^ 
 
 
 T 
 
 305 
 
 Via 
 
LIBRARY OF CONGRESS. 
 
 -r \ 
 
 "TS^ 
 
 
 UNITED STATES OF AMERICA. 
 
^^ Hi^illex's 
 
 II 
 
 
 Bi>©©-^ip% IB^Qjlk, 
 
 THIRD ANJ) RKVISED EDITION. 
 
 By R. C. MILLER, 
 
 PRACTICAL PAINTER. 
 
 XENIA, OHIO, 
 
 Nonpareil Printing Co., 
 
 1882. 
 

 cc o > 3 :^ S ' 
 
 H^-:D^-t::^-'~'3S|^|S 
 
 iO.^' 
 
 
 o i^. 
 
 :^ 5SJ:' 
 
 OS- 
 
 +^ ^ ^ > .t: -^ '^ " ^ ^^ 
 
 
 
 
 
 
 w 
 
 H 
 
 H 
 c 
 
 
 
 H 
 
 
 
 - =: 2 i '^ .- tj 5; -^ ";; _ 
 
 t4 ^ t. O i; o ce 
 
 
 
 
 
 
 ' 5 >•■" - 
 
 
 
 :; ^ X X : c-< c <^ ::; r^ =-<' V X c :^ ■ 
 < <; < -< aq K K ::; c; '3 o C :.; li '- ' 
 
 
 • ^ '^ ^ ^ ^ 
 
n 
 
 ii 
 
 'm^zm'mrm 
 
 
 
 THIKD AND REVISED EDITION. 
 
 ^V Treatise upon the Home MaDufiictiire 
 
 of Paints, Oils, Varnishes, Dryer.-, 
 
 &c.; also, instructions in all the 
 
 Branches of flonse, Sign and 
 
 Carriage Painting, for 
 
 ^ THE 1'55A€T1€A5. rAISTEK. 
 
 ■37- 
 
 By R. G. MILLEE, « 
 
 PIIACTICAL rAINTEIv. 
 
 26 1;-. 
 
 1<SSL'. 
 
 r*^ 
 

 
 Entered uccoi'ding to an Act of Congress, in 
 
 the year 1881, by R. C. MILLER, in tlie 
 
 office of tlie Ijibrarian of Congress, at 
 
 Wasliington. 
 
 Entered according to an Act of Congress, in 
 
 tha year 1882, by R. C. MILLER, in the 
 
 office of tlie Librarian of Congress, at 
 
 AVashington. 
 
 ^ 
 
 "^ 
 
 ,0 
 
PREFACE. 
 
 Tiie following pages prepared by the author, 
 have been condensed and again condensed until 
 the author is now satisfied that to meet tlie de- 
 mand it is what the Practical Painter wants. 
 The reader has here a complete cowipendium 
 of the whole work, excepting the Key. He 
 can in a little while become tamiliar with it, 
 and know exactly where to turn to when in 
 need of advice. 
 
 Read the recipes and instructions carefully, 
 and then try thenj, and you v\'ill find that they 
 will work to your advantage; and if at any 
 time you do not fully comprehend them, do 
 not hesitate to write to me and I will take 
 i)leasure in answering. 
 
 Xenia, Ohio, July 1st, 1882. 
 
xMILLER'8 "B08S' PAINTER. 
 
 fitUI.FS i]>¥ PAlJSfTIXfcf. 
 
 The following general rules in painting may 
 be followed with advantage: (a) Let the 
 ground of your work be pro])erly cleaned, pre- 
 j)ared and dry. (6) See that your colors are 
 equally well ground and duly mixed, (c) Do 
 not mix much more nor any less than is neces- 
 sary for the present job. (d) Keep the paint 
 well mixed while the work is g(Mng on. (e) 
 Have your paint of due thickness, an.l lay it on 
 equally and evenly. (/) Do not apply a suc- 
 ceeding coat of paint before the preceding one 
 is entirel}^ dry. (r/) Do not use a lighter color 
 over a darker one. (A) Do not add dryers to 
 colijrs long before they are used, (ij Avoid 
 using any excess of dryer or a mixture of dif- 
 ferent sorts, (j) Do not overcharge your 
 brush with paint, nor replenish it before it is 
 sufficiently exhausted, (k) Begin with the 
 highest part and proceed downwards with your 
 work, (l) Keep your brushes in good con- 
 dilion ; do not let them Ja^^ out and dry. I 
 
MiLLb;ll'W "BOSS" FAlNTEIi. 
 
 luive a trough iilled with water that I keep tliein 
 in. When putting brushes away be careful 
 that the bristles are all straight, (wi) Keep 
 your pots clean: your ladders, etc.. painted. 
 
MILLER'S "BOSS" PAINTER. 
 
 l^^o^lpt©.. 
 
 -: OILS. 
 
 -Elastic— 
 
 10 gallons B, 5 gallons RO, 2 pounds RN, 1 
 pound R, 5 lbs. BX, 5 gals. SW, and dissolve 
 the RN and R in 1 gal. of tlie RO over a slow 
 fire, the R having previously been cut in small 
 pieces. Allow it to stand until it becomes thor- 
 onghly dissolved. Also dissolve the BX in 
 the S\V; then mix all together, and it will be 
 rea<ly for use. 
 
 The BX and 8W can be left out if desired.- 
 
 I'OEJfibiiiation <>il*<i far ]7Iixing- Paiiit$«. 
 
 First Kind. — Twelve gallons or one hun- 
 dred pounds of melted RN, three gallons of 
 crude petroleum oil, fifteen gallons of B. 
 
 Second Kind — Twelve gallons or one hun- 
 dred pounds of melted RN, three gallons of 
 crude petroleum naptha, ten gallons of RO. 
 
 Third Kind — For reducing RO or Mixing 
 Paint — one hundred pounds of No. 2 RN^ 
 
MILLER'S "B08S" PAINTER. 
 
 eighteen gallons best B (or enough to make it 
 work witli a brush), two gallons of crude pe- 
 troleum oil, two gallons of re-run paraffine oil, 
 four gallons of RN oil, or fish oil if RN oil 
 cannot be obtained ; can mix one gallon of this 
 No. 3 kind with one gallon RO, and it it is bet- 
 ter than all linseed for outside work. You can 
 depend on the above. 
 
 Composition Oil for Iffineral Paia^l. 
 
 Barns, Fences, Bnofs, Iron "Work, &c. 
 
 1 bbl. CT, 1 bbl. PT, 1 bbl. B, 50 lbs. ASL, 
 10 gals. A8 ; mix cold. In cold weather it 
 will be nece.<^sary to use moi-e B than in warm. 
 SW may be added in place of the mineral, 
 which will give a gray. 
 
 Adulteration for Oil. 
 
 Fish oil or CSO can be used to adulerate lin- 
 seed oil. 
 
 LW can be used in priming rough work, 
 half and half. 
 
 ftryingr OH. 
 
 —Equal to Patent Dryer.— 
 RO 2 gals., add LR. LRG and umber, of 
 
MILLEK'S "BOSS" PAI:NTEK 
 
 each 4 oz., juui iSL mid ZS 2 oz. eucli. Boil 
 slow for 4 hours. 
 
 BleacisBBig «fl= 
 
 The painter may do tins by simply setting a 
 bottle of oil on the window sash where it will 
 get tlie sunshine. By artificial methods tlie oil 
 is subjected to heat, treated with acid, and af- 
 terwards washed with steam. 
 
 I>ar!i Colored Boiled mi. 
 
 Bimmcr with frequent stirring, 1 gal. RO 
 with f lb. LRG, powdered, until a skin begins 
 to form, then remove the same and wlien it has 
 become cold and has settled use oft' of the top. 
 
 Boalc'tl Oil fov d'lear. White WorBi. 
 
 Mix 1 part binoxide of M in coarse powder 
 but not dusty with 10 parts of RO. Keep it 
 gently heated and frequently stir for about 20 
 liours, or until tlic oil begins to tuvii a redish 
 {M)lor. 
 
MiLLKll'.s "BOSS'' PAINTER. 
 
 PAINTS. — ~ 
 
 (Snbsj^ittite for WSiite Lead. 
 
 WZ 75 lbs. dry, MK 30 lbs. Mix well to^ 
 gether; run it through the mill, or, if you have 
 no mill, a fine strainer. If you want a clear 
 wliite or tint job u.^e RO and TT, half tind lialf. 
 For plastered walls (inside) you will find that 
 you will have a much better job than you would 
 by u.<ii]g pure lead, as the work stands out bet- 
 ter and finishes like varnished work. If you 
 "vvish a rough, cheap job, use the ehistic oil for 
 first and second coats. Tlie MR can be left 
 out, and PW, XX or BT substituted. Do not 
 put txuj dryer in until you are ready to use tlie 
 paint. 
 
 Substitute for White Lead. — Native 
 barytes, or barium sulphate, is mixed with pul- 
 verized stone coal and tar, and exposed to an 
 intense heat, so as to convert it into barium 
 sulphide. The latter being soluble can be dis- 
 solved out, and to the clear solution is added a 
 corres[)onding quantity of zinc chloride in solu- 
 tion. To the ^>liii:ion of barium eliloridc ir 
 
10 MILLER'S "BOSS" PAINTEK. 
 
 added white vitriol (zinc sulphate), when a pre- 
 cipitate of barium sulphate will be formed, and 
 zinc chloride left in solution, which latter can 
 be filtered and again employed to precipitate 
 barium sulphide. 
 
 The two precipitates obtained ns above, 
 namely, zinc sulphide and barium sulphate, are 
 well washed, mixed, dried, heated to a cherry 
 red, then thrown into cold water, and finally 
 ground in water and dried. The white })ig- 
 ment thus obtained covers well, and is well 
 suited to mix Avith oil, as a substitute for lead, 
 especially where sulphur compounds exist or 
 may be generated. 
 
 XX will be found to answer. It has a good 
 body and is very durable, either inside or out, 
 but does not do so well on plastered walls as 
 the WZ. 
 
 Adulteration for WIsifo liCatl. 
 
 To 50 lbs. white lead add 25 ll^s. WZ dry, 
 and 25 lbs. PW or BT. You will find that the 
 paint will still have a good body and reach as 
 far as 300 lbs. of all pure lead. Mix the WZ 
 nnd PW (or BT) first and run throwo^h the mill 
 
MILLER'S "B08S'* PAINTER. 
 
 or strainer, then put the lead in after breaking 
 it up; use pure RO and IT for inside work, 
 half and half, 
 
 I*atoiit Ready Mixed Paints. 
 
 The ready mixed paints that are now to be 
 seen in the stores for sale, with flashy labels 
 lauding their good qualities, do not contain an 
 ounce of lead and but very little linseed oil. 
 Lead, as all painters know, would go to the 
 bottom, and there form a hard cake in course 
 of time. The principal pigment used in nine- 
 tenths of the so-called patent paints is \VZ, XX 
 and PW with umber-black, red, yellow, &c , to 
 give them the proper shade. The vehicle used 
 is the elastic oil. Any practical painter can 
 ,make this paint at a cost of about thirty-five 
 cents per gallon. 
 
 A. ('heap Paint for Rough Work. 
 
 50 lbs. Mineral Paint — ocher, brown or Vene- 
 tian red, which ever is convenient, — 50 lbs. PW 
 and 50 lbs. road dust. Tlien mix with oil and 
 run through the mill, and it ground fine will 
 do for priming or second coating any kijid of 
 outside rough work and is very diirable, 
 
MILLER'S "BOSH" PAlNTfc^K. 
 
 By adding ^ buj-liel ot ASL, and tliiimiiig 
 with half oil and half sweet milk, 3'ou will still 
 h;we a cheaper paint. 
 
 MOW to MaSie ©ilCIoth. 
 
 Dissolve GL over the fire in BO till thorough- 
 ly dissolved and the BO is brought to the tljick- 
 ness of a balsam. Spread this upon canvas, or 
 any other cloth, so as to drench it and entirely 
 glaze it over. Thus a material will be formed 
 impenetrable by water. The preparation may 
 be used by itself or the different coloring tinig-' 
 added as desired. 
 
 A better grade, however, can be made by the 
 following method : First cover the cloth with a 
 paste as follows : Take SP which has been 
 completely cleaned, and mix to a consistency of 
 paste, add dryers enougli to dry it, spread over 
 the cloth by means of a spatula. When the 
 first coat is dry a second is applied. The un- 
 evenness occasioned by the coarseness of the 
 cloth or the unequal application, are cut down 
 Avith PS, and when cut down wash off well with 
 water, and after it is dried, a varnish composed 
 of GL diss(4v(Ml iii BO. It will dissolve quick- 
 
MiLLEK'^ "BOSS" PAINTER. 
 
 ly. Tliiii witii XT and it is ready to apply and 
 the process is complete. Add any color lliat 
 you Vvisli, or you can grain it if you choose. 
 The above may be used for a table cloth. 
 
 Wnterpi'OoS' €Iot8i.— Silastic, 
 
 3 lbs. RN, 1 lb, R, 4 gals. BO, i gal. V/N, 
 Dissolve the RN in the BO, and tJie R after be- 
 ing cut in small pieces in the WN, add Japan 
 enough to dry it. The clotli should previously 
 be soaked in a solution of alum water. If the 
 mixture becomes tliick, lieat it in a sand batli. 
 It should be applied while warm. 
 
 Fire Proof Paint, 
 
 70 lbs. WZ, 30 lbs. ASL, 50 lbs. WL, 10 lbs. 
 ZS. Mix the WZ and ASL together and grind 
 in the elastic oil, then add 1 gal. 35° SG, then 
 the WL and ZS. Stir well. . Tliis will make 
 a white paint, and if you wish the color changed 
 add any pigment that you wish to get the shade 
 you desire. 
 
 You have enough paint in the above to go 
 about as far as 300 lbs. of pure white lead, at a 
 cost of about one-third. 
 
14 MIL!. RR'.S "BOSS" PAINTER. 
 
 ^-%= 
 
 Elccipe for litiininoiis Paint. 
 
 Sulpliide of calcium (Cantons Phosphorus) 
 mixed with any varnish will produce what is 
 known as luminous paint. 
 
 Luminous Paint Again. — Take 100 parts 
 of rosin oil, which is to be boiled in a suitable 
 pan with 30 parts of freshly slaked lime, rais- 
 ing the heat by degrees. This mass is at first 
 lumpy, then becomes tougher and afterward 
 passes into a thin liquid. At 300"^ Fahr. the 
 entire surface of the liquid becomes luminous 
 in the dark. At 380° Fahr. the bluish-white 
 light is very strong in the dark. Objects 
 dipped in the liquid remain luminous for some 
 time. 
 
 Metalic Enamel Coating. 
 
 To make a paint for covering bodies, such as 
 stove pipes, ranges, and other heated surfaces, 
 to produce good work it Avill be required, first, 
 to coat the object with a covering of the com- 
 mon graphite or black lead. Only such colors 
 can be used as are unefifected by heat, such as 
 burnt umber, burnt sienna, burnt ocher, green 
 earth, and red or violet oxide of iron, l)est sort 
 
MJLLKR'S "BOHH" PAINTER. 
 
 of artificia] UB, pure chrome red, chrome green, 
 burnt egg-shell WZ, and the French bronze. 
 All the above can be used, any tint produced 
 by combining them with SO diluted one-half 
 with SW. Bear in mind that it will be neces- 
 sary to keep stirring them while applying, as 
 they set very quick in the pot, being of a na- 
 ture similar to Plaster Paris in this respect. 
 The iron should be a little warm so that evapo- 
 ration may take place at once. 
 
 .Soluble Ula^s for Painting. 
 
 Heretofore this substance has been but ittle 
 used for painting purposes, for the reason that 
 when combined with the earth and mineral 
 paints silica is formed, a substance which is al- 
 most entirely insoluble. I have been able to 
 prevent this change from taking place by the 
 following process, and it will give you a paint of 
 stony hardness, of great durability, possessing 
 many good qualities in general. I have used it 
 successfully upon mantels. The dry paints 
 should be ground in a size made of starch, (suf- 
 ficient quantity of the starch being used to pre- 
 vent its rubbing up.) SP or PW may be used 
 
MILLER'S ''BOSS" PAlMTER. 
 
 in place of diy WL and give equall}^ as g(x>d 
 results. 
 
 First coat the work with 35 per cent. SG 
 tliinned down Nvith warm water, let stand one 
 hour or till dry. Then put coat over the W(;rk 
 witli tlie water (previously described) until \ou 
 liave a good body, then rub down well with fine 
 sand-paper, then put on a coat of the SG : then 
 the work is complete. Bear in mind the first 
 and last coat must be the SG. You can put 
 up a first-class jol) in one-half day. Give this 
 a fair trial, and I am confident you will use it 
 continually. 
 
 The SG will cost you about 50c. per gallon, 
 then thinned down one-half with water wouhl 
 make the cost 25c. per gallon for your maten- 
 al. Heat will not blister work coated with 
 this })reparation. 
 
 Waterproof «>il IlHb5>er Paiait. 
 
 Dissolve 5 lbs. of India rubl)er in 1 gallon of 
 BO by boiling. If this is too thick reduce 
 w'ith BO ; if too tliin use more rubber. Es- 
 pecially applicable to clotli, ]>ut valuable for 
 any other nuitcrial. 
 
>iILLKU'« "ilUSb" PAi>iTEiL 
 
 Waterproof Rubber Paisat for Overcoats, Ac. 
 
 Get one worn out rnbber boot, put into a 
 kettle with 1 gal. RO. Boil slow until the 
 boot is dissolved. Then strain, add 3 ozs. of 
 black oxide of M. If too thin add more rub- 
 ber ; if too thick add more oil, or you can thin 
 it with IT. 
 
 The above can be used in place of R, where 
 it occurs in other receipts, K is very expensive 
 
 How to Mis Water with Paint. 
 
 Take SA 3 oz., caustic lime 3 oz,, dissdve in 
 one gallon of SW; then stir in gradually J gal. 
 RO; let stand for 3 or 4 days. 'J'ake one part 
 of this mixture and mix with, two parts of RO. 
 It is now ready for use. 
 
 Green Paiss*. 
 
 I. 5 lbs. YO, dry, 1 lb. Orange Chn me, 
 dry; 4 oz. Pru-sian Blue; grind in oih 
 
 II. 5 lbs. YO, dry; 2 lbs Canary Chrome; 
 5 lbs. MR; 6 oz. Prussian Blue; grind in oil. 
 
 III. 5 lbs. YO, dry; 4 lbs. Orange Chrom.e; 
 3oz. Antwerp Blue; grind in oil. This makes 
 a very clear color, which you can make eithei- 
 light or dark at ])leasure. If you wish to make 
 
15 MILT.EK'8 "BOSS' PAINTER. 
 
 it lighter add' more chrome or YO; if darker 
 add more blue. This receipt is worth its weight 
 ill gold, you will find after using it. 
 
 5 lbs. YO 15c. 
 
 4 lbs. chrome 60c. 
 
 3 oz. blue 5c. 
 
 1 gal. linseed oil 75c. 
 
 Total... ^1 55 
 
 16 lbs. emerald green $4 00 
 
 Receipt above 1 55 
 
 Difference in cost $2 45 
 
 Use No. 1 for first ;ind second coats, or No. 
 2 for first and second coat and finish with No. 
 8. It you have no mill get the colors ready 
 ground in the same proportion as the dry. 
 
 Prussian Blue. — First. Take nitric acid, 
 any quantity, iind as much iron shavings from 
 the lathe as the acid will dissolve ; heat the iron 
 as hot as can be handled with the hand, then 
 add it to the acid in small quantities as long as 
 the acid will dissolve it. Second. Take prus- 
 satc of potash, dissolve it in hot water to make 
 
M1LLER'« "iJOSS ' PAlNTEti. 10 
 
 11 strong solution, and mix sufficient of it witli 
 tiie first to give the depth of tint required. 
 
