LIBRARY OF CONGRESS D0Dn777fl44 'yx^yj^y ^ VW^^'v ,vv^^^ i?'w^^¥^ CONGRESI »yV;^yvU«'wWV,.Jfe^^ S-O "% ifVi,uU' '^^^w^mk^m^^ %'''^ , .,vY'vjvv, -^^-^^^xi^cii^w, ;^^ .--* '^\i^^^ ^^^SfeSi &^^^^^ :V^yM£OW '^.^^^^vy^^w'uv.^, /^^^ "'"^ ,VWv^^9 '^Vij* : :Jy.[ A,m ^:'^/■:; ; ^m^l^^^ mo^^' / r""^HANEY'S TRADE MANUALS^ ; I O IN , PAIlS^TII^a. { 1 INCLUDING FULL INSTRUCTIONS IN FRESCO PA_I]SrTIT^G, i I AND A VAST AMOUNT OF USEFUL INFORMATION DERIVED FROM PRACTICAL EXPERIENCE. By S. OIBSOIV, PEACTICAL SIGN AND DECORATIVE PAINTEE. New York : JESSE HANEY & COMPANY, OFFICE OF HANEY'S JOURNAL, no 1VA.SSAXJ STREET. PEICE FIFTY CENTS. SECRETS WORTH KNOWING. A COMPLETE HAND-BOOK OF USEFUL KNOWLEDGK Contains innumerabla receipts for tbe tnaiufaeture of all kiuds of useful articles, frcludiug Patent Medicines, Perfumery, Hail Oils, Pomatums, Dyes, Eestorativos Powders, Washes, Cements for liUing Teeth. Cosmetics, Toilet Articles, Common and Fancy Soaps, Popular Baveragss, iacluiiing a large number of delicious one;-| just suiteil to the hot weather, heaUhful and cheap ; Candies of all kinds, Inc'.udinsi ?.il the new and popular kinds ; Recipes for Eouscteepers, Hundreds of Useful Ar I tif^les which aro needed in every household, and a large number of articles thai can be manufactured and sold at a good pfC'ai., Tljis is no cheap trash, liko manjJ works that have been issued, bat a carci'ully-compiied volume of 100 pages, icj neat form for preservation. It will be found of groat value for reference, as yocS can find recipes on almost every subject on which you desire to bo posted. Price, only 25 cents. A single receipt may prove worth the entire cost of the work. The value of this book may bo ju.leed from the fact that single recipes contained therein aro sold at from 25 cents to $o, and in somo instances even more. Thou- sands of persons are making money by the manufacture ol articles, recipes for which will be found m this book ; witness the success of Spalding's Glue, the various roofing cements, indcUible inks, cordials, and the iiinuraerablo articles which everybody needs and will buy, and which can be manufactured and sold at a good prolit. Wo have no wish to exaggerate — we do not offer anyone a " fortune, for 25 cents" — but we d ■ oB'or to tell our readers bow things ciu bo made at smallj expense, which aro selling every day In all parts of the country for flvo or ten times their original cost. A nianof o'lracqua.ntance in this city is making several thousand dollars a year by making Lemon ;yr\ii>. " Secrets Worth Knowing" will tell you how to make it. Wo might multiply instances, bul have not room. "Secrets Worth Knowing." — A neat and wcll-printsd brochure ot some 100 pages, with this title is before us. It is a receipt book, but occupies a field some-i what different from any other work. Though cooking receipts are given they form but a small portion of tho contents. Heceipts, in the discretion of the pur- 1 chaser, are given for almost every Imaginable article, from patent or nou-profes-j S'onal medicines to liquid glue, and no doubt largo proDts could be realized by any one from tho manufacture of many articles hero enumerated. 1\\q receipts for wine-making will do much to aid in substituting hai-mlcss home-made beverages j for poisonous " doot!;red" liquors. It is a good book for reference, beinj evident- ' ly prepared in good faith, ami should be in the hands of all interested in Its sub- ject matter. Uaney & Co., of this city, publish it. — l\ew Vorlcer. \ " Secrets Wortd Knowing." — We have received this popular band-book of unl-| versal knowledge. It contains over 2,000 valuable receipts. It is also a roliiblej guide for the preparation of all ^inds of medicine. The remarkable cheapness oi' the work places it within the reach of all. Price, 25 cents. Wm. 0. Hess has it for sale. — ColuviOia (l\nin.) •'■pi/. " Secrkts Worth Knowi.jg." — A pamphlet with thjg title, containing over 2,000 recipes for articdes In various branches of manufacture, sonie of them extremely valuable, all afforded for the low price of 25 cents, has been published by J. C ILiNEY & Co., 1 9 Nassau street, N. Y. — Ll.oi)kbjn Daily Union. * • * It contains over 2,000 