut or cherry 1.00
Penciled walnut 1.00
Rosewood 1.00
Oak root 1.50
LINEAL MEASURE.
_Girth._ _Graining._ _Varnishing._
1 to 4 inches, per foot $0.03 $0.00¾
4 to 6 inches, per foot .04 .01
6 to 8 inches, per foot .05 .01¼
8 to 10 inches, per foot .06 .01½
10 to 12 inches, per foot .07 .01¾
12 to 14 inches, per foot .08 .02
14 to 16 inches, per foot .09 .02¼
16 to 18 inches, per foot .10 .02½
Other members in proportion.
Graining edges of shelves, per foot, 1½ cents.
Graining sash, double the price of plain painting.
MARBLING--SQUARE MEASURE.
White, per yard $0.75
Other kinds, per yard 1.00
Varnishing, each coat, per yard .12
LINEAL MEASURE.
_All members_ ----_Per foot_----
_from_ _Marbling._ _Varnishing._
1 to 8 inches girth $0.08 $0.01
8 to 10 inches girth .12 .01¼
10 to 12 inches girth .16 .01½
12 to 14 inches girth .18 .02
14 to 16 inches girth .20 .02¼
Larger members in proportion.
CLEANING AND KALSOMINING.
Ceilings and walls, per yard $0.16
Plain cornices, 1 to 2 feet girth, per foot .02
Plain cornices, 2 to 4 feet girth, per foot .03
Add to the above for each color, if more than one, 1 cent per
foot.
DEDUCTIONS.
The price of any work measured and not specified in this list shall
be fixed by the measurer.
The measurer is hereby authorized to deduct from 5 to 20 per cent.
from the price of any work that in his judgment is not first-class.
FEES FOR MEASURING.
Jobs amounting to $150 or less 5 per cent.
Jobs amounting to over $150 and less than $500 4 per cent.
Jobs amounting to over $500 and less than $1,000 3 per cent.
Jobs amounting to over $1,000 2 per cent.
_Sign Painting._
FACIA SIGNS.
_Gold._ _Plain._
12 feet long $ 8.00 $ 4.00
14 feet long 9.00 4.00
16 feet long 10.00 5.00
18 feet long 12.00 6.00
20 feet long 15.00 7.00
24 feet long 16.50 8.00
Above includes two coats of paint.
BRASS SIGNS.
3 × 14 inches $ 3.50
4 × 20 inches 5.00
6 × 8 inches 4.00
6 × 12 inches 4.50
8 × 14 inches 5.00
10 × 14 inches 5.00
12 × 17 inches 6.00
14 × 20 inches 7.00
18 × 25 inches 10.00
24 × 30 inches 15.00
Sill signs, per square foot 3.50
Square signs, per square foot 3.00
TO MAKE HARD PUTTY.
_For Carriage Work._
Mix equal parts of dry __________ and keg white lead with equal
parts of rubbing varnish and gold size japan; mix thoroughly and
pound well.
_For Hurried Work._
Mix dry white lead with equal parts of rubbing varnish and gold
size japan. Keep hard putty covered in water when not in use.
TO MAKE AND APPLY KALSOMINE.
Soak one pound good white glue in cold water until soft, then pour
off the cold water, and dissolve the glue in hot water. Mix twenty
pounds of good whiting in water to a thick paste; dissolve one
pound of alum in water, and add it to the mixture. Before mixing
the glue and whiting, put in your tinting colors, which should be
ground in water. Test your color by dipping in a piece of paper
and letting it dry. After you put in the glue, test in the same
way to see if there is enough glue to bind it well, then set your
kalsomine aside to get cold.
Thin to good workable consistency with cold water.
Have in enough glue to hold it from washing up when you have to
put on a second coat. Too much glue will cause the kalsomine to go
on hard, and crack and scale off when dry. If it dries too fast,
add two ounces of glycerine to one gallon of kalsomine. Have good
staging, and two men for a good sized room. Use good kalsomine
brushes, and work fast. Lay on the kalsomine freely; the beauty of
the work will depend upon how you lay it off, and level it up. Put
it on not as you would paint, _all one way_, but work your brush in
all directions, until your work is level, then carefully lay it off
with light strokes.