 Another Method. — A very passable Prus- 
 sian blue is made by taking the sulphate of 
 iron (eoppeni.-) and prussate of potash., equal 
 parts of each, and dissolve in water, then mix- 
 ing th 3 two together. 
 
 Chrome Yellow. — First. Take SL and 
 PW, of each 5 ibs., dissolve them in liot water. 
 Secoud. Take bi-chromnte of potash, Gfozs., 
 also dissolve it in hot vrater. Each article to 
 be dissolved se[)arately, then mix all togethiCr, 
 putting in the bichromate last. Let st^nd 24 
 hours and drain ofFthe water. Let it dry and 
 it is read}^ for use. 
 
 Chrome Green.— Take PW 6^ l])s., SL 
 and blue vitriol each 3 J lbs., AN lOf ozs., best 
 soft Prussian blue and chrome yellow of each 
 3 J lbs. Mix v/h-ile dvy, then add 1 gallon of 
 water, stirringMvell. Let stand 3 or 4 h 'Ui-s, 
 or until it settles, then drain ( ff the water; let 
 it dry, when it will be ready fbi* use. 
 
 A Good Green — Takeunsl:ick(<i li?neoi tho 
 be4 quality, shu'k it in hot wf^tei*, tlien •'•''! i- 
 
2-0 MIi.LKR'S "JBOHS" PAI'NTKR. 
 
 tlirouii'li ii fine sieve, then add a strong solution 
 of AN water. Then color it with bi-chi-oniate 
 of potash and sulphate of copper until the color 
 suits your fancy. 
 
 Another Method. — Blue vitriol 5 lbs., SL 
 (5 J lbs., arsenic 2J lbs., bi-chromate of potash 
 1^ lbs. Mix dry, then add 3 pts. water; mix 
 well; let stand for 3 or 4 hours, then drain off 
 t!ie water. It is dangerous to handle. 
 
 When any of the above mixtures have stood 
 as mentioned, all that is necessary to drain of! 
 the water is to place the preparation into a mus- 
 lin bag 'for that purpose, then expose the mix- 
 ture to th'e air to dry for use. Glass, stone or 
 wood vessels only should be used, as the acids 
 soon work upon iron, tin or copper, giving a 
 tinge not desired to the color ; and also observe 
 that if water is mixed with strong acids it must 
 be added slowly, especially in tight vessels, or 
 you will break the vessels by means of the great 
 heat which is sst free by tlie combination. 
 
 Ail alterations tSsat may bo Used in Mixing 
 a*aints. 
 
 In case that you have a rough, job and want 
 
MILLAR'S "BOSS" PAINTER. 21 
 
 to get a good Ixxly upon it at a small cost, use 
 for the first coat LW, or the contents of the 
 dissolvent keg, adding a little SP, or anything 
 that you may have in the way of a pigment to 
 iill the pores. 
 
 Dust of the road is very good after it has 
 been well cleaned. You can carry it rig lit 
 through the 1st, 2d and 3d coats. 
 
 To clean the road dust, first get a large tub, 
 fill with water, then put thedu^tirito it, makiiig 
 it about as thick as second coating. Let it 
 stand for a day or two uniil it i;-f settled. Drain 
 the water off the top, and you will find that the 
 C(-jarse sand is at the bottom and the fine on 
 top, which, after drying, Vvill be ready for use. 
 This has a good body and makes a durable pig- 
 ment. It can be used to adulterate any dark 
 color. 
 
 Paiirt f^Siins.— To >^:eve and Re<iis<v> <« OS!. 
 
 Dissolve Sal Soda, ^ lb., in 1 galhm SW. 
 
 The skins tluit you have can be »)ut into tiie 
 above. Lot stand for 4 or 5 days, then put 
 them into a kettle and boil them, addinir suf 
 ficlent oil to tliin to a proiper co'isistency for 
 l)a!ntin</ and strrdiiinu'. 
 
22 MILLEK'S "BOSS" PAINTER. 
 
 l>isKolyont for Paint ^kins^. 
 
 2 11)3. coiicenti-atecl lye, 5 lbs. unslacked 
 lime to 15 gal. water. Put in the old skins 
 and all the dirty buckets, stir them up occca- 
 sionally. When the skins are dissolved pour 
 oil the lye-water an.d the paint in the bottom 
 will do for priming rough weather-boarding or 
 brick walls. Do not thro'vv the w^ater|a\vay as it 
 w'ill do for another time by adding more lye to it. 
 
 To Softeis Potiy and Rcissove Passst. 
 
 To destroy paint <.n old doors, etc.,. and to 
 
 soften putty in window frames, so that the glass 
 
 may be taken oat without breakage or cuttiiig, 
 
 take equal portions of SO and quick lime, and 
 
 with water mix them Into thick pHsto." Coat 
 
 the work with this, allowing it to stand about 
 
 an hour, when it must be thoroughly washed 
 
 off with water. This is a speedy, method of 
 
 removing old paint, but it must be used with 
 
 caution. That is to say, the coating must be 
 
 rejuoved at the iiistan.t the solution has taken 
 
 effect, otherv.-ise the wood will be furred up, 
 
 ;ui(l alkali deposited in its fibers to the subse- 
 
 iient (!etrimpj}t of the painting. 
 
MILLKirS "HOHS" PALNTEll. 23 
 
 Ciilass Frosting or €ryst»!]£lit^. 
 
 Dissolve ES in gum-arabic water, let- stand 
 over night, and aftei* cleanin.g the glass oft' 
 well, flow tlic solution on so that it will not 
 run; lay the glass flat if convenient, and v.'hen 
 it commences to set take a pomted stick and 
 dot it in rows to suit the taste ; put tlie dots 
 about i-J inches aparr. If you wish it colored 
 use analines — red, blue, green and gand)oge 
 for yellow or gold color; tlien flow on a tldn 
 coat of Damar varnish and it is finished. 
 
 Fro^tlit^ OSasM. 
 
 The Scientifx Americaii,. of recent date, giv(^s 
 the following method of frosting glass without 
 the use of paint : Clean the glass and moisten 
 it with ordinary hydrofluoric acid. As soon as 
 tiie frosting is satisfactorily completed wash oir 
 with water. 
 
 I have not tried the ;ibove, but think that it 
 will work. 
 
 l't> I*«arl or t'rysfwSiso "S'iH. 
 
 Take 8uli">huric, acid, 4 oz., soft wiwor 2 or 
 8 oz,, according to the strengtli of the ncid, 
 salt, 1 <>'/. Mix. rif^at the liii ^jiiiie r.ot over 
 
24 MILLER'S "BOSS" rAiiSTER. 
 
 a stove or healer, then with a .sponge wet it 
 with the mixture, wasliing of directly with clean 
 water. Dry the tin : then varnish with Da- 
 mar varnish. 
 
 PerBna^iieifttSise for Calj^oniiato, 4&c. 
 
 Dissolve in 20 gals, of hoiling water 3 lbs. 
 SA, together with 1 lb. of BX; tlien add to it, 
 stirring well at the time, 5 lbs. KN having been 
 previously mixed with 2 lbs. B, the whole kept 
 boiling continually till the RN is dissolved. 
 This composition dissolved in the proportion of 
 1 poun.d to 30 of water, is to be mixed togeth- 
 er with a G solution — made l)y dii^solving 10 
 pounds of G in 30 pounds of SW — then boil 
 both solutions together for about 10 minutes, 
 then run through a strainer. The above will 
 do for plastered v/alls that yon intend to paint 
 or calsomine. 
 
 Persnan<t*ait J^iae for Wn!l Papor or W©o<! tSiaff 
 Is io bf Vssr5iis?ie«i. 
 
 1 lb v.'liitc G, let soak 24 hours in enough 
 SW to cover it, then add 2 gals, boiling SW, 
 1 ])}, \V^. Mix well together. This can be 
 relied upon to keep withont souring. Com- 
 
MILLER'S "BOHS'' PAINTER. 26 
 
 moil G will do for rough work. Common 
 starch is a good size for wall paper ; also corn 
 starch for fine work. 
 
 Perinanesit Paste for Paper Maisgcs's, dte. 
 
 Dissolve 1 oz, of AN in 1 qt. warm SW, 
 when cold add FR to make it about the con- 
 sistency of cream, then add half thimble of RN, 
 half ounce of BL. The above is the prepara- 
 tion for a bucket of paste 
 
 Glae, Waterproof. 
 
 Take of gum sanderac and mastic, and white 
 turpentine, of each 1 oz., alcohol, 1 pint. Dis- 
 solve tlie gums in the alcohol, using heat ii 
 necessary, then add the turpentine, and have 
 ready a very thick glue, 1 pint, in which there 
 has been added h oz. of isinglass dissolved. 
 Make the alcoholic solution boiling hot by hav- 
 ing it in a pan inside of a kettle, or anotlier pan 
 of water, then slowly adding the hot glue, stii-- 
 ring constantly until thoroughly mixed. 
 Strain through a cloth. It is to be applied hot. 
 It dries quickly and becomes very hard, and 
 surfiices of wood united with it do not separate 
 when immersed in water. Tins will do to size 
 
20 MILLER'S "BO.S«'* PAINTEU. 
 
 wood that is to be varnished, but will require 
 tliiniiing down when used for that purpose. 
 
 I^isne lor Calsomaaslng. 
 
 4 busliel of CC, 1 lb. SC, J lb. ZS, 1 gallon 
 SM. For brickwork exposed to damp, the fol- 
 lowing will be found to work well : J pk. of 
 fi-esli well burnt CC with 8 W sufficient to make 
 thin paste, run through strainer, afld 1 lb. SO, 
 which has bc^en dissolved in boiling water; 
 make a thin paste of 1 lb. of RF, |- lb. G, mix 
 with the compound while hot, and add J lb. 
 SA, dissolved in water, stir all together, and 
 let stand for one week, or longer. Warm be- 
 fore using. 
 
 The folio w'ing cai] be more easily prepared, 
 and is very good : 
 
 Take ^ bushel of CC, and put in it a kettle, 
 put water enough in to make a thick paste, add 
 1 gal. RG, boil well for one hour. Then let it 
 stand over night, or the longer it stands the bet- 
 ter. When you wish to use it, takeoutenough 
 for your job, add glue size enough to give it a 
 body, and also coloring matter to give it any 
 desired tint; ap;)ly with calci^nino bi-u^^h. 
 
MlLLEirs "IJUSS" L'AIMTEU 2V 
 
 *;aisonsine. 
 
 Wliitiiicr 4 lbs., clue, 2 lbs Rtanrl the srluo 
 
 oft' o 
 
 ill water over night, mix the whiting witli cold 
 water and heat the glue until dissolved and 
 pour it into the other, hot. Make of proper 
 consistence to apply with a comuion whitewash 
 brush. 
 
 Ca-lsomine, Again. 
 
 PW 5 lbs., WZ 3 lbs., Glue 6 ozs. Stand 
 the glue in water over night, or until the glue 
 is dissolved. Do not warrn llie glue if you can 
 avoid it, but if necessary to save time do not 
 work it while it is warm — -put in a lump of ice so 
 as to chill it. This can be made any desired 
 shade or tint by adding any pigment, .so that 
 they are fine. Do no not put in the glue size 
 until all the pigments are well broken with wa- 
 ter. 
 
 Whitewnsli tltat Will ?Jot Hub i^if. 
 
 To every pail of whitewash prepared in the 
 ordinary way, add a pint of flour made into 
 starch or paste. To whitewash for the hen- 
 house add gas tar, 1 gill to each pailful. This 
 will prevent or disperse lice. 
 
IVliL,lJOil'>S "iJOHS" PAIIS TEii 
 
 —VARNISHES.— 
 
 Caution IleNpecliug; tiae ]9IakJiig- of ^arialish. 
 
 As heat in many cases is necessaiy to dis- 
 solve the gums used. The best way, when 
 practicable, is to use a sand bath, which is 
 simply placing the vessel containing the var- 
 nish in another filled with sand and placed on 
 the lire. 
 
 Comsaioii 015 Yarnlsli. 
 
 RN 3 lbs., drying oil -J gal. Melt together, 
 and add, when removed from the fire, 2 quarts 
 w^arni oil of TT. 
 
 Common Tnrpontine Yarnish. 
 
 This is merely clear pale RN dissolved in oil 
 of TT, usually 5 lbs. RN to 7 Ihs. oi TT. This 
 does not require but very little heat. 
 
 Copal VarnisSi. 
 
 15 lbs. pulverized RN dissolved in 1 gall, of 
 drying oil, 1 pt. Japan if the oil does not dry 
 it, 2 galls. "B, 1 gall TT, Iqt. WN. It will be 
 necessary to heat the drviiiir <^il to dissolve the 
 
MILI.EH'S "BO.Sh" PAINTER. 2!J 
 
 RN. All elastic varnish can be liad by adding 
 8 ozs. of R cut in small pieces and dissolved in 
 RO, by warming. See tliat it is well dissolved 
 tlieu strain and add to the above. 
 
 Gloss Varnish. 
 
 Take 1 gall. RO, boil for one hour, then add 
 4 lbs. RN, stirr till dissolved, add 1 gall. TT, 
 3 oz. GC, dissolved in 1 pt. of AC. 
 
 Common Varnish. 
 
 6 lbs. pulverized RN, ^ lb. beeswax, 1 J gall. 
 RO, J lb. M. Boil for one hour, thin with TT 
 or B until warm. 
 
 Damar Varnish. 
 
 One of the difficulties to overcome in making 
 a clear colorless varnish, is the milky opacity 
 usually present when dissolving the gum in oil 
 of turpentine. This opacity is owing to mois- 
 ture being present in the gum, and not certain 
 parts of the gum remaining undissolved, as is 
 commonly supposed. The moisture having 
 first been driven off, a clear, colorless solution 
 results. Many of the imperfections of a poor 
 article are owing to the presence of this same 
 
3!) M J Ll.KR'S "BOSH' ' PA INTEil. 
 
 moisture. Tlie ci-ackiiig is largely owiijg to 
 this, as little bubbles are often formed, hence 
 the uneven suiiace. They also cause the var- 
 nish to spiij}g. To prove tliis it is only nece^i- 
 sary to procure a small quantity of the best Da- 
 mar the market affords, add to it one drop of 
 water and it is at onco changed to one of infe- 
 rior grades. The varnisli manufactured by the 
 following process the author found to be color- 
 less, perfectly transparent, dries quickly, a 
 high gloss, and will not crack, peel or become 
 tacky. The main object is to remove the mois- 
 ture. This can be done by evaporating a solu- 
 tion of the gum, or drying it first. To do this 
 a porcelain lined kettle is necessary, in which 
 place the gum and heat over a slow fire. Great 
 care must be taken to keep the gum from tak- 
 ing fire. The autlior's plan iuis been to have a 
 cover loosely fitting the kettle, its edges or rim 
 covered with cotton having been saturated to a 
 slight degree with water, and the coyer sus- 
 pended by a cord over the kettle. In case of 
 fire it can be lowered at once and the flame ex- 
 tinguished immediately. In making the var- 
 nish five parts of the ;/uiri i^'hoidd be taken to 
 
MIJ.i.KIl'H "i:us;- ■ rAINTKK. 
 
 four parts of the oii ot tpn., or 85 ozs. of tLc; 
 gum to every four gallons of the oil of tpn. 
 
 Mixture of VarsBisSies. 
 
 When difiereiit varnishes are mixed, they 
 vshould always be allowed to stnnd for several 
 days before using to give them time to assim- 
 ilate. 
 
 Ooofi, Wliite, Mard Variilsti. 
 
 One quart of good AC', 10 ozs. gum sandarac, 
 2 ozs. gum mastic, ^oz. of gum aui'me ; dissolve 
 in a clean can or bottle by shaking often till 
 dissolved, and strain. 
 
 White Har«J Varnisli. 
 
 Dissolve gum animein nut oil, boil it gently 
 as the gu)n is added, giving it as much gum as 
 the oil will take up, and while cooling dilute it 
 with pure turpentine ; this will do for the 
 ground, also for the japanning tor white. It 
 takes some time to harden, but is durable. 
 
 Body VariiisEi forCoacli Painters. 
 Eight pounds of fine gum anime, two gal- 
 lons of clarified oil, three gallons of good tur- 
 [)entine, boil slowly for four hours. 
 
S'Z i\ilLLER'S"BOHB" PAlNTPm. 
 
 —DRYERS.— 
 
 How to Make and Use Them. 
 
 With respect to drying the well-known ad- 
 ditions of sugar of lead, litharge and sulphate 
 of zinc, either mechanically ground or in solu- 
 tion for light colors, and japanner's gold size or 
 oils boiled upon litharge for lakes, or in some 
 cases verdigris and manganese for dark colors, 
 may be resorted to when the colors or vehicles 
 are not of themselves sufficiently good dryers 
 alone, but it requires attention, as an excess of 
 dryers renders oils saponaceous, is inimical to 
 drying and injures the permanent texture of 
 the work. Such colors, however, dry badly 
 from not being sufficiently edulcorateil or 
 washed, and many are improved in drying by 
 passing; through the fire or by age. Sulphate 
 of zinc as a dryer is less efficient than the ace- 
 tate of zinc, but is to be preferred with some 
 colors. It is Gupposed, erroneously, to set the 
 
MILLER'S "BOSH" PAINTER, 33 
 
 colors running, which is positively not the case, 
 though it will not retain those disposed to it be- 
 cause it lacks the pro})erty which the acetate 
 })0ssesses of gelatinizing the mixture of oil and 
 varnish. These two dryers should not be em- 
 ployed together as frequently directed, as 
 chemical action takes place and two new sub- 
 stances are formed, one of which is perfectly 
 insoluble, and the other p'oor in its drying prop- 
 erties. The state of the weather and atmos- 
 phere exert a great influence upon the drying 
 of paints, oils, etc. 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 thought 
 of. The atmosphere, too, is imbued w^iih the 
 active matter, to which its drying power may 
 be attributed. The ground may also advance 
 or retard drying, because some pigments, unit- 
 ed either by mixing or glazing, are either pro- 
 moted or obstructed by their conjunction. Ar- 
 tificial heat also plays an important part. 
 
 The various aiiinities of pigments occasion 
 each to have its more or less appropriate dryer, 
 and it would be a matter o^ u.^uful experience 
 
MILLER'S "BOSS" PAINTKH. 
 
 if tlie habit? of every pigment in this respect 
 were ascertained. Dryers of less power than 
 the above, such as the acetate of copper, massi- 
 cot, red lead and the oxides of manganese, to 
 which umber and the cappagh browns owe their 
 drying qualities, and others might come into 
 use in particular cases. Many other accidental 
 circumstances may also effect drying. Dryers 
 should be added to pigments only at the time 
 of using them, because they exercise their dry- 
 ing properties while chemically combining with 
 the oils employed, during which the latter be- 
 come thick or fatten, and render additional oil 
 and dryer necessary when again used. Acetate 
 of lead dissolved in water, spirits of turpentine, 
 may be used as a dryer of oil paints with con- 
 venience and advantage in some cases. In the 
 employment of dryers it will be necessary to 
 guard against the following : 
 
 [a.] Not to add dryers to those pigments 
 which dry well of themselves. 
 
 [b.] Not to employ them in excess, which 
 only retards the drying. 
 
 [c] Not to add them till the color is to be 
 used. 
 
MILLER'S "BOSS" PAINTER. 35 
 
 [d.] Make use of only one kind at a time. 
 