receipts for making everything that one can con- ceive of. It seems to be prepared with great care, and is believed to bo reliable, — Tiipeka State lietoid. " Secrets Worth K.n-owlno" — Containing over 2,000 valuable receipts for the manufacture of articles uf every-day use, anil a reliable guide for the preparation of all tho popular Patent Medicines of the day. — Orleari 2't,mes. * * * The book should be in the possession of every one. — Hanhcim Sent ml. 43" The book can be had of any Bookseller or Newsdealer, or we will send • | copy, post-paid, to any address, for 25 cents. Dealers will And it a quick -selling work. Trade supplied by all wholesale botues. Wholesale and retail cash orders will be atteixled to promptly. HANEY'S MANUAL OF SIGN, CARRIAaE, AND • DECORATIYE PAINTING. COJTTAINING Rules and Regulations in everything relating to the arts op gilding, painting, varnishing, pre- PARING Grounds, etc.; together with rules FOR MAKING DRYING OiLS, SiZES, JAPANS, AND other requisites OF THE ART. Also a trEx\.tise upon Contrasts Harmony and Force of Co- lors, Theory of Compo- sition, Groundwore:, ' Tints, Shades, and 1. \ Shadows, with -.t^ut^-ic- , FULL INSTRUCTIONS IN PRACTICAL FRESCO AND DEGOMTIYE PAINTING. ALSO COMPLETE SYSTEM OP CARRIAG-E PAINTING-, With Numerous Useful and Valuable Recipes, some op TIIEJI never before GIVEN TO THE PUBLIC, INCLUDING THE Secrets of the Celebrated Birmingham Japajstners. JESSE HANEY & CO., PUBLISHERS, 119 Nassau Street. BOOKS FOR PAINTERS AND OTHERS. ■' It is iKit tlie iiiHiP (injiiitity df ]';iiht aiul ink ounijiribiiig a book which Jeter- mines its value, but the nature of its euntents." ILVNEY'S PAINTER'S MxlNUAL: A praetical work for the profession in gcnerul. To which we have added Prac- tical Paper Hanging-, in full 50 cents. " I consider this work invaUiablo and indispensable to the person engajicpd in Paintinj^r, etc., and write from an experience of more than thirty years." — JOHN .SalisuUUY, Newport, R. I. " It is a great little volume, and worth its weight in gold." — II. E. IlAI.L, Sauls- hurij, West Tennessee. For tlie convenience of Painters. Lefterers, and others, we have oonipileil thn following li.st, embracing so\ne of llie be,-i I ks for their use. They are all in good repute, aud each doubtless contains ^\ hat v, ill prove highly u.seful in some cases. Set of Alphabets of all the Varimis Hands in Hlodern Use, with Examples in each style, designed as a Text Book. A colleoti^jn of most beautiful de- signs which will be found of great service both to young and to inexperi- enced draftsmen. Tlie mechanical method of constructing letters in various styles is illustrated anil described in full, in a clear and deliiiite manner, and special attention is paid to ciphers and monograms $3 00 PaIXTEH, Gn.DEIl AXD VAliXISHER's COMPANION, Containing rules and re- gulations in everything relating to the arts of Painting. Gilding, Varnishing and Ulass-.Staiuing, with numerous useful and valuable recipes 1 50 II.^.NDIiOOK OF Oil Painting, for young artists and amafeurs in Oil Painting 2 00 PUANO's Alpuabets, a collection of plain, ornamental and illuminated '.i 50 Siiaw'.s Handbook of Meiheval Ai.piiai'.et.s and Devices 7 .50 Standaud Sign Writer and Lettekeu'.s Companion 2 50 IiE.\i;iiouN's Texts 2 00 Scrolls 2 ,50 r.lcCjLEEs' Alphabets 2 50 "^5^ Any of the above will be sent, post paid, on receipt of marked price. Ad- JESSE HANEY & CO., 119 Nassau street. New York. Entered, according to Act of Congress, in the year 18T0, ]iy JES.'^E IIANEY .t CO., in the office of the Librarian of Congress at Washington. Manual of Sign, Carriage and Decorative Painting. a . //()oks will not be duplicating tlieir pur- chase. OP Sign; Ciirriiige aiiir gttoratibt |!iunting. SIQN PAINTINa. Sign" Painting is an art of a very exalted character, and when brought to a state of perfection, viz., true color- ing, fine, accurate divisions, and proportions duly balanced, it is entitled to rank with fresco and landscape painting. Indeed, I know of nothing more pleasing to the eye than a sign where all the requirements are brought to bear in per- fect unison — " a true sense of color in contrast " — a sweet harmony of tone, a