For a white job put in a little blue. If you have never done a job
of kalsomining, and have no one to aid you, practice on the wall in
your shop or any other place, until you get the knack of it. Cover
a small space and see how it comes out.
Always finish lightly with the point of your brush. If an edge
dries, stop and wet it with a clean brush and clear water; if
careful you can join to it without showing “laps.” If you find
you have missed any spots wet the edges in the same way, and
carefully touch them up with kalsomine. If you find after all your
precautions, a water stain has come through your kalsomine, wet
the place with a solution of sugar of lead, made in proportion of
1 ounce sugar of lead to 1 quart of rain water; it may kill the
stain. See article on wall sizing and water stains, page 39.
Rough places in plaster take more color than a smooth wall, hence
they are liable to show spots; so it stands you in hand to make
such places smooth as possible; to do this take off the rough sand
with sandpaper and knife or trowel on a thin coat of plaster paris,
or give the rough places an extra coat or two or size. Fill all
cracks and holes, and give the filling time to dry before putting
on the size, because otherwise it will take more color than the
balance of the wall and your work will look spotted.
In the kalsomining season have some large tubs and mix up as much
whiting in hot water as you will need for several days. Add your
color, glue, size and alum to _as much only_ as you want for
immediate use. In hot weather I use liquid glue.
LIQUID GLUE FOR KALSOMINE AND WALL SIZING.
For use in hot weather, a liquid glue which will not decompose and
smell badly is very desirable to the workmen and the inmates of the
house.
_No. 1._ To make such a glue fill a bottle a little more than half
full of broken up good white glue, and fill the bottle with common
whisky or equal parts of alcohol and water. Let it stand a few days
and it will dissolve the glue; this glue will keep for years. Keep
the bottle corked.
_No. 2._ Melt your glue in the usual way, thick as you will want
it for any purpose, then put in ½ or ¾ ounce _nitric acid_ to each
pound of glue used; enough to give the glue a sour taste, like
vinegar. The acid keeps it in a liquid state, and from spoiling. If
you melt the glue in an iron kettle pour it into a wooden vessel,
before you add the acid, otherwise the acid will act on the iron
and blacken the glue. When wanted for use it can be thinned as
desired with cold water; a cask full of this made up and kept air
tight so the water will not evaporate will be found very handy
to draw from, when you want a little in a hurry for glue size or
kalsomine. When you make it up in this way put in at least 1 ounce
of acid to the pound of glue to make sure it will keep liquid, so
you can draw it from the cask.
Acetic acid will answer the same purpose as nitric acid, but it
will take more of it and make the liquid glue more expensive.
TO PREPARE AN OLD WALL FOR PAINT OR PAPER.
First cut out all the cracks V shape, clean out the holes and bevel
the edges same as the cracks. Then fill with fine plaster paris
mixed with thin glue size. Fill with care; when dry, sandpaper the
filling smooth and level. If the wall is sandy or rough, sandpaper
it smooth as you can. If the holes are large, have a plasterer
stop them, if you can; if you fail in that, and the job must be
done soon, fit in thin boards, fill around the edges with plaster,
and paste on cloth, or extra paper; but to do a nice job you must
insist on having the large holes plastered. If the _hole is up out
of reach_, and too large for you to fill, cement the edges with
plaster, stretch a piece of cloth, or extra thickness of paper over
it, and it will look all right, because the paper will shrink tight
when it dries. If you find places where the clinches are broken,
and the plaster is loose, press the plaster back to its place if
you can, and cut small holes through the plaster and turn small
broad headed screws into the lath even with the plaster and cement
around the screws with plaster paris.