 [e.] Impurity of the pigments sometimes 
 retards drying, in >Yhich case it should be 
 washed. Another point should be observed 
 and that is, that one coat of paint should be 
 thoroughly dry before another is applied ; for 
 if the upper surface of paint dry before the sur- 
 face beneath, it will shrivel by the expansion 
 and contraction of the under surface as the oil 
 evaporates and dries. Overloading with paint 
 will be attended with the same evil, and if the 
 upper surface be of hard or brittle varnish, 
 cracking of the paint will be the result. Al- 
 ways avoid using old fat paint that is to be var- 
 nished over, and always put your dryer into 
 your paint before breaking up or thinning. 
 
 Dryjugr Property of Iiiii8ee«I Oil. 
 
 The activity (drying power) of pure linseed 
 oil is represented — according to M. Chevreul — ■ 
 by 1,985, and oil treated by manganese with 
 an activity of 4,719, yet when they are mixed 
 the sum of the activities (drying powers) will 
 be 30,828. There are substances which in- 
 crease the drying property of pure linseed oil, 
 
M ILL K R 'n " H ( )SS ' P A I N 1' K i< 
 
 and others whicli seem to retard the drying. 
 Experiments made by M. Chevreiil elicited 
 the following facts, namely : 
 
 "Linseed oil with one coat applied upon 
 glass was dry after 17 da}''?." 
 
 "The same oil, mixed with oxide of antimo- 
 ny, took 26 days to dry. In this case, the ox- 
 ide of antimony was an anti-dryer." 
 
 "Linseed oil, mixed with oxide of antimony, 
 and applied upon a cloth painted with pure 
 white lead, was dry after 14 days." 
 
 "The same oil mixed with the arseniate of 
 protoxide of tin was not hard after 60 days." 
 
 "Oak wood appears to possess the anti-dry- 
 ing property to a high degree; poplar to be 
 less anti-drying than oak, and Norway fir less 
 than poplar." 
 
 "Experiments proved that a' first coat of 
 linseed oil on oak was dry, only on the surface 
 after 32 days ; and three coats took 159 days 
 to dry." 
 
 "Three coats on poplar wood dried in 27 
 days, and on Norway fir in 23 days." 
 
 "One coat of linseed oil given upon surfaces 
 of copper, brass, zinc, iron, porcelain and glass, 
 
M lLl.ER'J^ "BOSS" PAiNTEU. 37. 
 
 v/us -dry in every case after 48 hours." 
 M. Chevreul believed that a substance may 
 be drying or anti-drying under different cir- 
 cumstances. He claims tb.at metallic lead is 
 drying toward pure linseed oil ; and white lead 
 which is well known as possessing drying prop- 
 erties, is anti-drying towards lins^eed oil ap- 
 plied ijpon metallic lead. 
 
 Japan ©ryer— B<'S< i^nality. 
 
 RO 1 gal, and put into it f lb, SB, J lb. 
 LRG, I lb. LR, 6 ozs. SL. Boil in the RO 
 until all are dissolved, wliich will require about 
 4 hours ; remove from the fire, and when very 
 near cool add 1 gal. TT, and stir it up well ; 
 then it is done. B can be substituted f u' TT 
 if you wish. 
 
 Jf&pan liryer. 
 
 RO 1 -al., I lb. SH, 2 lbs. M, 1 lb. ZS. 
 Boil about 4 hours, and when very near cool 
 add 1 J gal. B. 
 
 JapaRi fiJryer. 
 
 9 gals, of RO, 10 lbs. LRG, 10 lb-. LR, 7 
 lb.<. black oxide of M. i>oil ail tooethcs-; tiien 
 
38 Ml LITER'S "BOSS" PAINTER. 
 
 add 30 lbs. of Kowery gum, and when near cool 
 add 35 gals. TT. This is a good dryer and 
 can be depended upon. 
 
 Japan FIow^ for Tin and Iron. 
 
 Take gum sandar:ic 1 lb.; balsam of fir. bal- 
 sam of tolu, and acetate of lead, of each 2 ozs., 
 and linseed oil J pint. Put these into a suita- 
 ble kettle, over a slow fire at first, then raise to 
 a higher heat until all are melted ; now take 
 from the fire, and when a little cool stir in spir- 
 its of turpentine, 2 qts., and strain through a 
 fine cloth. This is transparent, but by the fol- 
 lowing modifiations any or all the various col- 
 ors are made from it. 
 
 Black. — Melt asphaltum, 2 ozs., in spirits 
 of turpentine, J pint, then rub up Prussian 
 blue, ^ oz., with a little of it, mix all well and 
 strain ; then add the whole to one pint of the 
 first above. 
 
 Blue. — Take indigo and Prussian blue, 
 both finely pulverized, of each | oz., spirits of 
 turpentine 1 pint. Mix well and strain. Add of 
 this to 1 pint of the first until the color suits. 
 
 Red. — Take spirits of turpentine h pint, add 
 
MILLER'S "BOSS" PAINTER. 39 
 
 cochineal J oz.; let stand 15 hours, and strain. 
 Add of this to the first to suit the fancy. 
 
 Yellow. — Take 1 oz. of pulverized root of 
 cucuma and stir of it into 1 pint of the first un- 
 til the color suits ; let stand a tew hours and 
 strain. 
 
 Green. — Mix equal parts of the blue and 
 yellow togetlier, then mix with the first until it 
 suits. 
 
 Orange. — Mix a little of the red with more 
 of the yellow, and the first, as heretofore, until 
 suited. 
 
 In this simple way you get all the various 
 colors. Apply with a brush. 
 
 Yarnish for Orate Fronts, Ac. 
 
 Asphaltum varnish with enough ivory black 
 in it so that it will cover well. Do not mix 
 more than you wish to use at one time, for 
 when it stands long it does not do so well. 
 
MIIJ. ER'S "BOBS" PAlNTEIt. 
 
 -FILLERS.— 
 
 WO(i>?S Filling. 
 
 1 lb. CS, J pt. BO, 1 pt. Japan, i lb. PS, 1 
 gill SH varnish, mix well together; for dark 
 v/ood add a very little burnt iirnber ; thin with 
 B or TT; apply with stiff brush; let it stand 
 till it sets ; rub ofi with Excelsior shavings or 
 rags ; get ali out of the corners with sticks or 
 putty knife, 
 
 I have used this filler for a number of years 
 and can recommend it to the trade. For light 
 woods use more SH varnish and less Japan, 
 unless your Japan is very good. 
 
 A Fslier for Porons Hard Woods. 
 
 Use good BO and CS stirred into a very 
 thick paste, add a little Japan, then reduce 
 with TT. For dark ash and chestnut, use a 
 little raw sienna ; for walnut, burnt umber and 
 a slight amount of Venetian red; for bay v/ood, 
 1 urnt sienna. In no case use more color than 
 is required to overcome the white appearance 
 
IVIILi^EK'S "BOSS" PAi^TKR. 
 
 of the' starch, unless you wish to stain the 
 wood. This filler is worked with brush and 
 rags in the usual manner. 
 
 Let it dry for 48 hours, or until it is in con- 
 dition to rub down with No. sand-paper with- 
 out much gumming up, and if an extra fine fin- 
 ish is desired, fill again with same materials, 
 using less oil but more of Japan and TT, The 
 second coat will not shruik, it being supported 
 by the first coat. When the second coat is 
 hard, the wood is ready for finishing up in any 
 desired style or to any degree of nicety, by fol- 
 lowing up the usual methods. This formula is 
 not intended for rosewood, and will not be sat- 
 isfactory if used therefor. 
 
 A €!3«ap Filler. 
 
 If you have a job that you have to put 
 through in a short time, make a strong size out 
 of common G and common starch, half and 
 half; dust oflPthe work w^ell and size, and when 
 dry rub down with sandpaper, dust off again 
 and it is ready for either varnish or paint, 
 
 A. <3ooa Filler. 
 
 2qts. TT, 1 qt. BO, h pt. Japan, 1^ lbs.' 
 
42 MILLER'S "BOSS" FAINTER. 
 
 PS pulverized, 3 lbs. VW, 1 lb. French yellow, 
 2 lbs. plaster Paris, 1 lb. LEG. This filler is 
 worked with brush, rags, and Excelsior shav- 
 ings in the usual manner. It must be worked 
 quick as it sets fast. For dark woods add a 
 small quantity of burnt umber and B sienna. 
 
 Putty for Wood that is to be Varnished. 
 
 For puttying inside work, take one-half SW, 
 one-fourth beeswax, one-fourth KN ; powder 
 the RN very fine, mix it v/ith the SW, then 
 melt the beeswax: in one-half oil and one-half 
 TT, put all together in an old sauce pan and 
 heat gradually, stirring ar.d mix in color; for 
 walnut, match with burnt umber, and burnt si- 
 enna, or Venetian red ; for light woods, but lit- 
 tle if any color but the ingredients. After 
 thoroughly heated and mixed take off* and let 
 cool, enough to thicken up for working on a 
 board oiled or covered with whiting, work it 
 into rolls about an inch in diameter ; in using 
 have a candle or lamp and round-pointed knife; 
 heat the knife and fill the holes quickly, leav- 
 ing hole round-full ; rub off with a bit of sand- 
 paper. After an hour or two this putty will 
 
MILLRR'S "BOSS" PAINTER. 43 
 
 match the wood perfectly, and will never swell 
 nor shrink, and after a little practice the work 
 can be done just as quick as with ordinary put- 
 ty. If you are hurried for time and are obliged 
 to use shellac, use white shellac ; this leaves 
 the wood clear and don't have that nasty, sick- 
 ly look as when brown shellac is used. 
 
 l»utt.y. 
 
 For ordinary varnished work must be mixed 
 with a little oil and Japan, also add some rub- 
 bing varnish. Have it so that it will dry 
 quick. Color it to match the wood. For 
 Fine, chrome yellow, burnt sienna and whit- 
 ing. Ash, — use the same, except add a little 
 burnt umber. White Walnut, — use the same. 
 Black Walnut, — whiting, iDurnt umber and 
 black. In using the putty be careful to clean 
 off all the surplus from around the outside ; do 
 it with sandpaper or a rag dipped in turps. 
 
MiLLKR*B "BOSH" PAiisTEIl 
 
 — HAKD OIL.— 
 
 Jn 1 galL RO put 4 ozs, of SH and 2 ozs. of 
 beeswax. Boil slow for about four hours, then 
 let it settle. I sometimes ?.dd f lb. of RN, 
 which makes it as heavy as varnish, and if too 
 heavy thin with TT. Work it the same as you 
 would varnish. 
 
 2Sar<10iI lPlni»>i. 
 
 There are a number of ways of putting up 
 this kind of work. In the first place fill the 
 wood with the filler, then rub down and putty 
 up, dust off well, then flow on the hard oil, and 
 when dry cut it down with No. sandpaper 
 and flow on another coat. When dry cut it 
 down with pulverized PS and sweet oil. If you 
 wish a polished job flow on another coat, mak- 
 ing one of tiller and one of hard oij. This last 
 coat must get hard, then polish with rotten 
 stone and BO with woolen rag, and chamois 
 skin to do the cleaning with. 
 
 Another Way. — Get a irood bodv with 
 
MILLEJl'S "ROSS" PAIN^TER. 
 
 rubbing varnish or common copal : then cut 
 the gloss off with BO and PS. This is tlie usual 
 way turniture is finished, and is a very cheap 
 way. 
 
 Hard Wood Finish and Fillingr. 
 
 Very few persons desire a high gloss on in- 
 side work, so there is very little need of varnish 
 for this purpose, still, a high gloss may be used 
 sparingly with a most happy effect — especially 
 in large' rooms, on raised mouldings, &c. The 
 finisher, himself, must always be the judge 
 how the work must be done. Id kitchens, pan- 
 tries, &c. , where it has to be cleaned often, es- 
 pecial pains should be taken that it be done 
 well, that it may stand the wear. The oil will 
 have to be used principally. Chambers, &c., 
 where greater care is usually taken in the se- 
 lection of wood, and the surface less exposed 
 to friction, we can leave it, as far as the color 
 is concerned, the same as it is left by the car- 
 penter. The first thing, of course, is the prop- 
 er preparation of the surface. The surface 
 may be rough and the grain raised by moisture. 
 If such is the case go over it carefully with No. 
 
4G MILLEK'« "BOiSy" PAINTER. 
 
 1 J or 2 sandpaper, taking care always to sand- 
 paper in the direction of the grain. Hammer 
 marks, if found, should be touched a few times 
 with a moist sponge until they come up even 
 with the other surface. 
 
 Oil Polish on Wood. 
 
 Fill the grain with SH varnish or wood fill- 
 ing ; give two or more coats, sand down and 
 apply two or three coats of oil polish ; when 
 thoroughly dry rub with tripoli and water un- 
 til a polish is secured. Again cut the polish 
 with fine PS and water and polish with sweet 
 oil and rotten stone. The French method is 
 to use powdered tripoli and BO to bring up the 
 polish . 
 
MILLER'S "BOSS" PAINTER. 
 
 —SLATING FOR BLACKBOARDS.— 
 
 There are quite a number of ways of doiug 
 this class of work. I find that the great secret 
 in putting up a good blackboard is to use no 
 oil of any description in any of the coats. If it 
 is a plastered or papered wall you wish to slate, 
 first give it a coat of G size, then rub it down 
 lightly with fine sandpaper ; then give it a coat 
 of SH varnish and LP enough to give it a fair 
 body. If on wood omit the sizing, but use 
 paint for priming. Then give two coats of 
 either of the following : 
 
 First. 2 qts. AC, J lb. SH, 12 drachms 
 LP, 20 drachms UB, 4 ozs. powdered RS, 6 
 ozs powdered PS, 
 
 Second. 1 gal. AC, 1 lb. SH, ^ lb. IB, 5 
 ozs. of EF, 4 ozs. ofUB'. 
 
 Third. Take equal parts of PS and LR and 
 grind them in a mixture of TT and best VS; 
 add enough ]jP to make a dark color, then thin 
 with TT until it is perfectly flat. Apply with 
 a brush and blend over. 
 
4i Mli.i^ER'S "BOSB" PAINTER. 
 
 Foitrth. 1 gal. WN, 1 lb. SH, 4 ozs. LP, 4 
 ozs. UB, l-J lbs. SW, 2 ozs, PS and powdered 
 emery. The WN is cheaper than AC and 
 does as well. 
 
 Fifth, 1 gal. SH varnish, 4 lbs. black M, 
 2 lbs. SW. 
 
 All the above must be kept well stirred 
 while using them, and when you are through 
 put vfhat you have left in a bottle and cork it 
 up, and it will keep for a long time. If at any 
 time the slating is too thick thin with AC. 
 
MII.LEIC'S "BOSS" PAIM^ER. 49 
 
 —SIGN PAINTERS' DEPARTMENT.— 
 
 To Gild on Glass. 
 
 Size : Take a piece of isinglass about the 
 size of a twenty-five cent piece, and put in a 
 pint of riin water scalding hot, stir until the 
 isinglass is dissolved, th*en filter through filter 
 paper; then add one tablespoonful of good 
 whisk^y ; let stand 1 day before using. This 
 size will keep a year in a bottle corked up. It 
 svill work much better w'hen it has stood two 
 or three weeks. 
 
 Good, clear white G will answer if you have 
 no isinglass. 
 
 It is sometimes very covenient for the house 
 painter to know how to do a job of glass gild- 
 ing, and after a little practice it can be done 
 very successfully by following the directions 
 here given. In the first place good work can- 
 not be done on poor glass. If plate glass can- 
 not be had, then the best French glass should 
 take its [)lace, for to the purity of the glass do 
 we owe the greater part of the brilliancy of the 
 
50 MILLER'S "BOSS" PAINTER. 
 
 work. Having secured the glass, proceed to 
 clean it thoroughly with wliiting and water, pol- 
 ishing the work-side with tissue paper. Apply 
 the size plentifully to the glass with a clean 
 camels hair spalter, and with a tip throw on 
 leaf somewhat in excess to the space needed for 
 the work, and when this is done let the whole 
 dry, setting it up edgewise. When dry, take 
 refined cotton and rub briskly until the desired 
 lustre is obtained. If most of the leaf has been 
 rubbed away, no matter, the lustre is there. 
 Now lay a second coat in the same manner as 
 the first. Wlien dry go over it again with cot- 
 ton, lightly, then wash it with sizing repeatedly 
 if a spotless surface is desired. When done it 
 is ready for the design, which must be drawn 
 on paper, pricked and pounced on the gold 
 in a reverse position, for the same is to show 
 from the opposite side of the glass. Having 
 pounced it, proceed to paint out the whole de- 
 sign with drop black in Japan, except such 
 places as may need coloring or to be flatted. 
 Then wash off the surplus gold with water. If 
 the sizing is a little too strong add a trifle of 
 naphtha to the water when washing. Such 
 
MILLER'8 "BOSS" PAINTER. 51 
 
 places as are to be colored can now be attended 
 to. If flat gold is to form any part, the space 
 left for it is-to be laid with ordinary varnish- 
 size and leaf laid in the ordinary manner, which 
 on the oppo.nte side in contrast with that which 
 is biirnislied will be very dead or flat. Do all 
 shading backwards, and when this is dry all is 
 done and if glass, tools, water and room are 
 clean, a fine joi) may be expected. Silver leaf 
 is worked the same way. 
 
 To Gild on Wood, <&c. 
 
 First get a good body with flat paint, not less 
 than three coats on wood, or two on tin or iron, 
 rubbed down smooth. If it is a sign you wish 
 to gild avoid laying off with lead pencil, use 
 soft chalk, then brush off with duster. 
 
 For size : use old fat linseed oil, tlie older 
 the better, mixed with orange chrome yellow, 
 put a very little best Japan in it, thin with TT. 
 Let stand 10 hours, or until it is tackey, then 
 gild. 
 
 There are various methods practised by paint- 
 ers in laying gold-leaf. The old method re- 
 quired the use of a "Tip," Cusliicn, asul gold 
 
MJLLKR'S "BOKS" PAINTER. 
 
 knife. The tip is a camels-liaii* brush or lifter, 
 made from two layers of pasteboard, between 
 which a small quantity of camels-hair is laid 
 flat and the parts glued- together. The cushion 
 is simply a piece of chamois skin stretched 
 tightly over one side of an oblong piece of wood 
 six '. y eight inches, a layer or two of woolen 
 cloth or of cotton is, however, first fastened to 
 the board. The gold-knife has a long, narrow 
 and flexible blade with wooden handle and is 
 worthless for any other than the purpose in- 
 tended. The gold-book is held in the left hand 
 and a leaf of the book carefully turned back 
 which exposes a leaf of gold, which is pressed 
 upon the cushion by a dexterous reversal of the 
 hands. Should the leaf wrinkle, a puff of the 
 breath directly from above it, will usually 
 straighten it. Next, with the gold-knife c«t 
 the leaf into the widths required for the work, 
 and by means oi the tip lift so much as the 
 hairs will cover, and apply to the "size" begin- 
 nins: at the outer end of the hair. 
 
 .The tip must be drawn over the hair or beard 
 occasionally in order to cleanse it from small 
 particles of gold, and to slightly grease it. 
 
MILLER'S "BOSS" PAINTER. 53 
 
 Oriiani-ents, letters, and scrolls are usually gilt 
 from the book direct. Another mode is to re- 
 move the gold-leaf to an empty book the leaves 
 of which have been slightly greased with soap 
 or beeswax, after which the book is cut up into 
 the required widths, and the gold is laid "on by 
 exposing and applying it from the cut-pieces. 
 
 C^ildiiig- Framos. 
 
 This class of work requires more appliances 
 then the general run of house })ainters have, 
 I use gold laquer and sometimes good coach 
 varnish for size. Bronze may be used with 
 good success by coating over it with ciear white 
 SH varnish. 
 
 Flock and f^malt. 
 
 If it is a gold sign that you wish to ih;ck or 
 smalt use slow drying colors and very thick, 
 taking care that the color is not fat or greasy, 
 or it will spread and show a rough Q<]ge. To 
 flock or smalt other work see that the work is 
 flat where you do not want the flock or smait 
 to stick. 
 