chasteuessof composition, upon which the senses can rest with entire satisfaction. These are the points which we wish the reader and learner to attain, and which we shall strive to make intelligible and clear. Too many men learn and hoard up, like very misers, and too many die with the gainings of a lifetime locked in their bosoms, rather than give such knowledge to benefit those who succeed them. And it may reasonably be sui)posed that the arts and sciences are scores of years behind what they would have been but for this very selfishness. In everyday practice how often do we SL^e attempts made at sign painting by those who, through ignorance of the first and most essential principles, who know nothing about the true method of preparing grounds, the proper propor- tibning of the letters, the divisions of distances, parallels, contrasts of color, and other requisites to a good or at- tractive sign ; how often have we seen such signs attempted and become objects of ridicule, even among people who knew nothing of the business themselves ? An artistic sign is attractive in more ways than one, and an uuartistic one is agreeable to none'. Before entermg upon the general outline of procedure, it will be well to give an outline of the nature and properties 8 haney's manual of of colors employed in sign painting, together -with the oils, sizes, varnishes, &c. recipitated by solu- tion of tin ; or the best lake from madder, by Sir II. Engle- field's process. Chrome Yellow. — This is a chromate of lead, and is prepared by the following process : Take a solution of chromate of potash in hoc water and add another solution of acetate of lead (sugar of lead). If wanted very pale use a little nitric acid; and if dark shades are required, use bi-carbonate of potash, and l)y the addition of a few drops of muriatic acid you can deepen the tint down to orange. Naples Yellow. — This is prepared by lead and antimony. It is much iLsed and stands tolerably well, although of but little use to the sign jtainter. Yellow Ochke. — This color is a native earth. 8ome si)ecimens arc very bright, and all are durable in oil and work freely. SIGN, CARRIAGE AND DECORATIVE PAIXTIXG. 9 Terra de Sienna. — This is a brigliter and deeper yel- low than most of the other ochres. It is found principally in Italy, and is a valuable color. TuRPiTH Mineral. — This is brighter in color than any other yellow, except king's yellow. It works like veriniliou, which it greatly resembles in strength of color, etc. King's Yellow. — Is a combination of sulphur and arsenic. It is a strong poison, but has a deep, rich color, although not durable. Blues are principally composed of sulphate of iron and prassiate of potash. These blues are generally called Prussian blue, Antwerp blue, celestial blue, etc. They arc all of a fugitive character in oil. Ultramarine. — This is the richest and brightest of all blues, but is too expensive to be used in house, sign, or ornamental painting, costing usually about twenty-five dol- lars per ounce. But a very good and cheap substitute has been discovered, manufactured from carbonate of soda, sulphur, cobalt and kaoline. It works well and is durable. Cobalt. — This is the oxide of cobalt, but its manufac- ture is too complicated to describe in this little work. It is a beautiful shade of blue, and both works and stands well. G 11 E E N S . Brunsavick Green — is copper dissolved in a solution of muriate of annnouia. It is a good, pure green and stands well. CiiROME Green. — Green chromium is a compound of bi- chromate of potash and flower of sulphur, but the manu- facture is too intricate to find a place here. It is a rich and splendid green. Chrome green, formed by a union of chrome yellow and Prussian blue, can be made of any shade by using more or less of one or the other of the colors. They are very durable. Verdigris. — Copper reduced by a vegetable acid. It can be used by the addition of a little chrome yellow. It stands well, and is a good color for shading, etc., being transparent. A beautiful transparent green can be made as follows : Pulverize sugar of lead and blue vitriol (sulphate of cop- 10 HANEY'S MANUAL OF per), then put the two dry powders together ; mix them well with tbe kuife on a marble slab or glass. The vitriol and lead, more or less of either, varies the color, making it brighter or darker. This is a beautiful green for glazing gold, or anything requiriug a transparent tint. It is durable. Schbel's Gkeen. — Arseniate of potash and acetate of copper. Beautiful, but poisonous, and should at all times be used with extreme caution. Emerald Greex. — A composition of yellow arsenic and verdigris, A most malignant poison. I iiave known paint- ers to spit blood after merely mixing and grinding forty or fifty pounds of that mineral, and the taste would not leave the mouth for days. Avoid such a color as you value your health. WHITES. Flake VfniTE. — The best formerly came from Italy, where the acid of the grape was employed in the manu- facture, instead of common acetic acid. It is a pure white but liable to change. The flake white made in England and Germany retains its ])urity to the end. Kremmtze White. — This is simply white, corroded in a small scale in '' chambers " instead of l^eing done in '' stacks," the old Dutch method. It must consequently be free from any sulphate of hydrogen or ammonia, and hence its superiority over the others. Zinc White.— An oxide of that metal, the result of combustion, commonly called '' chemical wool." It is a beautiful white, not quite so fall in body as white lead, but possessing no affinity for either sulphide of hydrogen or ammonia, or any other of the obnoxious gases. It retains its brilliant whiteness longer than any white pigment known, with the exception of a white prepared from antimony, which has, however, never as yet become an article of com- merce, BLACKS. Lamp Black, — The soot collected from ])urniug animal or vegetable matter. It should always be calcined before using, as it will then dry better and make better color. SIGX, CARRIAGE AND DECORATIVE PAII^TING. 11 ITORT Black.— This beautiful black is prepared by the calcination of ivory and boaes in close vessels. It is the purest and most valuable color in the sign painting busi- ness. BROYfNS. Umber. — The Turkey umber is the best ; the English IS rated second. They are good drying colors. Tu their raw state they also class as olive colors, but when calcined arc a fine, rich brown. They are good and durable, and also very useful to a sign painter. Terra de Siexxa. — When burned this is a very rich color, much in repute with fresco, sign, and decorative painters. It keeps its color well. Purple Brown. — This is composed of prussic acid with the oxide of copper. It is a very fine color, and produces with white very fine lilac tSnts. It is also a good grounding color, and stands well. AsPHALTUii. — This is a bituminous substance, of a deep, rich brown color; transparent, and a good glazing or shad- ing gold or any other work. It works well with boiled oil or turpentine. It is found on the shores of the Dead Sea and in Judea. Note. — I would here mention the necessity of procuring good, pure linseed oil. This is a very essential point, as many of the oils in the market are adulterated with fish and animal oils, and are, therefore, entirely unfit for use. Patent dryers act very well, if pure, but as they are all more or less adulterated with whiting, whit-h imparts a toughness which destroys their fluidity or flowing qualities, I would advise the artist to make his own. Grind either sugar of lead or sulphate of zinc (white vitriol) in raw linseed oil, or equal quantities of both to- gether. One teaspoonfal will dry from twenty to twenty- five pounds of color. This dryer will not injure the most delicate color, even the purest white. i2 HAXET'S ilAXUAL OF DRYING JAPAN. This dryer, if of a liropcr duality ami light in color a loaspoonful will dry from iwcuty-livo to 'thirty pouiids"of color. Smalts of various colors are required, and I would here state, upon my own experience, that they can be purchased better and cheaper than they can be nianuflictored. I would adviSG all painters to purchase at any respectable color store where their own experience has given them conSdenco. A lew more necessaries are required, such as a slab and nndler ot white marble, a })a]let knife, ])ots, paint-bruslies, etc., etc. Let