If it is a smooth wall with rough, sandy patches, sandpaper down
the patches a little below the level of the wall, sweep out the
loose plaster, give a coat of glue size, and knife or trowel in a
coat of plaster paris mixed with glue size or vinegar, and when
dry, sandpaper until smooth and level.
There are several points to be considered and provided for in
filling cracks in a plastered wall preparatory to painting. First,
are the edges of the cracked wall level? To determine this, lay
your rule across the crack, and if you find the plaster on one
side of the crack higher than the other, it shows that side of the
wall has sprung out of place, because the laths are loose or the
clinches are broken. The first thing on the program is to get the
highest edges back to “place.” Failing in that, the next best thing
is to raise the other side. If that scheme don’t work, the next
method is to use sandpaper on a block and rub down the highest
side with a wide bevel to match the lowest, otherwise your filling
will be at an angle more or less acute with the general surface
of the wall, and cast a shadow or reflect the light according to
which way the light falls upon it, and the place where the crack
was will “show” in spite of your best efforts to conceal it. If
you find one edge of a crack higher than the other, gently press
against it, and if it goes back to place, cement it with plaster
paris wet up in clear water, and it will set in three minutes hard
enough to hold the plaster in place. If the loose edge will not go
back by gentle pressure, lay a piece of board over it and push hard
as you dare to and not crush the plaster. If it is still obstinate,
drill out a piece and insert a bent wire or other instrument made
on purpose, and see if you can feel the obstruction and remove
it. Failing in this, see if you can raise up the lower side to a
level with the highest and cement it fast. If the last scheme is
too much for your patience and ingenuity, resort to the block and
sandpaper, and rub down the high side with a wide bevel to match
the other. The next point is to prevent the paint near the edges
of the crack, and on the filling which we put in, from drying flat
while the balance of the wall bears out a gloss. To do this we must
find out the cause of the “flatting” near the edges of the crack
and over the “filling.” If we examine into the matter, we will find
that when the wall cracked the plaster adjacent was more or less
fractured and made more porous than the uninjured portions of it.
Hence, more oil is drawn from the paint near the crack than where
the wall is solid. Now, for the remedy: With a small pointed brush
wet the edges of the crack with linseed oil until they will take
no more in. Let the oil dry, and fill the crack with plaster mixed
with thin glue size, but have the top of the filling one-sixth of
an inch below the surface of the wall. Let the filling dry, and
with a fine pointed brush paint over the top of the filling and the
edges of the crack. Let the paint dry, and finish filling with hard
putty. Let the putty dry, and sandpaper the job smooth and level.
If you have to bevel the highest edge with sandpaper, first fill
the beveled portion with oil. Let the oil dry, and fill the pores
with hard putty, because the part beveled with sandpaper will be
more porous than the balance of the wall. Treat and fill all small
holes by the same method. Filling cracks in this way is a little
tedious, I admit; but it is the only way that I know of to stop a
crack in plaster, so it will stay stopped and not show after it is
painted.
HOW TO PAINT A PLASTERED WALL.
Prime with lead and raw oil, tinted like succeeding coats. Have the
prime thin, not more than five pounds of white lead to the gallon
of oil; add a little benzine or turps to make it more penetrating.
If the room is cool, warm up your prime before you add the benzine
or turps. The idea is to have it penetrate as much as possible;
brush the prime well into the wall. If it is a sand wall, brush
off the loose sand. If it is a smooth one, putty coated or hard
finished wall, see that there are no lumps or grains of sand left
on the surface. It is a good idea to pass the hand over the wall to
feel the lumps, and to knock off lumps and grains of sand by going
over the work with sandpaper.
For second coat use glue size, made as directed on another page.
_Third coat._ Mix so as to dry with a gloss, have the body fairly
thick, and spread it well out. Mix with 3 parts linseed oil to 1
part turps.
_Fourth coat._--If this coat is to be flat, mix it thick enough to
cover well; mix mainly with turps, if the weather is hot, or from
any other cause the paint don’t work well, add a little linseed
oil. For an egg shell gloss, use about 1 part oil _and 3 parts
turps_.