 I would recommend you to make yoiii- own 
 smalts. You can do ir at a cost of about one 
 
MILLER'S ''BOSS'^ PAINTER. 
 
 cent a poimd. Any good, fine sand will do. 
 See that it is clean, put J gallon sand in a ket- 
 tle, heat it hot ; keep stirring until it is dry, 
 then put in about 2 oz.s. of mixed color — the 
 color that you wish — (the color should be mixed 
 in good BO,) keep stirring until all the sand is 
 colored even, then spread it out in the sun to 
 dry, stir it up occasionally and it is ready for 
 use. If you wish you can add a small quantity 
 of pulverized glass or glass frosting. 
 
 To i^ilver on Gltiss 
 
 1. Dissolve 12 'grains of ES in bf)iling wa-^ 
 terj then add, wliile l)oilino^, IG grains of NS, 
 having been previously dissolved in one ounce 
 of water; continue the boiling for ten minutes^ 
 then add water to make 12 ounces. 
 
 2. Dissolve 1 ounce of NS in 10 ounces of 
 water ,' then add liquor ammonia until the 
 brown precipitate is nearly, but not quite dis- 
 solved ; then add 1 ounce alcohol and sufficient 
 water to make 12 ounces. 
 
 To silver, take equal parts of Nos. 1 and 2, 
 mix thoroughly, then pour upon the glass in 
 the same manner the pliotographer applies his 
 
MILLER'S "BOSS" PAINTER. 55 
 
 solutions, or it may be applied with a brush. 
 It should be applied to the glass while its sur- 
 face is wet, and should previously be carefully 
 cleaned with soda and rinsed with clean water. 
 Distilled water slionld be used for making the 
 solutions. About two drachms of each will 
 silver a plate two inches square. The solution 
 should stand and settle for two or three days 
 before being used ; it will keep a long time. 
 
 Kinbossiiig- by Brnsliiiig^ out on GZuiss. 
 
 On the flashed side of the glass, or any side 
 if plain glass, lay a coating of asphaltuai mixed 
 with a little red lead. When dry place the 
 stencil plate flat on the glass and with the use 
 of a stencil brush rub a little soap upon the 
 edges of the stencil plate. This will make the 
 stencil air tight and prevent the TT [which is 
 afterwards used] getting under the edges of the 
 plate and leaving a ragged outline. With a 
 similar l)rush dipped in TT rub off the asphal- 
 tum, lift off the stencil and Avash away the de- 
 posit, left by tlie soap and IT, in cold water. 
 It is now ready for the acid [fluoric acid] to 
 "bite off," wiion the f)rnameni v.'ill '-.ivc i :^'iarD 
 
MILLER'S "BOSS" PAiKl^KH, 
 
 clean ontliue like the stencil. Add 4 ozs. of 
 vitriol to 1 pta of acid. 
 
 Be$;t Imitation of £t(;2iifi^. 
 
 Grind sugar of lead in damar varnish with 
 TT to the consistency of cream. Write the 
 word or ornament on the glass, and when set 
 or nearly dry go over with dark gold bronze; 
 when thoroughly dry back with light. 
 
 A very pretty sign on glass is got by blend- 
 ing the letters with copper, gold and silver 
 bronze.", and back with some rich color. 
 
 Ciiiaiii;;- on 1iJ'Ij»*«s wiiU SiSvev I..ear, 
 
 The following receipt I give for what it is 
 worth. It is the receipt that an Englishman 
 sold in all the principal cities in tlie United 
 States. I have never tried it, consequently 
 know nothing about it. 
 
 t^IRECTIONS FOR GILt>IN€4 OK (^LASS WiTU SIL- 
 VER LEAF. Sr J 
 
 Dissolve 2 ozs. of bi-clironiate of potash in 
 water, and when dry mix with 3 ozs. or si)irits 
 of wine imtil it becomes pulp. Mix the pulp 
 witli Da!nar varnish to the tint of cjold required. 
 
MlLLFJR'S "BOSS'' PAlNl'^tt. 
 
 Lay this on with a camel hair brush, and ivhen 
 set or nearly dry hiy on the silver leaf as you 
 would gold leaf. Place tiie glass side to the 
 front of a fire in the winter^ or warm sun in the 
 summer. This will make the spirits of wine in 
 the pulp preparation to expand the silver leaf 
 and take out all the marks of the joinings of 
 of the leaves. Rub the silver side with cotton^ 
 wool, or a piece of silk to burnish it. Back the 
 ornament or letters with gold size. The heat 
 having destroyed the varnish through the ac* 
 tion of the bi-chroniate of potash in the pulp 
 preparation, you can wash away the deposit 
 left by the silver and varnish with a sponge in 
 cold water, when the glass will liave all the 
 beauty of gold gilding. 
 
 The bi-^chroniate of potash should be pounds 
 ed before being dissolved in the water. It will 
 dissolve in 3 or 4 days. 
 
 FlilrtE'ic Acid— Mow to lEnke It f'os* E^claisig'. 
 
 Fluoric [sometimes called hydro-fluoric] acid 
 can be made by getting thefluoror Derbyshire 
 spar, pulverizing it and fTutting it into sulphur^ 
 ic acid, which will eat or dissolve it. 
 
MILLER'S '=BOSS'* PAlNTi^Ii. 
 
 Druggists do not generally kee}) tliis nrid, 
 but can get it in the principal cities. It costs 
 about 75 cents perouncCj wliicli v^iil be suffic- 
 ient to do about $50 v.'ortli of woik. It is put 
 up in gutta-perclia or leadbotties, tmd must be 
 kept in them wiien not in use. Glass bottles, 
 of couLse, will not hold it, for it will dissolve 
 glass. 
 
 After vou have etched the design and Wish 
 to sliow it off to better advantage, take a fiat 
 piece of brass and flour of emery and keep it wet. 
 You can grind tlie light in a very sliort tinie. 
 Ee sure the glass is laid fiat on a level table. 
 
 tUf^ :TIt>tho4l of I.Ptl4»ri:i;sr, 
 
 ROMAN. 
 
 Tliis nnalysis is tliat of the Roman alphaliet 
 proper, usually denominated tlie Fnll Roman, 
 and i)y })j'inters "u[)jier case." It is tlie most 
 perfectly f )rmed of all the alphabets, making 
 no departure from strictly geometric rules, but 
 adliering in every ])articular to lines which are 
 either jiei'ffct curves or straight lines. M:inv 
 
MlLLfiR'S "BOSS'^ PAlNTFrk. 
 
 Roman alphabets, so called, such as the straight 
 Roman, the New York Roman, etc., are not 
 correctly speaking the true, from the fact that 
 the curves are not perfectly constructed, vary- 
 ing from a true circle. In this analysis we 
 have adopted a method in very general use 
 by the best authorities on this subject, each 
 letter being placed upon a framework of live 
 spaces in height and five spaces in width : 
 
 
 Thus giving to the student a just proportion of 
 the letters as compared one with another, and 
 also enabling him to increase or diminish the 
 size of the squares. By this method the letters 
 can be extended or contracted by changing the 
 proportion of the width of the squares as com- 
 pared with their height, and the letters can 
 
MiLLER^S 'DOSS'* PAl^sTKli. 
 
 also be placed at any angle. The woiking scale 
 or size cf square sliould always be eijiial to the 
 width of the body or stem of the letter. It will 
 be seen that the letters differ very nuitei'ially 
 in width, as for ir.stauce, A, C, D, G, M, 6, 
 Q, E, T, V, Y, Z, and tlie character &,, are all 
 full letters, that is, i.lie the height and widtli 
 correspond ; while in B, F, H, L, N, P, S, 
 U and X, the breadth is 4-5 of the height, and 
 in the W the breadth is greater by 2-5 th.an 
 the heiglit. 
 
 The body of the letter should be 1-5 of its 
 h.eight, except in the curved letters, wlien it 
 should be widened a triHe, asotherwi-e it would 
 have the appearance of being tliinner, owing to 
 the fact tliat the space between tlie curved lines 
 always appears less than tha.t between straight 
 lines. The fine lines siioiiM be liair lines, and 
 V,'hen a scale of one inch is use<l, that is, in_ five 
 inch letters, this line should not be over one 
 line, or -J inch in size. The width, or spread 
 of the small curves, ^sometimes called y^race 
 lines) shou.id be ^- the Vt-idtli oC the body of the 
 letter, and tlie spurs sliouid project as niucii 
 farther, tlius tosrether csjua!ii;,a- 1-5 of ihc 
 
Mir.LER'S -'BOHH" J'AINTER. 61 
 
 height of tlie letter. In some cases it is neces- 
 sary to make the curves and spurs at tlie bot- 
 tom of the letter a little longer than at the top. 
 
 The A is a full letter, the outside oblique 
 lines should be drawn from a point 1-10 of the 
 width of tlie letter, to the right of the center 
 upon the upper line; the cross line should be a 
 little below the center of the letter; the grace 
 lines and spurs upon the hair Inie should be 
 made heavier than those upon the body> 
 
 The B is a four-fitths letter: the cross line 
 should 1)6 placed a trifle above the ccriter, thus 
 making the low^er curve a little longer than the 
 upper, and giving the letter stability of form ; 
 the curves can be mide with compasses, by 
 using the points marked with crosses as centers; 
 the width of the body of the curves should be a 
 trifle more than one-fiftli of the height of the 
 letter. 
 
 The C is a full letter; the outside line is the 
 circumference of a perfect circle; the inside 
 curve can also be drawn with compasses by 
 changing the center illustrating a crescent. 
 The body of the letter should be a little more 
 than one-fifth of the height, and the heaviest 
 
62 MILLP^U'rf --BOSS'' PAINTER. 
 
 part should be below the center, the perpen- 
 dicular line on the head should be a little 
 within the circle, so that the lower part of the 
 letter will appear broader the upper part. 
 
 The D is a little less than a full letter; the 
 larger curve is a perfect arc; the inner curve 
 can be made by changing the center and using 
 the same radius as for tiie outside curve; tlie 
 body of the curve should be a ti-ifte wider than 
 tiie upright body. 
 
 The E is a four-fifths letter; the lower should 
 be a little longer than the upper; the grace lines 
 of the heads should be long and made with 
 perfect curves; the perpendiculars of the lower 
 head should be extended a little longer than 
 the upper; the center piece should project just 
 one-half of the distance to the outside of the 
 letter, and be pUiced a little ab;;ve the center. 
 
 The same rules apply to the F, which is a 
 four-fifths letter, with the exception that the 
 perpendicular ot the center piece should be a 
 little longer th.au in the E. 
 
 The G is a full letter and the rules for mak- 
 ing it are the same as for the C, with the ex- 
 ception that the greatest \vidth of the body 
 
.Mil.LER'S "EO^S" PAl^sTER. 63 
 
 slioiild be directly at the center of the letter; 
 the lower right hand part of should be fully 
 one-fifth of the width of the letter and the hor- 
 izontal line should be drawn a little below the 
 center, and extend from the center to the same 
 distance outside of the letter as the spurs. 
 
 The H is a lour-filt!is letter ; the cross line 
 should be placed ab:)ve the center, and the low- 
 er grace lines should be n trifle longer than 
 the upper. 
 
 The I is one-fifth of the height; the lower 
 curves should be a little longer than 'the up- 
 per. 
 
 In tlie proportions of the J authorities differ, 
 some giving it four-fifths, and others three- 
 fifths of its height. In this analysis I give it 
 as a three-fifths letter ; the ball is two-fifths of 
 its height, and should be an oval in form. 
 
 The K is a full letter ; the body is one-fifth 
 of the height. From the upper inside point of 
 the body draw an oblique line to the lower 
 right hand corner of fifth space; then form a 
 point on the body two-fifths of the height of 
 the letter from the bottom line; draw another 
 oblique line to the upper right hand corner of 
 
64 MILLERS "BJSS^' PA1NTP:R. 
 
 the fourth space on the upper line. This will 
 give a correct outline for the K; a more definite 
 uudertanding can be had from studying the 
 letter. 
 
 The L is a four-fifths letter ; the perpendicu- 
 lar line of the arm should be about one-half 
 the height of the letter, the same as in the 1^. 
 
 The M is a full letter. The middle lines 
 should meet the lower line at a point three- 
 fifths of the width from the right hand of the 
 letter; the small curves on the hair line should 
 be heavier than on the other letters. 
 
 The N is a tour-fitths letter; the grace lines 
 should correi^pond with those of the M; the left 
 hand one, however, sliould be a trifle heavier 
 than the right It and. 
 
 Th.e O is a full letter, and can be made by 
 following the rules for making the G. 
 
 The P is a four-fifths letter. The cross line 
 should be at tlie center of the height of the let- 
 ter; the curves can be made with compasses, 
 and the body of the curves should be a little 
 more than one-fifth of the width of the letter. 
 
 The Q is a full letter, and is made the same 
 as the O; the tail should extend to the outside 
 
MILLER'S "BOSy" PAINTER. 65 
 
 limit of the letter, to the right, and should be 
 at least one-fifth of the height of the letter be- 
 low the line; and it will be found well not to 
 vary much from the Hue of beauty in its forma- 
 tion. 
 
 The R is made the same as B or P, with the 
 exception that the tail is extended, making it a 
 full letter. The shape of the tail varies with 
 different authorities, either being brought down 
 to a horizontal base and finished with a spur, 
 or carved at the end ; in either case the general 
 outline should be the line of beauty. 
 
 The S is the most beautiful and the most dif- 
 ficult letter of the alphabet to form correctly; 
 it is a four-fifths letter, and it is formed by two 
 lines of beauty. -The upper half should be a 
 little smaller than the lower half. A conveni- 
 ent manner of drafting this letter is as follows : 
 take as centers points three-tenths of the height 
 of the letter, from the left hand upper corner 
 and right hand hand lower corner, describe two 
 circles and connect arcs. This is not absolutely 
 correct, yet it will serve as a guide to uu- 
 trained hands, and from it can be formed a 
 perfect letter l)y changing the curves a little. 
 
MILLER'S "B0S8" PAINTER. 
 
 The T is a full letter. The upright lines 
 should be two-fifths of the height of the letter, 
 and the grace lines should correspond with 
 those of the E and F. 
 
 The U is a four-fifths letter. The hair line 
 on the right, with the grace lines correspond- 
 ing with those in the N. The curves at the 
 bottom are made with a radius of two-fifths of 
 the height of the letter. 
 
 The N is a full letter. The hair line, with 
 the grace line, is formed similar to those in the 
 U. The point where the oblique lines meet on 
 the lower line should be equally distant from 
 the outside limits of the width of the letter. 
 
 The W occupies more space than any other 
 letter, being a seven-fifths letter. The points 
 on the lower line for the meeting of the oblique 
 lines should be two-fifths of the height of the 
 letter from each side, and the body of the sec- 
 ond V should occupy the middle space of the 
 upper line. This can best be understood by 
 studying the plate. 
 
 The X is a four-fifths letter, formed simply 
 by an oblique cross. Care should be taken, 
 
MILLER'S "BOSS" PAINTER. 67 
 
 however, to have the upper half a little smaller 
 than the lower half. 
 
 The Y is a full letter. The upright part of 
 the body should be just one-half the height of 
 the letter, but the point where - the hair line 
 connects with the body should be a little above 
 the center ot the letter. 
 
 The Z is a full letter. The lower arm should 
 occupy the whole width of the letter, but the 
 upper arm should be about one line shorter. 
 The perpendicular lines from the arms should 
 be about two-fifths of the height of the letter, 
 the right hand one being a trifle longer. 
 
 The character & occupies a full space. In 
 the form of this character authorities differ 
 very materially. It is an abreviation of the 
 Latin word Et, meaning and, aud was origi- 
 nally a perfect representation of the letters E 
 and T, but time has changed its form so that 
 its original signification can scarcely be dis- 
 tinguished. The form given here is the most 
 popular as well as the most graceful, and com- 
 ing nearest the to the original can be made as 
 follows : with a radius equal to a' out three- 
 tenths of the heigrht of the character describe 
 
68 MILLER'S "BOSS" PAINTER. 
 
 an arc of three-quarters of a circumference ; 
 from the left hand termination of the arc with 
 a loop form a curve ending in an oval, this 
 forms the E ; from the other extremity of the 
 arc draw a line of beauty to the upper line of 
 the space, this forms the cross of the T and 
 completes the character. The body of the 
 curve should be one-fifth of the height of the 
 letter. 
 
 LOWER CASE ROMAN. 
 
 The small class or lower case Roman letters 
 are not so universally employed by sign-writers 
 as the capitals, yet there are times when a 
 knowledge of their forms and proportions is 
 very important, especially with designers and 
 draftsmen. 
 
 Painters vary considerably in forming these 
 letters, yet the proportion of the width to the 
 height should always be preserved, in order to 
 form well balanced and graceful characters. 
 It will be observed that the proportion of these 
 letters differs a little from that of the capitals. 
 In all of the full space letters : b, c, d, e, g, k, 
 0, p, q, V, y and z, the height is a trifle greater 
 
MILLER'S "BOSS'' PAINTER. 
 
 ihau the width ; the body of tlie b, d, f, h, k 
 and 1 extend three spaces above the line, and 
 that of the t two spaces ; the body of the g, j, 
 p, q and y, extend three spaces ])elow the line ; 
 the m and w are 7-5 space letters. The body 
 of each letter should be 1-5 of the height of 
 the letter. The f, j and r are 3-5 space letters, 
 and the 1 and i 1-5 space letters. 
 
 The curve of all the letters with the excep- 
 tion of those of the a, lower part of the g, and 
 the s, can be made with the compasses. The 
 spurs should extend at least 1-10 of the height 
 of the letters ; the small curves or grace lines 
 may be used or not, as taste dictates. 
 
 The capital diphthongal characters ^ and 
 Q5 occupy an 8-5 space each, and are made ac- 
 cording to the rules for tiie capitals, except 
 that the body ot tlie F is incorporated as a 1-5 
 part of tlie A and O. Tiie lower case dij)h- 
 thongal chai-acters also follow the rules for the 
 small letters, the cliaracter vc occupying an 8-5 
 space, and the C8 a 9-5 space. 
 
 In addition to the Full Ronuin there are oili- 
 er forms of the Roman letter, among which a 
 few of the most po})ular are, the '"^tniii^ht Ro 
 
70 MILLER'S "BOSS** PAINTER. 
 
 man, New York Roman, Italic and Antique 
 or old style. It will be needless to give a full 
 analytical plate of each of these forms, as the 
 analysis of the Full Eoman will answer as a 
 guide for their construction. 
 
 THE STRAIGHT ROMAN 
 
 Differs from the Full Roman from the fact that 
 tlie outlines of the body of the letters are 
 straight lines — the small curves or grace lines 
 which characterize and beautify the full letter 
 being dispensed with; this letter is also slightly 
 contracted in width, being as a rule about 4-5 
 of the height. The C, G, K, M, O, Q, T, X 
 and V, should, however, be nearly full space 
 letters, and the W should occupy about a 6-5 
 space. The lower case letters of this style dif- 
 fer from those already given only from the fact 
 that the grace lines are not used. 
 
 BLOCKS. 
 
 The finished block, either round or square^ 
 wiil be 2;iven the same space as the Roman. 
 
 The unfinished block will occupy the same 
 space, except the M, W and H, which will re- 
 
MILLER'S "BOSS'' PAI:NTER. 
 
 71 
 
 quire one-fifth more space, the / one-half the 
 the space. The rule for the formation of all 
 letters is as follows : 
 
 DIAGRAM. 
 
 \b b \ a 
 
 a a — Top and bottom lines. 
 b b — The space the letter occupies, 
 c — Center line. 
 d d — Body lines, 
 e e — Used only for block letters. 
 