the brushes range in No.'s from 2 to 30o! Also a few tools, commonly called sash-tools, from No. 4 to S. Flat French tools, various sizes; a few round tools, l)ound in tm; also a slock of sable tools, short, medium, and^long, to_suit all subjects tiiat may occur. Camel-hair tools and pencils are also good, and gener- ally lay the color fuier than sable. A bench is also re- qun-ed ; an easel ; a set of pallets, of hard wood or ivory • a mall stick (a small slender rod of firm wood, with a ball of cotton at one end covered with chamois skin ), to support the right hand. Some artists discard the mall stick aUc- gether, as it liinders a perfect freedom of the pencil, but it IS best for oegmners, or any one slightly nervous. A rinsing cup is also necessary ; a small tin cup, made to hold a!)out a gill. Have a small cup made to fit into I he largo one— about one-third as deep— perforated on the bottom with small holes ; fill the large cup with turpentine imtil It reaches over the ]>erforated bottom of the inner cup; rmse the pencils in this, and the refuse color from them will settle to the bottom of the large cup, leavim? the turpen- tine always clear. They should afterward 'be washed in soap and water. Having advanced thus far, lay in a small stock of oil, turpentme, japan, etc., etc., a small kc- of the best English while lead ( " B. B.-"' brand) and then select a suitable board lor a sign, and commence SIGN"^, CARRIAGE AXD DECORATIVE PAINTIXG. 13 FIRST OPERATIONS. Tlicre are various theories respecting the quality of wood to he used, as also in relation to the particular ''cut" of the log. Some contend that the ceutcr cut is less lial)lc to warp and '• shake," owing to tho grain running squarely through. It must bo acknowledged that this theory has j)hilosophy in it, and, from my own_ experience, I admit that it is a good board. But the outside of a log is best, for two reasons, viz. : In the first place, the outside cut has been more exposed and consequently more thoroughly seasoned. Second, tho grain runs through more upon an angle, aud, therefore, not so liable io split, shake, or warp. You must provide yourself with a can of shellac varnish, whicli is sinrply shellac dissolved in alcohol, ar.d reduced to a proper consistency to spread easy. The use it is most often put to is covering knots aud sappy places that may show after the first coat of grounding. Another aud a better way to use it is, to give the whole board a flowing coat of it, thus making the wholo surface equal, and kills any resinous spots, discolorations, etc. The best way to serve knots, however, is to bore them out en- tirely with a center-bit, boring a trifle outside of tho knot, aud an eighth of an inch or so in depth. This being stopped with stiff putty, eiTectually disposes of all trou- ble arising from knots. It is a good idea to have a little '' stout " shellac on pur- pose for small knots, as before-mentioned, for in many in- stances it will completely obliterate them. Make your own shellac, if possible, as it can be more relied upon than tho most that is in the market, being gcucrally adulterated with soft gum. It not unfrequently occurs ihat the tur- pentine aud oil mixes with such shellac, after dissolving it .(provided it is not good), but if you make it of shellac alone you may depend upon its quality. When your shellac is dry mis u]) as much white lead as you require, beating it up in oil, stiff; then add your dryers, in about the same proportions as already given ; then add a little turpentine, just enough to reduce ifc to the proper thickness ; then give your sign-board a good, even, full coat. 14 uaxey's manual of When this is dry rub it down with pumice-stone, :eforo leaving the subject of con- trasts, to point out how far harmony affects the sign painter, although its principal use has reference to the finished work. Harmony is the art of uniting two extremes of light and shadow, or of warm and cool colors, by the introduction of such intermediate tones as will subdr.e the crudeness of effect, caused l)y the use of opposires alone. 13y intro- ducing /i(iJf tints which partially unite the dark masses of color, when placed between them, their relation to each other becomes toned down, and in a measure deprived of this rudeness. Thus the primary colors, red, yellow, and blue, are op- posed or in contrast to the secondai'ics, green, purple, and orange, when standing together. l)ut become united and harmonized by the friendly introduction of a neutral, placed between them. This is the case wirh the compound tints, however far SIGN, CARRIAGE AND DECORATIYE PAINTING. 17 removed from tho primary colors, the qualities of color being always brought out by harmonious opposition. Harmony, then, consists in using such materials between these colors or tones that are opposed as may diminish the violence of the contrast, and conceal the aim of the jiainter in bringing them together. If tins is not done, the attempt and not tbo deed will confound nut only the painter but the reader of his sign. Harmony, then, is simply that expedient which the force of contrasts compels us to adopt, and is useful to this ex- tent — that by it we secure that force without which our work would be either too tame or too harsh. It is really the golden link in composition. In describing tho mixtures of colors and tints, all that is necessary is to exercise due caution in applying them to your lead or zinc that you have beat up in oil, being care- ful not to mix too thin, for by so doing you will find it a difficult matter to bring your color to a true assimilation. As some colors are light and others heavy, you will see the necessity of keeping your color stiif ; and always thin your tinting-colors ; and always put in the color which is to predominate, or give the general tone, first, and until you see that you have enough, then add the others, if any, to the mixture until you have obtained the reijuired shade. TABLE OF TINTS, Gray, — White and lamp black. Buff. — White, red, yellow, an'd a little black. Pearl, — White, ultramarine blue, and carmine. Orange. — Yellow and red. Violet. — White, ultramarine blue, and carmine. Purple. — Same as above, only in different quantities. Gold. — White, stone ochre, and a little burnt umber. Oliye. — White, yellow, black, ami red. Chestnut. — Red, black and yellow. Flesh. — Vermilion, white, and yellov*^. Fawn. — White, red, yellow, burnt umber. Draij. — White, yellow, red, burnt aud raw umber. Do. — Ochre, burnt sienna, lilack. Do. — Any variety can be obtauaed l)y these colors. 18 haney's manual of ■ Brown Green. — Chrorac green, yellow, black, and red. Pea Green. — Chrome o-rcen Avith white lead. Rose Tint. — Carmiue and white, or madder lake and white. Copper. — Red, chrome, yellow, and black. LEiiON. — Pale chrome and white. Claret. — Vermilion and blue. Dote Color. — White, vermilion, blue, yellow. Pinks. — White, vermilion, madder lake or carmine. Cream. — White and pale yellow ochre. Salmon. — White, light red, and yellow. Straw. — Chrome or yellow ochre and white. Lilac. — Carmiue, blue, and white. These constitute tiie principal tiuts in general use, but by practice in composition, a great variet}" more can be ob- tained . Having proceeded tiius far let us now turn our attention to L E T T li: It S , their proportion, etc., and take as an alphabet the most beautiful one the world ever knew — the Roman. The Roman Italics differ from the capitals only by being slightly inclined from a perpendicular, and tbis inclination should not vary much from an angle of sixty degrees, al- though natural taste has much to do v.'itli governing it. The letter A is generally formed with more faults than any other in the alphabet, and in nine cases out of ten it is occasioned by spreading its angles too much. It should not be wider than li or N, hair lines included. The upper part of B, E, F, and R should take up a par- ticle less space on the main line of each letter than the lower part, and the upper, horizontal projecting curve of B and R should in the same proportion be a trifle the smallest. The connecting bar of the letter H should be a Irifle above the center of the letter. The perpendicular width of the curve for P should lake up just half the length of the main limb of that letter. The bottom curve of J is allowed ;■ handsome sweep, so SIGNj CARRIAGE AND DECORATIYE PAINTING. 