 In laying off work avoid using the lead pen- 
 cil. I would recommend the use of soft chalk, 
 which can be rubbed off easily wlieu finished. 
 
 A good way to space a sign that is to be 
 painted on a brick wall is to follow a mortar 
 joint for top and bottom lines. Cuunt the 
 
72 MILLER*S "BOSiS- PAiNTEH. 
 
 number of bricks ruiiDiiig through and divide 
 by tlie number of letters and spaces. For ex- 
 ample you wish to paint the word grocery. 
 You have here seven letters ; give one-halt of 
 a space at each end, which would mike eight 
 letters and spaces, and the sign is 20 bricks 
 long. The size of the space for each letter 
 would be 2 J bracks, and IJ brick at each end. 
 The same rule can be observed on board work 
 by measuring the length of the line and divid-^ 
 ins into feet and inclies. 
 
MILLER'S "BOSS" PAlNTEit. 
 
 —GRAINING.— 
 
 One cannot reasonably expect to become 
 proficient in the art of graining save by a reg- 
 ular course of training, under the guidance of 
 a ."kiilful master, but it is witliin the power of 
 the average painter to perform work of this 
 character that may well pass inspection, when 
 done with care and the observance of a few 
 })]aiu rules, such as I propose offering in this 
 article. In the first place, the amateur must 
 not attempt too much in the way of embellish- 
 ment or effect, but must confine himself to the 
 execution of a neat, plain and substantial job, 
 taking care to mix his colors properly and to 
 have his groundwork smooth and in good con- 
 dition for operating upon. 
 
 If the woodwork be old })ainted work, it 
 must be rubbed down with sand paper until 
 smooth and even, all the cracks putied up witli 
 hard drying putty [mixed with japan to (juick- 
 
n MILLER*S "BOSS" PAlNTEtl. 
 
 en its drying] and a coat of ground color ap- 
 plied. This must be mixed with nearly all 
 turps, as the less oil enters into graining the less 
 will be its liability to crack after being varnished , 
 The grainer, as a general thing, is never sat 
 isfied with any job that he does, but lets it pass 
 because, nine times out of ten, he is not paid 
 sufficiently to justify himself to put in more 
 time on the work, consequently the work is 
 butchered. 
 
 The tools necessary to do graining of the va 
 rious kinds are as follows : 
 Oak — 1 set steel combs* 
 1 sash too). 
 1 rubbing in brush. 
 Rubber combs to suit fancy. 
 Walnut, Rosewood, Maple, &c. — 
 
 Long hogs hair over-grainer. 
 
 Tube camels-hair over-grainer, 
 
 Camels hair pencil. 
 
 Sponge. 
 
 Blender. 
 
 Rubbing-in brush and tool. 
 
 Stippling brush, (duster will do.) 
 
 Flat Fitch. 
 
MILLER'S "BUSS" PAl^TEK. 76 
 
 Colors. 
 
 Vandyke brown in oil and distemper. 
 
 Kaw and burnt sienna in oil and distemper. 
 " umber '* 
 
 Lager beer, oil, turps and japan. 
 
 Rosewood Ground. — Do not use lead for 
 priming, use oclire. Second coat, use Vene- 
 tion red with a little chrome yellov*' in it, and 
 tolerably flat. Use for last coat, American 
 Vermillion with a little chrome yellow in it. 
 Work it almost dead flat. In preparing your 
 ground see that your work is well rubbed and 
 puttied before graining. 
 
 Grain. — Vandyke brown tliinned with lager 
 beer 'should be used for the over grain. Some 
 use vinegar, but it does not work as well as the 
 beer, and it should be diluted w^ith sugar and 
 water. The growths should be put in with the 
 brown in oil. Use a fitch for the growths; the 
 over grainer and pencil for the grain, which, 
 after it is dry, thin down and put on a glaze 
 over all. Shade as you go. Then varnisli 
 v/hen dry. 
 
 Black Walnut Ground. — Mix as near a 
 dove color as you can, a.s fellows : White lead^ 
 
76 MILLER'S "BOSS'' PAlNTMi. 
 
 chrome yellow, Venetian red, burnt umber, 
 and very little black. 
 
 Grain. — Stipple with burnt umber 3 parts, 
 raw sienna 1 part, thin with beer. A common 
 duster will do to stipple with. Work in the 
 growths with burnt umber in oil ; with pencil 
 blend them out well, and when dry put on thin 
 glaze in oil ; add a little raw sienna to the um- 
 ber. Wipe out with rag. Put in dark, heavy 
 knots with a fitch or small sash tool. It is done 
 by twisting the brush around, and with 
 very little practice is easily done, and sets-off the 
 work to good advantage. When dry varnish. 
 
 White Walnut Ground. — Dark buff or 
 russet color. Stipple with raw umber in beer. 
 Put in growths with raw umber 3 parts, burnt 
 Umber and raw sienna 1 part in oil, and when 
 dry thin down, glaze and shade. 
 
 In graining walnut woods, use the flat over- 
 grainer brush and pencils. 
 
 English Walnut Ground.— Very light 
 buff. Stipple with burnt umber in beer. Over- 
 grain with Vandyke brown in oil. Thin down; 
 glaze and shade with the same. Varnish when 
 dry. 
 
MILLER'S "BOSS" PAINTER. 
 
 Oak Ground. — Light buii'. White lead, 
 clirome yellow and very little Venetian red. 
 Grain with burnt umber, raw sienna and very 
 little burnt sienna in oil and turpentine, half 
 and half; add a little beeswax dissolved in oil. 
 Use the steel comb, and also get apiece of rub- 
 ber about 4 inches long, 2 inches wide and J 
 inch thick, and cut notches in it about J inch 
 apart. Use the rubber for the heavy growths. 
 After usitig the rubber, draw the steel comb 
 diagonally across the work Use soft canton 
 flannel over the thumb nail to wipe out the 
 lights, hearts, &c. When dry sha,de with some 
 color; throw in shades with rubbing-in brush 
 and tool, wipe out with rag. I can give you 
 no designs, but would advise you to study the 
 wood, and do not try to beat the one that 
 made it grow. 
 
 Pine Ground. — Light buff. Grain with 
 burnt sienna in oil. 
 
 Maple Ground.- — Same as oak. Grain 
 with raw umber in beer. Use the points of 
 your fingers to make the bird eyes, and a flat 
 varnish to make the curls, &c,, also, over- 
 grainer to make the growths. 
 
MILi.ER'S "BOSS" PAINTER. 
 
 iSlaiiis Graiuiiig'* 
 
 In addition to the art of imitating the grain- 
 ing of woods, marble?, etc, by oil colors, there 
 are methods of bringing out with effect and 
 beauty, as well as of preserving, the natural 
 graining of woods, etc.,- and also of imitating, 
 heightening and improving them artificially, 
 though less practiced is not less ingenious or 
 worthy of inattention from the grainer, it be- 
 ing as desirable to heighten and preserve the 
 natural beauty of woodwork as by artificial 
 painting to imitate them or hide their defects. 
 For bringing out the natural grain of wood- 
 work where it is of sufiicient 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 for 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 rub- 
 bers 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 
 
MILLER'.S "BOSH" PAINTER. 79 
 
 water, Avhich 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 valuable sorts. A beautiful 
 variety of graining may be executed with 
 strong acids on plain word brought out by heat, 
 in which way the nitrous acids or aqua fortis 
 applied affords amber and yellow shades, and 
 Ihe sulphuric acid yields shades of a dusky and 
 darker hue, so as together to imitate the various 
 hues of the tortoise shell, etc., after which the 
 work is to be cleaned off* and varnished or pol- 
 ished. 
 
80 MILLER'S "BOS«" PAINTER. 
 
 —STAINS.— 
 
 To Make Red Sanders Stain. 
 
 Fill a bottle of any size a little more than 
 one-quarter full of red sanders, then fill the bot- 
 tle up with AC. The AC extracts the color 
 from the sanders, and the liquid is called san- 
 ders stain, or red sanders stain. The more red 
 sanders you put into the bottle the stronger 
 will be the stain, while it can at any time be 
 diluted with AC to make lighter shades. The 
 longer it remains in the bottle the more color 
 will be extracted. Always strain it through a 
 piece of thin muslin before throwing the grounds 
 away. Ask for red sanders at any drug 
 store. It is a red wood dust. Ten cents a 
 pound is what I have been paying at all whole- 
 sale druggists. Do not ask for IcvSS than half a 
 pound, or you may be charged at a high rate. 
 
 To Mix Sanders Stain with Aspliaituin Varnisli 
 
 It you pour red sanders stain in with asphal- 
 tum they will not mix of themselves, but by 
 
MILLER'S ''B0«3" PAII^iTER. 
 
 addirg TT sufficient to thin to a proper co^Bi^^t- 
 cncy, tlio TT will cau.^e both stains to unite. 
 The Sanders give the red shade, and the as- 
 plialtum gives the dark — more or less of either 
 will giv3 the required shade according to the 
 ytrengtli. 
 
 N. B- — The stronger the red sanders stain is 
 made the less of it will be required to give suf- 
 ficient red, and of course the less x\C wdll be 
 used. It requires very little sanders to get red 
 enough. It is the liquid, not the grounds of 
 the red sanders you mix with the asphaltum. 
 The grounds are, as stated in making sanders 
 stains, thrown away. After mixirig these two 
 stahis you had better strain it to take the dross 
 from the asphaltum. 
 
 Oai Mixing: Ag-aisi. 
 
 Red sanders stain can be mixed with umber 
 ground in oil or turpentine. TT will mix it 
 with all other colors, and it is better and more 
 of a mahogany or rosewood red than all other 
 stains. TT will also mix asi)haltum with um- 
 ber, and make it adhere to the wood better. 
 In fact, a number of practical experiments can 
 • 
 
82 MILLER'S -BOSS" PAINTER. 
 
 be made with sanders and asphaltum mixed 
 with many other colors, turpentine mixing 
 them either with oils or alcohol colors, and of 
 course with turpentine colors. 
 
 Wood Stains. 
 
 Light Woods to Mahogany. — Mix red 
 sanders stain and asphaltum stain (see mixing 
 stains), and when it is the desired color apply 
 with a brush. Do not have the stain too thick. 
 If the wood is not stained sufficiently red to 
 suit your fancy, you may put red sanders stain 
 into the varnish, and every coat of the stained 
 varnish will make the w^ood more red. N. B. 
 — The stronger the red sanders stain is made 
 the less it takes to color the varnish. And 
 thus you use less AC which is at present prices 
 the most expensive article you have to get, 
 Thin the varnish when you mix stain with it 
 for first coat ; by so doing you can spread the 
 color more evenly (in mixing stains and var- 
 nishes). 
 
 Walnut to Light Mahogany. — With 
 either a rag or brush rub over the wood a col- 
 oring of red sanders stain, and you have a per- 
 
MILLEH'H "BOSS" PAI^^TER. 
 
 feet mahogany And by either oil-finishing or 
 varnishing, the color will be brought out. Red 
 Sanders stnin dries almost immediately, and can 
 be finished right off. 
 
 N. B. — Some walnut wood is light, some 
 dark, consequently make the stain strong or 
 weak to suit the wood. You can at any time 
 ^ive more coloring to the wood if necessary by 
 mixing stain with the varnish, even after var- 
 nish has been applied to the wood. 
 
 Walnut to Dark Mahogany. — First go 
 over the work v.ith asphaltum stain then with 
 the Sanders, be sure you do not have the as- 
 phaltum too thick or the work will be too dark. 
 
 Another Mahogany Stain. — Dragon'3 
 blood used the same ns red sanders, but it is 
 too expensive and does not stand so well. 
 
 Again. — By applying aquafortis diluted with 
 water to dark new woods will make a mahog- 
 any, but I don't recommend it, as aquafortis is 
 expensive and dan2;erous. 
 
 To Darken Mahogany. — Use sal soda or 
 lye, but do not have it too strong ; dilute it 
 with water. This is to make light mahogany 
 into dark Spanish. 
 
84 MILLER'S "BOSS" PAINTER. 
 
 MisJog' Staiais 'svitli Varisislies. 
 
 Red ganders stain and asphaltiim stain can 
 be mixed with the varnisli. If the varnish is 
 made from turpentine they will mix readily. 
 If made from oil or alcohol, turpentine will 
 cause the asphaltum to mix. 
 
 Knotty Pine Mahogany. — Mix whiting 
 with warm wUter to consistency of thick white- 
 wash, put in as much Venetian red as will give 
 it a red appearance ; now mix in sufficient dis- 
 solved glue as will make the mixture adhere 
 to the wood. By giving the wood two coats of 
 this mixture the flaws, knots, etc., will be hid- 
 den, and when well dry rub off the loose siz- 
 ing, then varnish with red sanders stain in the 
 varnish, and you have a very good appearing 
 stain. Brown umber or any colors may be 
 used in the above sizing to suit the fancy for 
 colors, or to darken the mahogany. 
 
 Walnut for White Wood. — A solution 
 of equal parts of permanganate of potash and 
 sulphate of magnesia applied to white wood by 
 means of a brush will produce an excellent 
 brown color resembling walnut. A second 
 
MILLER'S "BOSS" PAINTER. 85 
 
 coat may be required after the first coat is dry. 
 
 Walnut Again. — Burned umber, burned 
 sienna and boiled linseed oib ground fine. This 
 is not durable, as the oil or varnish is required 
 to protect it from coming off. 
 
 Walnut Again. — One ounce gum asphal- 
 tum, three or four ounces turpentine, one ounce 
 boiled linseed oil, and Venetian red to color red 
 — an old way. 
 
 Imitation Black Walnut. — Poplar or 
 White wood treated as follows will assume the 
 appearance of the finest black walnut. The 
 wood must be dry and warm, and then coated 
 once or twice with a strong aqueous solution of 
 extract of walnut peel. When half dried the 
 wood is brushed with a solution compounded 
 of 1 part y weight of bichromate of potassa 
 in 5 parts of boiling water, and after drying 
 thoroughly is rubbed and polished. The stain 
 penetrates to the depth of from one-twelfth to 
 one-sixth of an inch. 
 
 For Rosewood. — Dissolve two ounces pul- 
 verized extract of logwood in one pint of boil- 
 ing water (better let it boil till dissolved.) Ap- 
 plv two coats to the wood while hot, and, (o 
 
MlLl^ER'S "BOSS" PAINTER. 
 
 make the rosewood grain, stripe it according to 
 fancy, when dry rub off' all the black you can 
 with a rough cloth. 
 
 EosEWOOD Again. — Half pound of red gan- 
 ders and half pound logwood, boiled in one 
 gallon of water for one hour ; strain and add 
 half an ounce of powdered AN ; go over the 
 wood with this wdiile hot, and when dry ; form 
 dark streaks with logwood without red sanders, 
 boiled in the same proportions. The dark 
 streaks can be made black by adding one-quar- 
 ter of an ounce of green copperas to the gallon 
 of a pure logwood stain. You can shade the 
 first mixture by proportioning the red sanders 
 and logwood in first stain. 
 
 Beantifnl Shades on liiglit Colored Woods 
 
 Can be made by liolding a flat piece of red hot 
 iron close to the wood so as to scorch it irregu- 
 lary ; also, by heating sand as hot as you can 
 and throwing it on the wood in uneven thick- 
 ness. This will bring out very beautiful 
 shades. 
 
 Cherry. — Rub over tlie light wood the red 
 sanders stain and it will be a s^ood cherry, bu 
 
MILLER'S -'BOSS" PAINTER. 87 
 
 do not have the stain too strong or it ^Yill be 
 too red. 
 
 Cherry again. — Boil one ounce annatto in 
 twelve ounces rain water ; v, hen the color s 
 well extracted put in a bit of potash the size of 
 two peas, and keep it on the fire a half hour or 
 longer. This raises the grain. 
 
 Satin Wood. — Can be o])taiued with very 
 light Sanders stains on light v>u)ods. It must 
 only be tinged. 
 
 stains for Vesseers, 
 
 Red. — Brazil wood, fourteen parts; alum 
 four parts, water eighty -five part^. Boil. 
 
 Blue. — Logwood seven parts, blue vitriol 
 one part, water twenty-five parts. Boil. 
 
 Green. — Verdigris one part, vinegar three 
 parts. Dissolve. 
 
 Yellow. — Fench berries seven parts, water 
 ten parts, alum one part. Boil. 
 
 Purple. — Logw^ood eleven parts, alum three 
 parts, water twenty-nine parts. Boil. 
 
 Apply the above with a rag, hot, [except 
 the green]. These stains will raise the grain, 
 and must of course be rubbed down before var- 
 
88 Mli.LEJl'.S"J^OSS" PAINTER. 
 
 uisluiig. They will not be suitable to go over 
 old varnish, but are good for new veneers. 
 
 Eemembee This. — It is impossible to give 
 the quantities in many receipts. Sometimes 
 you purchase things with more coloring matter. 
 and less would be required. The liquids are 
 sometimes of a higher proof, and in a thousand 
 and one ways you may go wrong if exact quan- 
 tities were given. Experiment with a very 
 little, and do not spoil or waste any large 
 quantity. '1 his refers to sliades of stains 
 mostly. 
 
 Staining Floors, Old or New. — To half 
 a pint of asphaltum varnish add two table- 
 spoonsful of umber (ground in oil); thin this 
 with boiled oil and turpentine (half as much 
 oil as turpentine); then shade with red sanders 
 stain, and by mixing a little turpentine varnish 
 it will wear better. Apply with a brush, not- 
 too thick, and mix in a little Japan dryer to 
 dry the varnish. 
 
 Orange Stain. — Use vermillion or carmine 
 mixed with chrome yellow, and be sure and 
 lave a good full yellow, or it will look poor or 
 wat(M'v. 
 
MILLER'S "BOSS" PAINTER. 
 
 Salmon Stain. — Dutch pink and red Sand- 
 ers stain. 
 
 Flesh Colok. — Can be made by using dif- 
 ferent quantities of Dutch pink and red sanders 
 stain. 
 
 Purple Stain. — Lake united with Prussian 
 blue or carmine. 
 
 Purple. — To a pound of good chip logwood 
 put three quarts of water, boil for an hour, 
 then add four ounces of pearlash and two 
 ounces of indigo pounded. 
 
00 MILLER'S "BOSS" PaINTER. 
 
 THE HARMONY AND DISCORD OF 
 COLORS. 
 
 Even many calling themselves decorative art- 
 tists ignore the laws of nature, which control in 
 the matter of harmony and contrast. Practi- 
 cally, they act upon the theory that colors may 
 be arranged in a scheme, with a view to an- 
 swer the caprice of the artist or his patron. He 
 goes on arranging colors in his work upon the 
 theory or supposition that a certain tint qr 
 shade will look well on a given feature or part 
 of his work, without reference to its collocation 
 in regard to other c(;lors. On the contrary, 
 harmony or discord in color depends not on 
 will or caprice or personal taste of anyone, but 
 is based on certain unchangeagle laws. These 
 are a matter of study and experience. By 
 these terms, harmony and discord, we under- 
 stand colors, placed side b}' side, will either al- 
 ter the effect of each other, or completins- one 
 
MILLER'S "BOSS" PAINTER. 
 
 another will beighteu the effect of each. Per- 
 sons familiar with this subject can by so ar- 
 ranging colors or objects of familiar use, with 
 reference to color, in furnishing or fitting up 
 apartments, in dressing, or in decorating walls, 
 as to produce, even with the greatest simplicity, 
 a more agreeable effect tlian is possible with 
 the most extravagant expenditure, without a 
 sense of harmony and discord. 
 
 HARMONY. 
 
 Red and Green. — A red body reflects green 
 rays, while, on the other hand, a green body 
 reflects red rays. Therefore, green is the color 
 which completes red, and similarly red is tlie 
 color which completes green. Both colors, 
 therefore, gain in intensity. 
 