19 that the projecting horizontal line at its top and its curve will occupy the 8amo space as G or S. The upper curve of S should be smaller than the lower curve, and for this reason — the bottom of all letters should as uear as possible form the base of their apparent structure. The middle top line of AV is dispensed with, and that center lim.b terminates in a peak or point. To form a curve to the last of 11 is preferable to a flat, straight termination, provided the curve be made full, and the letter seems to stand firm. The last limb of G should terminate at seven-sixteenths of its hight, or a little less than half its bight. Eight letters, B, D, E, G, 0, P, Q, and T, will oc- cupy the same space from left to right as they do in hight. Six letters, C, F, J, L, S, and Z, will take one-sixteenth less width than higlit. M and W, one-sixteenth more' width than hight. I, one-half its hight wide. If two lines are drawn upon a sign or sheet of paper, say half an inch apart, auvl eight compartments set off, half an inch square, B, D, E, G, 0, P, Q, and T, each will fill one square and be well-proportioned letters. Then divide off six compai-tments, one-sixteenth part narrower than they are high, for C, V, J, L, S, and Z. Then make nine compartments, one-sixteenth wider than they arc high, for A, H, K, N, R, U, V, X, and Y. For M and W, allow one-sixteenth more width than hight ; for I, one-half its bight ; for &, one-eighth more width than bight. These proportions will form a very graceful letter, but they can bo either compressed or extended from this rule so as to suit both taste and space. The small letters are more difficult to form than the large ones. The main body of thirteen letters, viz., a, b, d, g, h, r, n, p, q, u, v, x, and y, will occupy a square each. The letters c, c, o, r, s, t, and y, require one-sixteenth less width than hight ; i and I, out; half their hight in width. These relative proportions are given without the pro- jecting limbs above and below their main body, which [)ro- 20 IIAXEYS MANUAL OF jec'tioiis sliouh] l)o oiK'-balC Ihc h\ght of the main body of the letter. The proportions f./r I/allcs are as follows: Seven capitals, C, G, J, E, O. Q, and S, occupy a sijuare. Sixteen letters, A, P., D, E. E, II, X, N, P, Pv, T, U, V, Y, Z, require one-sixteenth more width than higbt; M, three-sixteenths wider than high ; W, two-sixteenths wider than high ; and I, one-sixteenth less ; with a given angle of from sixty to sixty-three degrees. In the small al|)habet, seven letters, viz., a, i, k, r, s, t, V, will occupy a square each, subject to the same rule re- garding their projecting parts as given for the others, the small Uoman letters. Thirteen letters, h, d, f. g, h. j, n. p, q. n. x, y, z. will occupy one-quarter more width iliaii highi ; m, two-fifths more width than higlit. It may be observed here that the block-letter alphabet is of about the same proportion of hight and width as the Poman ca])itals do, exce])t in extra full lettering, for which ]n-oportions the additional Ihickness of the body of the letter must be added to the rules given in relation to the lloujan. All the-'-e letters are only varieties of those given above, and are left to the taste of the painter. I^ractice, with the rules already given, will unfold much that cannot be writ- icn, and much that can only l)e attained by experience. I'ractice what has thus far l)een given, and then we will go one degree higher, to the consideration (if o I j^ i> I rv ci' . Before considering this brancli oi" the sign-painter's art it will be best to treat upon the various sizes in general use among them. And here 1 wish to guard the uninitiated against the use of gold size, sold at most of the color stores. They are generally got up from recijies ])ublished by men who are totally ignorant of the nature and i)roperties of a permanent gilding size. My own experience amply con- rirms this assertion. Let every paint.'r make his own size, and tlicn he will be less likely to be a stranger (o what lie wauls. If it be too SIGK, CARRTAGK AXD DECORATIVE PAINTING. 