 Blue and Orange. — A blue body often re- 
 flects orange rays, and, inversely, an orange 
 body will frequently reflect the blue rays. 
 Orange is, therefore, the complementary color 
 of blue, and vice versa ; therefore each color in- 
 tensifies the other, 
 
 Violet and Greenish Yellow, — A violet 
 body reflects greenish yellow, and, inversely, a 
 
92 MILLER'8 "BOSS*' PAINTER. 
 
 greenish yellow body reflects violet. Both col- 
 ors, therefore, complete each other and intensi- 
 fy each other. 
 
 Indigo and Yellow. — Indigo reflects yel- 
 low, and yellow indigo rays, hence they are 
 complementary and intensify each other. 
 
 It would carry us too far to describe all the 
 other colors which are complementary 
 
 DISCOED OF COLORS. 
 
 1. Two simple colors. — Red and Yellow, 
 Bed appears darker purple, because the indigo 
 rays are imp.irted to it from the yellow; yellow 
 appears greenish, because green rays are im- 
 parted to it from the rod. 
 
 Yellow andB lue. — Yellow takes away the 
 orange rays from the blue and appears red- 
 dish ; blue absorbs the indigo rays from the yel- 
 low and appears darker. 
 
 Blue and Red — Blue appears greenish 
 from the effect of the green rays of the red; red 
 on the contrary, from the orange rays of the 
 blue, Appears yellowish. 
 
 2. A compound color and a primary color,, 
 the hitter beinof contained in the former : — 
 
MILLER'S "BOSS" PAINTER. 93 
 
 Ked and Orange. — Red absorbs the blue 
 rays from the orange and appears bluish violet; 
 orange is influenced by the green rays of the 
 red, and appears yellowish, i. e., lighter. 
 
 Red and Violet. — Red beside violet ap- 
 pears yellower, because it receives the yellow 
 rays from the latter ; violet appears darker be- 
 cause greenish rays are absorbed by it.' 
 
 Orange and Yellow. — Orange loses from 
 its yellow and appears redder; the yellow ap- 
 pears more greenish. 
 
 Green and Yellow. — Green loses its yel- 
 low and appears darker, more blue ; the yellow 
 is influenced by the reddish rays of the green 
 and appears reddish, i. e., orange. 
 
 Green and Blue. — The green appears 
 lighter, more yellow, as if it were faded; the 
 blue appears reddish alongside of the blue, i. e., 
 like violet, 
 
 Violet and Blue. — The violet loses its 
 blue and assumes a reddish appearance in com- 
 parison wdth the blue, that is greenish. 
 
 3. Two compound colors which have one 
 primary color in common. 
 
 Orange and Green. — Both colors contain 
 
MILLER'S "BOSS" PAINTER. 
 
 rays of yellow, and each loses some of its tint 
 by contact, the orange appearing more red, and 
 green more blue. 
 
 Green and Violet. — Both of these colors 
 have blue in common, and hence by contact 
 each loses in appearance, the green becoming 
 more blue and the violet more red. 
 
 Violet and Orange. — These two colors 
 have the red rays in common, which is les- 
 sened by contact, the violet becoming more 
 blue, while the orange appears more yellowish. 
 
 Phenomena of Gradual Contrast. 
 It has been stated in our remarks on the har- 
 mony and discord of colors tliat red reflects 
 green rays, and the green reflects the red rays : 
 that all colors have their completing or comple- 
 mentary shades, which may be observed by the 
 eye. This statement will be confirmed in the 
 following: Ifone fixes his eyes for sometime 
 on a red object, and then quickly looks away 
 or close the eye, it appears just as if the same 
 object apeared before him in green. Similarly 
 agreeii object, when stared at, produces a red 
 effect when tlie eye looks away. When one 
 
MILLER'S "EOSS'^ PAINTER. 95 
 
 looks at a blue object for some time there is pro- 
 duced in the eye the sensation as if one saw an 
 orange object, and con tvavi wise, an orange-col- 
 ored object appears as if it were blue. 
 
 VVlien these colors are seen singly, as for in- 
 stance, in the form of flowers, or some other 
 ornamentation on a light grey back-ground, 
 and closely watched for some time, it will be 
 found that after a while the grey. ground will 
 appear slightly tinged by the complementary 
 color. In the same way Avith — 
 
 Ked, the grey ground is tinged greenish. 
 Green, '' ** reddish. 
 
 Blue, '* " orange. 
 
 Orange, " " bluish. 
 
 Violet, " '' yellowish. 
 
 With wall-papers and woven fabrics these 
 facts have been noticed, and even have led to 
 serious disputes. Thus, for instance, at Pans, 
 in a factory of wall-papers, a case occurred in 
 which a color-mixer was found fault with for 
 having used greenish gray instead of an ash 
 gray as a back-ground for a pattern of red 
 flowers and garlands. His justification how- 
 
9G • MILLER'S "BOSS" PAINTER. 
 
 ever, was at hand, in the shape of a remnant 
 of the gray pigment, which, when examined 
 by itself, was in reality of ash gray tint. It 
 was Chevreul, the distinguished chemist and 
 director of the Gobelin Manufactory, of Paris, 
 who related the previous case, and the diffi- 
 culty was settled by his showing that the red 
 flowers imparted the greenish tint to the gray 
 ground. 
 
MILLER'S "BOSS" PAINTER. 97 
 
 COIMPOUNDI^' G OF COLORS. 
 
 It would be an endless task to enumerate all 
 the colors formed by the mixture of various 
 colors. I give, therefore, the simplest method 
 of making the various tints, leaving the paint- 
 er to exercise his own judgment as regards oth- 
 ers not mentioned. Everyone knows that it 
 would be foolish to attempt to give the exact 
 proportions of the various colors, consequently 
 I will not attempt it, but recommend you to add 
 little by little of the colors until you have the 
 desired shade. 
 
 Straw, add chrome yellow to white lead. 
 Silv&i- Grey, add lamp black and indigo to 
 
 white lead. 
 Rose or pink, add carmine or lake to v\'hite lead. 
 Pea Green, add chrome green to *' 
 
 Lead Color, add lamp black to " 
 
 Brilliant Green, add emerald green to " 
 Bright Green, add Paris green to " 
 
 Drab, add umber to white lead. 
 Buff, add yellow ocbre to white lead. 
 
98 MILLER'S "BOSS" PAINTER. 
 
 Salmon, add red, umber and yellow to wh. lead. 
 
 Flesh, add carmine to straw. 
 
 Dark Green, add black to chrome yellow. 
 
 Brown, add red to black. 
 
 Purple, add red to light blue. 
 
 Pearl, add blue to lead color. 
 
 Oran2:e, add vermillion to chrome yellow. 
 
 Olive, add chrome yellow, blue, black and red. 
 
 Chestnut, add white to brown. 
 
 Chocolate, add yellow to brown. 
 
 Cream, white tinted with red and yellow. 
 
 French White, white tinted with purple. 
 
 Pearl White, white tinted with blue and purple. 
 
 Ashes of Koses, white tinted lead color and 
 lake. 
 
 French Gray, white tinted with black and 
 purple. 
 
 Russett, yellow ochre and Venetian red. 
 
 Stone, Venetian red, lamp black, chrome yel- 
 low and white. 
 
 Stone, [for inside work,] umber, black, red 
 and white. 
 
 Stone, [for rough work,] yellow ochre, brown, 
 black and white. 
 
 Peach Blossom, Venetian red and white. 
 
. MILLER'S "BOSS" PAINTER. 
 
 Maroon, yellow ochre, red and white | 
 
 DURABLE COLORS FOR OUTSIDE WORK. 
 
 Venetian Red, Indian Red, 
 
 Chrome Green, Roman Ochre, 
 
 *' Yellow, Yellow " 
 
 Prussian Blue, Oxide of Iron, 
 
 Antwerp Blue, Spanish Brown, 
 
 Intense Blue, Ivory Black, 
 
 Lamp Black. 
 Do not use for outside work umber or sienna, 
 
 as they are transparent colors and will soon 
 
 lose their brilliancy. 
 
lUU MILLER'S "BOSS'TAII^TER. 
 
 CARRIAGE MAKERS DEPARTMENT. 
 
 The main object to be attained is to get a 
 good foundation to v/ork upon. In working 
 rough stuff carriage painters get too much oil 
 in it, and it does not dry; and when they go to 
 rub it down it rolls up. 
 
 Mixing iloiag-li StuST. 
 
 The methods of mixing rough stuff are as va- 
 rious, almost, as the faces of the painters who 
 are required to mix it. The chief requisite is 
 to select certain coarse gritty pigments, such as 
 yellow ocher, French umber or English filling. 
 \¥hatever paint is selected, it is of vital im- 
 portance that the paint should be ground ex- 
 ceedingly fine. Ttie liquids required are con- 
 fined to japan,, oil, turpentine and varnish, 
 and they must be selected and proportioned ac- 
 cording to the time allowed for the rough stuff 
 to harden. Japan hastens, and oil retards the 
 drying. The following recipes have been test- 
 ed and are known to be good : 
 
MILLER'S "BOSS" PAINTER. 101 
 
 1. English filliDg, 5 lbs.; keg lead, 1 ib.; 
 mixed into fi stiff paste with equal parts of 
 either gold size or best brown japan, and 
 three-day rubbing varnish ; add a gill of vrw 
 oil. 
 
 2. Yellow ochre or French umber, 5 lb?.; 
 keg lead. 1^ lbs.; mix stiff in japan and add a 
 gill of raw oil, and a half pint of the bottoms 
 of wearing varnish. 
 
 3. Burnt umber 3 parts, silica 2 parts, yel- 
 low ochre 1 part ; mix stiff in either brown ja- 
 pan or gold size, and bottoms of wearing body 
 varnish. 
 
 The above recipes produce tough, durable 
 coatings, but for lightning dryers omit the oil 
 and oil lead. 
 
 The carriage painter will save labor by using 
 clean color, varnish and brushes ; always strain 
 your color before using ; never mix more than 
 is sufficient for immediate use ; never draw 
 from the can more varnish than is necessary, 
 and if you have any left do not put it back in 
 the can without, straining. 
 
 The methods of doing work of this class are 
 various. I will endeavor to explain my m.eth- 
 • 
 
102 MILLER'S "BUSS" PAINTER. 
 
 od. First clean off the work ; get it free from 
 grease and dust ; rub down all rough places ; 
 then give it a good coat of rough stuff; let it 
 get dry. Then plaster it well with putty, 
 which is made as follows : If it is an old job, or 
 new, and you have but little time; use SW 
 mixed into a stiff paste with rubbing varnish, 
 with a little good japan, (use no oil). When 
 dry cut it down with sandpaper, then flow on 
 two good coats of fiat color, the last coat with a 
 little rubbing varnish in it ; then cut it down 
 with PS; then coat with rubbing varnish, with 
 very little color in it ; then cut all down until 
 it is level, when it is ready for striping, then 
 flow on the finishing varnish. 
 
 To Mix Striping Colors. 
 
 Take one part rubbing varnish, two parts 
 finishing varnish, and one part turpentine. 
 Bottle it up, shake it well, and set away for a 
 few days. 
 
 With the exception of lakes which are slow 
 dryers, this vehicle will dry as rapidly as any 
 raixtiire that can be produced, with the advant- 
 age also of free working color. For carmine 
 
MILLER'S "BOSS" PAINTER. 103 
 
 and lake add a few drops of japan to the quan- 
 tity of vehicle required to mix the color. Dur- 
 ing the summer- solstice when the painter is 
 daily called upon to perform miracles almost in 
 "rushing-out" work, the above mixture will be 
 found far superior to the usual one of japan 
 and turpentine. 
 
 Quick color should be kept in small pans of 
 tin or stoneware, rather than in a tough mass 
 on a palette-board to be worked down with the 
 pencil. Grind the color to about the consist- 
 ency required, and keep in a separate pan, tur- 
 pentine, containing a small proportion of var- 
 nish or japan. By this plan dryer is added to 
 each fresh pencilful of color, the pencil behaves 
 better and the stripes run on as freely and with 
 as good edges as w^hen color is mixed with oil. 
 Last, but not least, the color is not so liable to 
 * 'wash-up" as when japan and turpentine are 
 employed. 
 
104 
 
 MILLER'S "BOSS" PAINTER. 
 
 CLASSIFICA.TION OF PIGMENTS. 
 
 The followiDg list of pigments, or paints, 
 comprise about all that are required in Land- 
 scape, Portrait, Decorative and Coach paint- 
 ing. 
 
 They are alphabetically arranged and as- 
 sorted according to their colors and hues, and 
 those required by the coach painters are re-ar- 
 ranged by themselves. 
 
 WHITES. 
 
 Blanc d^Argent, 
 China White, 
 Cremnitz White, 
 Flake White, 
 Nottingham White, 
 
 YELLOWS. 
 
 Antimony Yellow; Indian Yellow, 
 
 Silver White, 
 
 White Lead, 
 
 Whiting, 
 
 Zinc White, French, 
 
 Paris White. 
 
 Brandon 
 Brilliant 
 Cadmium 
 Capcine 
 
 Italian Pink, 
 Kings Yellow, 
 Lemon Chrome, 
 Lima Yellow, • 
 
MILLER'S "BOSS" PAINTER. 
 
 105 
 
 YELLOWS, CONTINUED. 
 
 Chrome Yellowy, No. 1 Mars Orange, 
 " 2 Mars Yellow, 
 * " '' " 3 Naples Yellow, light, 
 
 " Light, " deep, 
 
 " " Med. Orpiment, 
 
 " '* Deep, Orange Chrome, 
 
 '' French, Oxford Ochre, 
 Patent Yellow, 
 Raw, Sienna, 
 Roman Ochre, 
 Yellow Lake, 
 
 Citron 
 
 Dutch Pink, 
 French Ochre, 
 Golden Ochre, 
 Yellow Ochre. 
 
 Amaranda Lake, 
 Burnt Carmine, 
 Burnt Roman Ochre 
 Brown Red, 
 Burnt Sienna, 
 Carmine, 
 Carmine Lake, 
 Carmoisen LaKe, 
 Chatemuc " 
 
 REDS. 
 
 Persian Red, 
 Red Lead, 
 Rose Lake, 
 Rose Madder, 
 Rose Pink, 
 Royal Red, 
 Rose Scarlet, 
 Scarlet Lake, light, 
 '* deep^ 
 
 Crimson Lake, Engl'h, Solferino Lake, 
 " Amer. Turkey Red, 
 
Venetian Red, 
 
 Vermilio 
 
 n, American, 
 
 ( ( 
 
 Chinese, 
 
 (( 
 
 English, 
 
 (( 
 
 French, 
 
 
 Italian, 
 
 (( 
 
 Trieste, 
 
 (( 
 
 Ziibia. 
 
 106 MlLi^ER*S "BOSS" PAINTER. 
 
 EEDS, CONTINUED. 
 
 Florentine Lake, Tuscan Red, 
 
 Indian Red, 
 
 Italian Red, 
 
 Light Red, 
 
 Mars Red, 
 
 Munich Lake, 
 
 Orange Mineral, 
 
 Orpiment Mineral. 
 
 Persian Scarlet, 
 
 PURPLES. 
 
 Concentrated Purple, Mauve Lake, 
 English Purple Lake, Purple Madder, 
 Royal Purple. 
 
 GREENS. 
 
 Brunswick Green, Pure Green, Light, 
 
 Chrome Green, Light, " Medium, 
 
 Med. '' Dark, 
 
 " Deep, Bronze or Quaker, li'ht, 
 
 Emerald Green, " Medium, 
 
 Green Lake, " Dark, 
 
 Gr'n Ox. of Chromium Sap Green, 
 Malachite Green, Schweinfurth Green, 
 
 Millori Green, Light, Schell Green, 
 Dark, Terre Vert, 
 
MILLER'S "BOSS" PAINTER. 
 
 107 
 
 GREENS, CONTINUED, 
 
 Olive Lake, Ultramarine Green j 
 
 Verdigris, 
 
 Paris Green 
 Veronese Green. 
 
 Antwerp Blue, 
 Burnt Prussian Blue, 
 Blue Verditer, 
 Celestial Blue, 
 Chinese Blue, 
 Cobalt Blue, 
 Indigo, 
 Lithographers Blue, 
 
 BLACKS 
 
 BLUES. 
 
 Mars Violet, 
 Milori Blue, 
 New Blue, 
 Permanent Blue, 
 Prussian Blue, 
 Ultramarine blue, Fr'h> 
 " Ger. 
 Violet Lake. 
 
 Black Lead, 
 Blue Black, 
 Cork Black, 
 
 Asphaltura, 
 Bistre, 
 Bitumen, 
 Bone Brown, 
 Brown Lake, 
 Bro\vn Madder, 
 
 Drop Black, 
 Ivory Black, 
 Lamp Blacks 
 
 BROWNS. 
 
 Cappah Brown, 
 Cologne Earth, 
 Mars Brown, 
 Mummy, 
 Prussian Brown, 
 Raw Turkev Umber. 
 
108 
 
 MILLER'S "BOSS" PAINTER. 
 
 BROWNS, CONTINUED. 
 
 Brown Pink, Van Dyke Brown, 
 
 Burnt Turkey Umber, Verona Brown, 
 Caledonian Brown, Spanish Brown, 
 
 PAINTS AND COLORS USED IN CARRIAGE 
 PAINTING. 
 
 Turkey Red, 
 Tuscan Bed, 
 Venetian Red, 
 Vermi] ion , American , 
 ' ' Chinese, 
 
 China Wiiite, 
 Flake White, 
 French Zinc, 
 Silver White, 
 Whiting, 
 Brandon Yellow, 
 ChromeYeI.,L.M. D 
 Citron Yellow, 
 Dutch Pink, 
 Golden Ochre, 
 Lemon Yellow, 
 Naples Yellow, 
 Orange Chrome, 
 Oxford Ochre, 
 Patent Yellow, 
 Raw Italian Sienna, 
 Yellow Lake, 
 Yellow Ochre, 
 
 *' English, 
 
 ** French, 
 
 Trieste, 
 
 English Purple Lake, 
 
 Mauve Lake, 
 
 Royal Purple, 
 
 Celestial Blue, 
 
 Chinese Blue, 
 
 Prussian Blue, 
 
 Ultramarine Blue, Fr'h, 
 
 Violet Lake, 
 
 " German, 
 
 Chrome Green, L.M.D. 
 
Mll.LEK'S "BOSS" PAIJSTER. 109 
 
 CARRIAGE PAINTS, CONTINUED. 
 
 Burnt Italian Sieiincl, Emerald Green, 
 Carmine, Malachite Green, 
 
 Carmine Lake, Milori Green, L. M. D. 
 
 Carmolsen Lake, Olive Lake, 
 
 Cbatemuc " Pure Green, L. M. D. 
 
 Crimson Lake, Eng., Quaker Green, L.M.D. 
 
 " Amer. Schweinfurth, 
 
 Florentine Lake, Verdigris, 
 
 Lidian Eed, Asphaltum, 
 
 Munich Lake, Burnt Umber, 
 
 Red Lake, Raw '" 
 
 Rose Pink, Vandyke Brown, 
 
 Rose Lake, Brown Lake, 
 
 Royal Red, Drop Blac'i, 
 
 Scarlet Lake, Ivory Black, 
 
 Lamp Black. 
 Closely allied to paints are foliated or leaf 
 metals, and metals in powder or Bronzes. The 
 purest of the foliated metals are termed "leaf," 
 the next grade "half gold," and the inferior 
 kinds are called ''metal." Thus we have 
 Gold Leaf, Half Gold. 
 
 Silver Leaf, . Dutch Metal, 
 
 French Metal. 
 
110 
 
 MILLER'S "BOSS" PAINTER. 
 
 BRONZES. — COLORS OF 
 
 BRONZE. 
 
 White, 
 
 Silver, 
 
 Flesh, 
 
 Light Gold, 
 
 Dark Gold, 
 
 Eich Gold, 
 
 Lemon, 
 
 Orange, 
 
 Fire, 
 
 Copper, 
 
 Carmine, 
 
 Crimson, 
 
 Lilac, 
 
 Violet, 
 
 Brown, 
 
 Light and Dark Greens. 
 Gold and silver, however, are the only kinds 
 of value to the carriage painter. 
 
 PIGMENTS FOR FILLINGS AND ROUGH COATINGS. 
 
 Brown Ochre, Eed Lead, 
 
 Burnt Umber, White Lead, Wet, 
 
 English Filling, " Dry, 
 
 French Umber, Whiting, 
 
 Yellow Ochre, 
 
MILLER'S "BOSS" PAINTER. Hi 
 
 HOUSE PAINTING. 
 
 My book is not intended for the amateur 
 painter, consequently I will not go into all the 
 minor details of how all cases of house-work 
 should be done, but will give some ideas that, 
 perhaps, will be of some benefit to the practical 
 workman. I find, in my experience, that on 
 some jobs it takes more time to get at the 
 work than it does to do it, consequently the 
 painter is obliged to devise speedy ways and 
 means of getting at the work. I will give 
 some of my ways, — they may be old to some, 
 but new to others. 
 
 Window sash, sometimes, takes more time 
 than all the balance of the outside work, and 
 in priming, if you take them one by one, it re- 
 quires considerable labor. A better way is to 
 get two glass-boxes and lay the sash on them, 
 flat, with the munnionsdown, one on top of the 
 other evenly; put as many on the boxes as you 
 can reach down, and it will be the same as 
 
112 MILLER'iS -BOSS'- PAINTER. 
 
 painting the inside of a box ; use a 4-incli flat 
 brush. I sometimes give sash two coats the 
 same way before glazing, which will also save 
 time, and the work does as well if you are care- 
 ful and do not get the sash dirty while glazing. 
 One good coat will do for the tracing. In 
 painting old sash run around the stiles, letting 
 the tracing go for the first coat; then trace the 
 second coat. 
 
 Brackets and scroll work should always be 
 primed before they are put up ; and you will 
 make time by giving them two coats, using the 
 same color that the work will be finished in ; 
 then in the finishing coat you can leave edges. 
 
 Blinds. — If they are pivot or revolving 
 slats lay the blind on the trestle, with the bar 
 down ; then paint the top side of the slats ; 
 then turn the slat over and paint the other side; 
 then paint the stiles and the edge next to you; 
 then turn the blind over and you will find both 
 sides of the slats painted. Paint the bar, then 
 the edge of the slats ; then in next the stile ; 
 then the stile: then set it away up end down, 
 and wipe up the other side. 
 
MILLER'S "BOSS" PAINTER. 113 
 
 Swingiiiis: Kcaffoldi 
 
 It is a well-kuowii fact that the swing is a 
 great improvement ou the old style way of do- 
 lus: work, and for the information of the uni- 
 nitiated I will give a description of how to rig 
 and work them. A 40-foot fall is enough for 
 doing all ordinary work, unless it be in large 
 cities where buildings are tall, but I will speak 
 of a 40-foot swing. The two ropes should be 
 not less than f-inch in thickness and 160 feet 
 long, each, with double pulley-blocks above 
 and single blocks below. The stirrup should 
 be made of rope, and I would recommend you 
 to have as little iron about the rigging as possi- 
 ble. A ladder will do for the stage by cover- 
 ing it w^ith boards. There are various modes 
 of rigging on the building. One is the out- 
 rigger, which is used only when the roof is flat. 
 Let the out-rigger (a scantling 3x4 and 16 or 
 18 ft. long) project over the cornice about 4 ins. 
 and fasten the tackle to it with ropes ; some 
 have an iron ring on the out-rigger on which to 
 hook the tackle, but I prefer rope. 
 
 For general purposes I find the cornice hooks 
 
114 MILLER'S "BOSS" PAINTER. 
 
 tlie best; they can be rigged the quickest. I 
 hive a pair that I have been using for a num- 
 ber of years, and I have not yet found the build- 
 ing that I could not use them on. They are 
 made of ^ by 2 inch wagon tire iron, and bent 
 edgeways, with a hole in the lower end to hook 
 the tackle into. They are large enough to go 
 over a very large cornice, and are shaped some- 
 thing in tliis style : 
 
 The top part is round and sets on a block 
 that has a hole sunk about half an inch in it. 
 The block is 5x16 inches, and IJ inches in 
 thickness. Pine will do, I use them for 
 working in gutters or on cornices. I also have 
 another set to work on shingle roofs. They are 
 made of hard wood and the same size as the oth- 
 ers. On top is the pivot hole, and on the bot- 
 
MILLER'S "BOSS" PAINTER. 115 
 
 torn are little spins to keep them from slipping. 
 
 Top Side. Bottom side. 
 
 16 iuches. • 
 
 They can be worked on gables, even if the 
 ro( f be steep, and does not injure the shingles. 
 I also have another set for slate roofs, that have 
 rubber fastened to the bottom of the blocks. 
 They are larger, — 10x18 inches. 
 
 The swinging scaffold is certainly a great im- 
 proverarut on the ladder mode of getting at the 
 work, and in the eyes of some requires a ''sail- 
 or" to work it, but I would rather work off of 
 a swing on a building 8 stories high than off of 
 a 16-foot ladder, for there is less danger of get- 
 ting hurt, and it is not near so tiresome. Two 
 good hands on a swinging scaffold can go over 
 as much surface in a dny as four equally good 
 hands can, in the same time, off of ladrjers. 
 Hands are sometimes apt to become alarmed 
 when doing gables, but if the swing is pulled 
 up w^ell and well braced out from the wall, 
 there is no danger. I have w^orked a step lad- 
 der on the stage to get at the points of ga])les. 
 
IK) MJLLKR'S "B^JSS" PAINTER. 
 
 chimneys, &c. Set the foot of the steps as far 
 out on the stage as you can, and lean the top 
 against the wall, 
 
 • Brick Wall Painting. 
 
 New walls should be well rubbed down with 
 a brick and brushed off with a stiff broom the 
 first thing, then it is ready for the 
 
 First Coat. Yellow ocher and raw oil, 
 with sufficient dryers to dry it. If the job is to 
 be finished red, add a little Venetian red to 
 the ochre. Do not <ro over the work ao-ain un- 
 til it is thoroughly dry, which will be in two or 
 three days. Give it more time if you can, be- 
 cause you will save time and material. 
 
 Second Coat. Use raw oil and one-third 
 turps if you wish tliejob to stand out well iu 
 the finishing. Some go so far as to say there 
 should be no turps used in any of the coats for 
 outside work, but I differ with them so far as 
 the second coat is concerned. If the wall is to 
 be red use Venetian red, or, if it is to be stone 
 color, mix the color as near what the finish is 
 to be as you can. In this coat you are to do 
 all the puttying-up as you go. 
 
MILLEK'S "BOSS" PAINTER. 117 
 
 Third Coat. Boiled oil and the color the 
 work is to be finished, If red use, Indian red 
 or Eiiglisl) Venetian, and if stone ex)lor use f 
 WZ and I WL. The third coat should be 
 worked as stiff as you can conveniently work it. 
 
 l>tirable CoIor»$ for Outside Work. 
 
 If I were asked what colors or kinds of paints 
 are best for exterior work, I would say in all 
 oases use such colors as can be nuide from min- 
 eral or earth paints, with as little white lead 
 or zinc as possible. We know that ochres, 
 Venetian reds, metalics, and even whiting will 
 liold to the oil, or the oil will hold to them long- 
 er than either lead or zinc when exposed. 
 These, therefore, must be more durable for out- 
 ride work. 
 
 Flatting: Brick Wails. 
 
 The i)ainter is sometimes called upon to do 
 work of that description. Coat the wall first 
 and second coat same as previous article on 
 brick wall painting. The "flat" color should 
 be worked very quick, and you must be careful 
 not to leave laps. Two, three, or more men 
 should work tos'ether and carry the reaches i 
 
MILLER'ri -BOSS'' PAINTER. 
 
 such a manner as to avoid making any laps. 
 "Flat" color is color without gloss, or dead col- 
 or. If you wish a dead flat use all turps, but 
 that would be hard to work. The **flat" color 
 properly prepared and put on should be ap- 
 plied within a short time after the last oil coat 
 has become dry. This permits the ''flatting'" 
 to adhere firmly and become a part of the oil- 
 coat, merely deadenino; the gloss ; in this way 
 there is no more danger of the weather having 
 effect upon it than on a gloss, or even so much. 
 The flatting is thus rendered less liable tO' 
 change in color and more pleasant to the eye, 
 as tlie roughness and imperfections of the wall 
 are not so conspicuous. 
 
 Penciling. 
 
 For brick walL The work should belaid off 
 in half bricks with chalk line, so as to put in. 
 the headers on a line, one above the other al- 
 ternately. To do the aligning tlie commoi? 
 brick v/all lining-brush, which is about & inches 
 in length; the brush with which to put in the 
 headers is about 2 inches long,*^ the straight 
 edge, 5 feet in length and 2 inches in widths 
 
MFLLEK'S "BOSS" PAINTER. 119 
 
 and J inch in thickness, with a sharp beveled 
 edge. 
 
 Penciling requires no ordinary skill, but oft- 
 entimes the boss-painter in small localities is 
 called upon to do work of the kind, and is very 
 often put to his wit's end to know what to do 
 about it. One man in Michigan wrote to me, 
 that he had worked at painting for 40 years 
 and had never been called upon to paint a brick 
 wall, and I know from the tone of his letter 
 that he is a practical painter. Penciling is 
 very hard to do off of ladders, unless you rig a 
 scaffold with them, wdiich is done by standing 
 two ladders alongside of the wall, lasliing the 
 tops to the cornice. Get a good stout plank 
 and have one end on one ladder and the other 
 end on the other ladder. The swinging scaf- 
 fold is the best if you have one. For color use 
 white lead, oil, and japs, enough to dr\ it, also 
 turps, enough to keep it from running. If 
 you are inexperienced in that class of work, 
 commence at the back of the house, or do the 
 chimneys first, and by the time you get around 
 to the front vour work will be l>etter. 
 
m MILLERS "BOSS" PAINTEIL 
 
 Jiiiside Worls 
 
 Is usually done in "flats," sometimes dead^ 
 sometimes eggshell. Whites I would recom- 
 mend to work "dead," as tliey are less liable to 
 turn yellow. But if you wish an eggshell fin- 
 ish put a little demar varnish in it; use no oil. 
 It is Dot always advisable where tints are used 
 to work the color "dead," for in that case more 
 material is used, for the oil helps to make the 
 body, consequently the material will go furth- 
 er. It is useless to enter into minute details as 
 to how all the various kinds of inside work 
 should be done, but will give my way ol doing 
 some of the more important kinds of work. 
 
 Gloss White, sometimes called porcelain 
 white, Florence white, &c. It is useless to tell 
 the practical painter that he shcnld clean all 
 the dust and dirt out of the room first, but it is 
 necessary at times. I have known some of 
 the best workman in the country to prime the 
 work and then clean up afterwards, but by fo 
 doing, it causes more sandpapering and clean- 
 ing up to be done. I will novv treat on how a 
 first class job is to be done. This is a class of 
 work that must not l)e hurried. 
 
MILLKR'S "ROSS" PAINTER. VIl 
 
 1st. Clean all the work, Get all the dust 
 and dirt out of the room; do not leave a speck 
 of dust on the work or floor ; use a good, stiff 
 bristle duster for that purpose. 
 
 2d. Coat the work with shellac varnish. 
 
 3d. Size all the knots and sappy places with 
 quick drying gold size, then lay on a leaf of 
 gold or silver. Tlmt is the only reliable way 1 
 have ever found of killing knots. 
 
 4th. Coat the work with white lead mixed 
 with turps and oil, half and half. Give this 
 coat a sufficient time to dry. 
 
 otii. The putty should be w^bite lead, whit-^ 
 ing and japan. Putty Uj) all the hole, cracks, 
 etc. Let tlie work stand until the putty be- 
 gins to harden, then sandpaper all the work in 
 the room, then dust of! and sweep the floor. 
 Right here let me say, some workman will rub 
 down a door and frame, paint it, then go to the 
 next and rub it down and dust it off, throwing 
 dust all over the work they have just done, but 
 that kind of work will not do. 
 
 Btli. Coat the work with half white lead 
 and half zinc, almost dead ffat. 
 
 Tth. This cDat sliouid be all zinc of the best 
 
m MlLLRR'S "BOSS" PAINTER. 
 
 quality; French green seal is what I would rec- 
 ommend. Put it on with a soft hair flatting 
 brush, and make it cover as well as you can. 
 Work the color dead flat. This coat should be 
 allowed to become hard 
 
 8th. Now all depends upon the judgment 
 of the workman. The work must have a good 
 clear white white body before it receives the 
 final rubbing. If the work is not clear enough 
 put on another coat of the same as the last, but 
 not so heavy. Do not put that coat on until the 
 work is thoroughly di'y, then let the work get 
 hard, the harder the better ; then sandpaper, 
 Use No. 1. if the work is not dry it will roll 
 under the paper, and also gum up. Rub all 
 brush marks down smooth; be careful not to 
 tub the edges barej but if you do, touch them 
 up with color. 
 
 9th. Eggshell gloss, that is zinc mixed with 
 turps with one-half demar varnish. See that 
 your color is clean, run through a fine strainer* 
 Use well'-ground Cal. Magnesia foj* dryer in this 
 and the previous coats, except the first. Do 
 not use japan as it is apt to .stain the work. 
 
 10th. Rub down li2:htlv with verv fine 
 
MILLER'S "iiOSS" PAlKTER. I'M 
 
 sandpaper. The work should be bard, tbe 
 harder tbe better, for if it is anyways soft tbe 
 varnish will go in dead and will necessitate one 
 or more coats of demar. 
 
 Tbe demar for this coat should be stained 
 a little with tbe zinc, and should be flowed 
 on quick. Look sharp for runs ; if you 
 pee them start wipe them up before the varnish 
 sets, for it you do not it will then be too late* 
 I have put water in the varnish to prevent its 
 running, but it is not advisable, as it does not 
 do the varnish any good. It is sometimes nec- 
 essary to give the work a second coat of demar^ 
 but do not do it until the previous coat is thor- 
 oughly dry, which will take about three days. 
 If there are any runs cut them off with a sharp 
 chisel or sharp putty knife. 
 
 Painting: Plastered Walls. 
 
 Walls that have never been painted should 
 be thoroughly cleaned and rubbed down ; then 
 give them a coat of glue size, then putty up all 
 the holes and cracks. The putty for that pur- 
 pose is made of whiting and glue water. Use 
 no oil In large holes when the putty is dry 
 
124 Mil.i^ER'.S "BOSS" PAINTER. 
 
 you will have to re-putty, as it will shrink more 
 or less. Avoid usiug oil putty in this class of 
 work, as the putty is apt to strike through. 
 For oil fiiiisli, — first and second coats half and 
 half oil and turps, third coat all oil. If you 
 have a bad wall or a rough ceiling I would ad- 
 vise you to stipple. It is very easily done. If 
 you have no stippling brush a bristle dusting 
 brush will do» Pounce each stretch as you do 
 them with the point of the brush. You must 
 be careful to pounce it all ever evenly, and 
 leave no holidays. Varnished ceilings and side 
 walls are passing out of date. I do not advise 
 them, for where you use zinc mixed with oil it 
 is almost impossible for the inexperienced to 
 tell the differeuce. But where it is necessary to 
 have varnish finish, first coat should be almost 
 fiat; second coat two-thirds turps and one-third 
 Varuisli; third coat half turps and half varnish, 
 and for the last or varnish coat use almost clear 
 varnish. Put enough color in it to stain it. 
 The wall can l)e improved by running a stencil 
 border around the room. I have patterns of 
 all kinds for sale. Price 25 cents per pattern, 
 or three for 50 cents. Send 1-cent postage 
 
MILLER'S -'BOSS" PAINTER. 125 
 
 stamps. In orderiug please state the size you 
 wish. For further particulars see card iu the 
 back of this book. 
 
 9Ioiil<l Stains. 
 
 The spots should be well \vet with cider viu« 
 egar. Let stand for a few hours, then wash 
 with alum water. I have sometime shellaced 
 the spots after the washing. 
 
 iiileiicil and Pounce Patterns lor Wall**, ۩ilfi( 
 ings, «fcc. 
 
 For pounce, medium heavy roll drawing-pa- 
 per is the best for ceiling, or whei-e the pounce 
 pattern is to be large, but any kind of thin, 
 tough paper will answer. 
 
 Tools. — The straight edge, dividers, a few 
 sticks of charcoal, (that made from grapevine 
 is considered the best,) and a medium grade 
 lead pencil, comprise the tools for sketching. 
 
 With the straight edge first draw^ two center 
 lines, at right angles, across the paper, then on 
 one side of center line sketch in one-half of the 
 scroll or ornament, in a bold free off-hand mau' 
 ner, with ciiarcoal. Trace these lines carefully 
 with lead pencil, correct all curves or angles 
 
126 MILLER'S "BOSS'* PAINTKR. 
 
 where necessary, and dust off the charcoal. If 
 the design proves satisfactory retrace the pen- 
 cil marks with charcoal and fold the sheet in- 
 ward on the center line; rlib the paper lightly 
 on the back and you have a faint outline of the 
 other half of the design, which may be speedi* 
 ly completed with the lead pencil. Now don't 
 grasp an old blunt pin and punch away at the 
 design until it resembles a porous plaster, but 
 procure a slim, sharp needle and shape a piece 
 of soft wood about the size and shape of a sharp- 
 ened lead pencil for a handle. By placing the 
 point of the needle against some hard wood, 
 the needle can be pressed into the handle. You 
 can save time enough in pricking one good 
 sized pattern to make a tool of this description, 
 and with proper usage it will last a life time. 
 
 Pricking the pattern is an awkward job if 
 held in the hands, and good work is rarely ac- 
 complished in that way. To do it neatly and 
 easily, spread the pattern out on a smooth cloth 
 cushion; but as cushions are unusual furniture 
 for the paint shop and not always convenient 
 to get, take the next best thing you can get 
 hold of which may be a woolen jacket or even 
 
MILLER'S "BOSS" FAINTER. i2? 
 
 an old pair of overalls rolled up into a suitable 
 bundle. 
 
 If the needle be driven straight through into 
 the cloth, it makes a clean-cut hole and the 
 pattern will work equally well from the bottom 
 side. Whiting tied up in some coarse thin cloth 
 is most commonly used for a pounce bag, but 
 for a light ground work use powdered charcoal. 
 
 A tracing wheel that pricks twelve holes to 
 the inch, with long slim teeth is the best, and 
 may be procured of any dealer in saddlery 
 hardware. A smooth soft wood board is the 
 best to brick on. Unfold the paper after prick- 
 ing, and lightly sandpaper the reverse side 
 to remove the raised portion forced through by 
 the teeth of the wheel, which, if neglected, will 
 obstruct the holes. Pounce with whiting. 
 Rose pink is suitable for light colors. 
 
 stencil Patterns. 
 
 For stencil patterns use linen tracing cloth* 
 The design may be drawn with lead pencil, 
 and, with good taste and judgment, the ties 
 may be so placed as to require no touching up 
 or connecting. Cut on glass with a sharp pen- 
 
12H MILLER'S ''BOSS'' PAINTER. 
 
 knife held perpendicular or nearly so; this done, 
 give two coats of sheHac on each side and you 
 have a pattern that will last a long time. It 
 should be carefully cleaned after using. A 
 great improvement in stencilling is the" roller, 
 which has superseded the stencil brush. A 
 wooden roller 2^ or 3 inches long and 1 J inches 
 in diameter is set in a forked handle and cov- 
 ered with ordinary car seat plush. The paint 
 to be used should be made quite thic^i and suf- 
 ficient oil used to prevent setting too quickly. 
 Spread a small quantity of the color on a pal- 
 ette or sheet of glass, and run the roller several 
 times over it. Care must be taken not to get 
 too much color as it will press under the edges 
 of the pattern and make an unsightly blot. 
 Small patterns may be held in position with 
 one hand, but larger ones will require to be 
 fastened with a couple of needles or fine tacks. 
 With a little practice the most beautiful clear- 
 cut designs can be executed, and several col- 
 ors employed. 
 
 A good working gold-size for stencilling is 
 made ot English varnish^ and japan gold size 
 thickened with tube chrome yellow. Equally 
 
MILLER'S "BOSS" PAINTEII, 129 
 
 clean work may be done with it as witli paint. 
 After using the roller, wash with benzine or 
 turpentine and afterwards with soapsuds and 
 rinse with clear water, and it is ready for use 
 again. All colors for stencilling should be 
 mixed with about as mucli turpen tine as oil, and 
 can be used very sparingly. A common mistake 
 with the uninitiated is using the color too freely, 
 which causes blots and ragged edges. To over- 
 come this difficulty, I would recommend giving 
 the brush or roller a few brisk rubs on a piece 
 of board atter it has been dipped in the color and 
 before it is applied to the work. This will dis- 
 tribute the color evenly on the brush or roller 
 and give uniformity of color and clear cut edges 
 to the finished ornament. 
 
 I keep a large assortment of stencil patterns 
 for fresco decorations, etc., comprising corners, 
 mouldings, borders, brackets, 'center pieces, 
 panels, pillasters, freizes, dados, &c, No two 
 alike. 100 designs, (not cut,) full working 
 size, artistically printed in colors, with full in- 
 structions, price $5 00. 1 sample for 25c., 3 
 for 50c. In ordering samples send 1-cent post- 
 age stam}>s. 
 
130 MILLER'S "BOSS" PAINTER. 
 
 Paint for Tin and Iron Roofs. 
 
 All line preparations of tlie carbonates and 
 oxides of lead or copper are unsuitable for 
 painting tin roofs, for the reason that a pure 
 oxide when applied to other metals will assist 
 in the action of the elements to oxidize the met- 
 als they cover. The vehicle of all good paint 
 is boiled or raw linseed oil, and this, when 
 tliickened with pigments, covers a less given 
 space; and the material being an oxide, hold- 
 ing more oil than is imparted to the surface 
 to be painted, soon throws oft its share and is 
 ready to absorb the air and convey it to the 
 body of the metal, where natural corrosion will 
 ta\e place, and then the two oxides unite chem- 
 cally. In other words, all paints in the ab- 
 sence of a solvent, which time soon releases 
 them of, act upon iron or tin as a filter, feed- 
 ing the porous spots with moisture, like a por- 
 ous plaster of rust ; and as like produces its 
 kind, the decomposed metals work like a happy 
 family, and roll in beds of rust. This fact is 
 observable on flat surfaces, or in gutters where 
 inequalities occur. Here the fine dust or pow- 
 der collects and keeps the water in them until 
 
MILLER'S "BOSS" PAINTER. 131 
 
 the cil decomposes, then the work of oxida- 
 tion commences. There is another fruitful 
 source from which rust on the upper or under 
 side of roofing tin comes, and that is mixing- 
 paints in common, cheap oils of kerosene, con- 
 taining sulphuric acid. Tiiis oil never dries. 
 It may harden the film of paint so as to allow 
 the acid it contains to corrode the tin, and the 
 best paint in the world on the opposite side 
 cannot prevent the acid-eaten holes from com- 
 ing through ; and judge the effect when both 
 sides happen to receive the same potent mix- 
 ture ! 
 
 The best paint for tin or iron is composed of 
 pure linseed oil and earth ochres, red or yel- 
 low. The coarser granulated powders are best 
 as a pigment, as they offer less air holes and 
 give a firmer hold for the oil on the grits, and 
 thus bend them to the metal. The oil in this 
 manner gets close to the metal, and offers re- 
 sistance to the air in removing the atoms from 
 its cohesion. 
 
 Roofing tin should, when laid, be Kept clean 
 from windfalls of dust, and painted once 
 in every two or three years. Metals applied in 
 
MILLER'S "BOSS" PAINTER. 
 
 tlie angles of roofs as flasliings, where shingles 
 are laid behind parapet walls, should be well 
 painted, on both sides, and the crevices between 
 the laps puttied and painted, and thus cut off 
 leaks in corners. 
 
 VarnisliiiBg'. 
 
 In the proper manipulation of varnish lies to 
 a considerable degree the secret o± its present- 
 inar fullness and brilliancy. The same m.ake of 
 varnish applied by two different methods of 
 brushing, will often present so great a differ- 
 ence in beautj as to give the impression that 
 one body was finished with an A No. 1 grade, 
 while the other will appear to be quite the op- 
 posite. Finishers who flow on heavy coats of 
 varnish, and spread it over a considerable 
 before they level it up — as a rule — produce the 
 best work, and are the least liable to lay in 
 complaints about seediness, brush marks and 
 runs. 
 
 Fresco or Uisteauper Painting;. 
 
 The carbonate of lime or whitening employed 
 as a basis is less active than the pure lime of 
 fresco. The vehicles of both modes are the 
 
MILLER'S "BOSS" PAINTER, 13S 
 
 same and their practice is often combiiipcl in 
 the- same work. AYater is the common vehicle, 
 and to give adhesion to the tints and colors in 
 distemper painting and make them keep their 
 place they are varionsly mixed witli the size of 
 glue. Too much of the glue disposes the paint- 
 ing to crack and peel from the ground, while 
 with too little it is friable and deficient of 
 of strength. In some cases the glue may be 
 abated or altogether dispensed with, by em- 
 ploying plaster of Paris sufficiently diluted and 
 worked into colors, by which 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 dis- 
 posed, and to which milk and other vehicles 
 recommended in this mode are subject. Of 
 more difficult introduction in these modes of 
 painting is beeswax, although it has been em- 
 ployed successfully in each of them, and in the 
 encaustic of the ancients who finished their 
 work therein by heating the surface of the 
 painting till the wax melted. That would be 
 rather a slow process for the present day. 
 Never work the color while warm, and do 
 
MlJ.l^ER'S "BOSS" PAINTER. 
 
 not dissolve the glue by means of heat if it can 
 Le avoided. The brushes for this class of work 
 should be first class long bristle brushes. The 
 stencil is very extensively used in this class of 
 work ; handwork, according to the prices that 
 are now paid does not pay. It is so now that 
 any one that can draw a straight line, and has 
 a set of stencils — that person is a fresco painter. 
 
 Measurements. 
 
 Outside Woek. — To get at the number of 
 yards there are ot wall or weatherboard I would 
 suggest the following method : Add the num- 
 ber of feet front and rear to the feet in length 
 (both sides) Multiply this by the average 
 higlit. Divide the product by y, which will 
 give the number of yards to be painted. 
 
 For ExAMPlvE— Front , 30 feet 
 
 Rear 80 " 
 
 Side 40 " 
 
 Side 40 "■ 
 
 140 
 Multiply by aveiTVge height 25 
 
 700 
 
 280 
 
 9)3500 
 Square yards 3Sf* 
 
MILLEU'S "BOSS" PAINTER. 135 
 
 In some sections it is not customary to count 
 in windows and doors solid. The painter 
 should have extra for all outside doors and 
 windows. Windows will average three yards ; 
 doors and casings five yards. If you think you 
 can do the work tor twenty cents per yard, the 
 windows would be sixty cents apiece, then mul- 
 tiply by the number of windows. The door 
 would be^l, which also multiply by tlie num- 
 ber of doors. 
 
 Cornices should be measured 1-| times for the 
 girth if it is plain and one color; but if more 
 than one color, one girth for each additional 
 color. The measurer must make allowance tor 
 the position of the cornice, if it is a hard one to 
 get at allow for it accordingly. 
 
 Cornice with blocks — two girths. 
 
 '' *' and brackets, — if the 
 
 brackets are not very close together give it t*wo 
 Jind a half girths. 
 
 Cornice with blocks, brackets and molded 
 panels, — three girths. 
 
 Barge boards, if 6 inches wide, should count 
 on'e foot. 
 
186 MILLER'S "BOSS" PAINTER. 
 
 Corner strips, carpet strips, hook strips, gas 
 and other pipes, should ccunt as one foot. 
 
 Edges of shelving one foot. 
 
 Blinds, the height one time, width three 
 times. 
 
 Lattice, height one time, width four times. 
 
 Scroll work on verandas should be meas- 
 ured solid for each side. 
 
 Bash solid for each side. 
 
 Cutting edges of all descriptions inside and 
 out four inches. 
 
 Cupaloes and other high work should have 
 double measurement. 
 
 Weatherboard edges should be counted 1 
 inch. 
 
 Base board from 5 to 8 inches should count 
 as one foot. 
 
 Capped base, one and one-half foot; with two 
 colors if 10 inches, 2 feet; if over 10 inches 
 more in proportion. 
 
 Fencing should be counted solid on both 
 sides. 
 
 Picket fence, 4 feet high, one yard to the foot. 
 
 Iron fence, 3 feet higli, one vard to the foot. 
 
MILLER'S "BOSS" PAINTER. 137 
 
 Bill of Prices for Painting, «fcc. 
 
 New work, and furnish material. 
 
 Surface work, square yard, 1 coat 10c 
 
 «' " 2 " 18 
 
 *' " 3 " 25 
 
 Brick walls, '' 1 '' 15 
 
 2 " 25 
 
 " " 3 " 35 
 
 Varnishing same as painting. 
 
 OLD WORK. 
 
 Surface work, square yard, 2 coats 18c 
 
 Brick wall, " 2 '' .........20 
 
 " penciling, sq. yd., 10 
 
 Ground, graining, and 1 coat of varnish, 
 
 square yard 60 
 
 Graining. ....35 
 
 GLAZING. 
 
 Priming and glazing sash, glass 10 inches- 
 
 in length 5c 
 
 Add 1 cent for each 2 inches up to 24^, after 
 which add 1 cent for every inch. Bedding and 
 back-puttying charge double rates. When 
 putty is of a different color charge in propor- 
 tion to the extra labor, whicli is generally one- 
 
MiLIiER'S "BOSS'' PAINTER. 
 
 half more. If the painter furnishes the gh(SS 
 charge 10 per cent, of cost for breakage. 
 
 RE-GLAZINGt. 
 
 Charge the same for the labor that the glass 
 tosts. 
 
 Plain lettering on board, per foot 2Cc 
 
 Shaded, one color, " " 25 
 
 For each additional color, " 5 
 
 Plain lettering on muslin, " 10 
 
 "■ on wall, " 18 
 
 Large lettering " " .,,.......25 
 
 Charge for the ground by the square yard. 
 Gold lettering on board, small, per foot 50c 
 
 " 60 
 
 " 75 
 
 '' 60 
 
 *' 75 
 
 '< 80 
 
 $1.00 to 1.25 
 
 50c 
 
 A book of gold has 25 leaves in it, 3J inches 
 square or 12| square inches, or 318 inches to 
 the book. A gold gilder will make it reach 
 olO on flat work. Sign work, 800; there being 
 
 '' over 6 in., 
 flock or smalt, 
 on glass, small, 
 " large, 
 " shaded, 
 " blend shade,.. 
 
 Gilding, per book 
 
MILLEU'S "ftOSS^' PAlNTEll. 139 
 
 SO much more waste in that class of work. It is 
 
 always best to count the leaf 9 inches and allow 
 
 the ^ inch for waste 
 
 1 paper of bronze will go over 4 square feet* 
 
 1 pound of flock will cover 5 yards. 
 
 1 " '' sraalt " 1 yard. 
 
 CARRIAGE PAINTING- 
 
 New bu^'gy, plain finish, $15 
 
 finefinish, $18 to $25 
 
 New carriage, plain finish T. . $20 
 
 fine finish $25 to $35 
 
 Spring wagon, new, plain finish.. ...,.$12 
 
 " fine finish ...$15 to $25 
 
 For old work, one-fourth less than new. 
 
 Contracting'. 
 
 There are times that the painter cannot go all 
 through a house and measure everything in it 
 that is to be painted. I have made bids on 
 work and never seen the house inside of ten 
 minutes. The method I have is to average all 
 inside work thus: 1 side of door and frame, 1 
 side window and frame, 1 baseboard, 1 mantel. 
 If they are all measured up the average wdll be 
 5 yards apiece; at 20c. per yard would be $1. 
 
138 MILLER'S "BOSS'' PAlNTEft. 
 
 half more. If the painter furnishes the ghcss 
 charge 10 per cent, of cost for breakage. 
 RE-GLAzma. 
 Charge the same for the labor thnt the glass 
 Costs. 
 
 Plain lettering on board, per foot 2Cc 
 
 Shaded, one color, " '' , 25 
 
 For each additional color, " 5 
 
 Plain lettering on muslin, " 10 
 
 " on wall, *' 18 
 
 Large lettering " " ,.,.....,.25 
 
 Charge for the ground by the square yard. 
 
 Gold lettering on board, small, per foot 50c 
 
 '' '' over 6 in., " 60 
 
 '* flock or smalt, " 75 
 
 " on glass, small, " 60 
 
 large, " 75 
 
 shaded, '' 80 
 
 " blend shade,..$1.00tol.25 
 
 Gilding, per book 50c 
 
 A book of gold has 25 leaves in it, 3J inches 
 square or 12|^ square inches, or 318 inches to 
 the book. A gold gilder will make it reach 
 810 on flat work. Sign work^ 800; there being 
 
MILLER'S "BOSS'' PAlNTEtl. 139 
 
 SO much more waste in that class of work. It is 
 
 always best to count the leaf 9 inches and allow 
 
 the J inch for waste 
 
 1 paper of bronze will go over 4 square feet^ 
 
 1 pound of flock will cover 5 yards. 
 
 1 " '' smalt " 1 yard. 
 
 CARRIAGE PAINTING- 
 
 New buggy, plain finish, $15 
 
 finefinish, $18 to $25 
 
 New carriage, plain finish T. . $20 
 
 fine finish $25 to $35 
 
 Spring wagon, new, plain finish. ^ $12 
 
 - fine finish ...$15 to $25 
 
 For old work, one-fourth less than new. 
 
 Contracting-. 
 
 There ai'e times that the painter cannot go all 
 through a house and measure everything in it 
 that is to be painted. I have made bids oni 
 w^ork and never seen the house inside of teu 
 minutes. The method I have is to average all 
 inside work thus: 1 side of door and frame, 1 
 side window and frame, 1 baseboard, 1 mantel. 
 If they are all measured up the average will be 
 5 yards apiece; at 20c. per yard would be $1. 
 
140 MILLER'S -BOSS" PAINTER. 
 
 Count the number of sides and multiply by SI 
 and you will have the cost of all the work. 
 
 Wi^ig-hts ant! Uleasiircs of Paints. 
 
 The figures here given are the results of care- 
 ful experiments, and will prove as nearly right 
 as it is possible to make them : 
 Weights. — Turpentine, 1 gal,, weighs 5 lbs. 
 Varnish, '' " 8 lbs. 
 
 LiyseedOil, " " 7J lbs. 
 
 Japan, " '' 9 lbs. 
 
 Pure Lead mixed, '' '' 20 lbs. 
 
 Prim TNG Woodtvork. 
 
 1 lb. of pure lead will prime 4 sq. yds. 
 
 •' adulterated lead " 5J " 
 
 " substitute '' *' 8 
 
 " ochre " 7 
 
 Priming Brick Wall. 
 
 IJ lb. lead will prime 1 sq. yd. 
 
 The other paints the same in proportion. 
 
 On plastered walls you can calculate on the 
 material going If times as far as on woodwork, 
 and if the wall is hard finish it will go still 
 farther. 5 lbs. substitute will finish a ceiling 
 15x15, s^iviner it three coats, and vou will have 
 
MILLER'S "BOSS" PAlISTEIi. I4i 
 
 a inucli better job tliaii if you use lead. 
 
 MEDICAL DEPARTMENT. 
 
 Iodide of Potassiam, one-half ounce, 
 
 Hyrup of Sarsaparilla, six ounces, 
 
 Mix, and take one teaspoonful four times a 
 day. 
 
 The above recipe is one used by the entire 
 profession as a cure for "lead poisoning," and is. 
 considered the best in use by tiie most eminent 
 authors. It is a well-known fact that lead poi- 
 soning is exceeding hard to control, from two 
 reasons: first, it is most insidious in its ap- 
 proach, and has thoroughly pervaded the sys- 
 tem before tiie unfortuate victim is aware of its 
 existence ; ^nd, secondly, it is like tlie chains 
 of malaria, the victim must either give up his 
 trade or })e constantly exposed to the cause of 
 his malady. For the prevention of the poison 
 I would recommend first of all cleanliness in 
 every particular; regular baths in cold water; 
 the avoidance of too-constant wearing of the 
 clothes saturated v> ith the lead ; the working 
 
142 MiLLER'tS "BOSS" PAINTER. 
 
 in close shops. A close attentiou should be 
 paid the diet, the bowels kept regular, and open 
 air exercise should be constantly observed. A 
 painter who makes his trade a life-work should 
 leave his shop at intervals, not too far apart, 
 and remain away from the poison long enough 
 each time for his system to free itself from any 
 invasion that has already been made, and I 
 feel quite sure that if the above observations 
 be strictly followed tiiere Avill be no 'painter's 
 colic." 
 
 It is impossible to treat any especial case 
 without its history, and will, therefore, say it 
 any individual wants special treatment it can 
 be obtained by sending the symptoms and du- 
 ration of the attack, as plainly as you can, to- 
 gether with 12 00, to my address, 
 
 G. W.PRUGH, M. D., 
 Greene Co. Xenia, Ohio. 
 
^p^ 
 
 41 fiifffli, Miifiie, 
 
 1 have now an article that tlie Painter lias long 
 leltthe need of: 
 
 TRANSFERABLE |^ 
 
 Full \yorking Size ; Artistically Printed in 
 —Suitable for— 
 
 Siiiml 
 
 By the Best Designers in the United States, comprising 
 
 Mouldings, Cornees, 
 
 BoEDERs, Center Pieces, 
 Rosettes, Medallions, 
 
 PiLLASTEEE, RaILS. 
 
 [over] Dado Compounds. 
 
Cue set of Transfer Stencil Patterns will do for 
 ordinary work. The patterns will en- 
 able the House-Painter to do 
 a good job of Fres- 
 co Work, 
 
 Directions. — After preparing the paper as 
 described in a previous article, lay the pat- 
 tern on the prepared paper and run a warm 
 iron over it. Five or six impressions can be 
 ma^e ofl of the same pattern. 
 
 —TERMS.— 
 
 1 sample pattern.... 25 
 
 3 '* ' 50 
 
 1 complete set of 100 patterns, no two 
 
 alike $5.00 
 
 In sending small sums send 1-cent United 
 States Postage Stamps, I cannot use Canada 
 stamps. 
 
 R. C. MILLER, 
 
 Xenia, (3iiio. 
 
LIBRARY OF CONGRESS 
 
 jT 
 
 
 014 051 271 
 
 1? vr- Vlyirf.'f:^: ' 
 
 
 :7? 
 
 *:-'fvi^':V 
 
 ^t:.. 
 
 ;.M' 
 
 i -■■ ■'