21 slow in drying, or if it dries too quicldy, he will ho able to know what is required to nmko it right. An excellent size is made by putting boiled oil in a good stone pot ; place it upon a slow fire, and let it rise to such a heat as nearly to ignite; then with a match or a bit of lighted paper set fire to it, and let it burn for a few minutes, so as to thicken ; then take a piece of cloth and cover the pot, to put out the flame, and it will then be like syrup or thin tar. This done, strain it through a silk stocking or handker- chief into a bottle and keep it closely corked. When you wish to use it, thin it with turpentine, but be careful and not use it too thin. ANOTHER RECIPE. Another good size for gilding may be made in this way : Procure some pure old drying oil, the older the better'; grind into it some ochre and a little of the best quality of red lead ; then thin it to a proper consistency ; form your letters carefully, laying it very even and thin, and let your work stand until so dry as only to have sufficient " tack " to hold your leaf. Apply the leaf with a gilder's tip carefully and lay it smooth with a flat camel-hair brush or a ball of fino cotton wool, but do not brush off all the superfluous gold until you arc sure that the under size is perfectly dry and hard. This gives the gold its full brilliancy and stands the weather well. QUICK DRYING SIZE. Take a little good, quick-drying copal varnish; add to it a small quantity of your old l)oilcd drying oil, just enough to give it '' tack," and when dry enough lay your leaf as before directed. A SIZE KNOWN TO BUT FEW. Take one pound of good, pure drying oil ; put it in a metal pot with a cover; slowly add to this, after it has come almost to a boiling point, four ounces of pure gum animi (^not copal ; gum dealers are of the opinion generally 22 nxVNET'S MANUA]. 0? lliai: anitni and (■o])al aro oiio and the saine, 'out such is not Ihe case). Have your auimi reduced to a fine powder; iuke it upon tlie point of ytnir pallet-knife and put it in cau- tiously, little by little, until you have it all in, allowing time to dissolve, and all the while keep stirring the mixture. Boil to the consistency of tar, and while warm strain it through a piece of silk into a heated, wide-mouthed bottle ; keep well corked, and when required, thin Vv'ith turpentine and mix thoroughly. If you grind a little vermilion with this size it will show you v;hat yon are doing when using it. This size will gild on glass, china, metal, signs, and nearly everything, and if properly made has no equal ; being more durable, it gives more luster to the gold than any other size, and has the very singular property of retaining the " tack " longer than any size known. This is the '* secret size," used by the best artists in Lon- don and Paris, and the one used by the justly celebrated japanners of Birmingham, who produce the finest work in decoration to be found in the WM)rld's market. The artist must be furnished with a gilder's cushion, with ])a!-chment back and ends ; a knife to cut liis gold ; a " tip," or l)rush, to lift his leaf with ; a ball of cotton wool, and a fiat camel-hair ijrush to clean off with. Take a little clean tallow on the back of the left hand, and then draw the '"tip" quietly over the tallow and it will receive enough to take up the gold. Then place it lightly upon the work, to which it will adhere readily, and so con- tinue until all your sized work has l)eeu covered witli it. The next thing to do is to pad it down lightly with your cotton ball, being careful to omit no portion of it, for if a mistake occurs on the first going over, you will find it very difficult to mend it afterward. 80 b(! particular in your work and miss no part of it. As before stated, do not thoroughly brush off your work until entirely dry. Always, when gilding, try your size upon a piece of painted 'l)oard or glass, in order to d(!termine accurately the length of time it requires to dry. If it dries too quick, add some oil. If you size to-day and gild to-morrow, and should you find the size too dry in the morning, you will have to add a little old, fiit, raw linseed oil, as this tempers SIGN, CARRIAGE AXD DECORATIYE TAINTING. 23 it SO that you can set your own tirae for the gilding. A few experiments in this connection will enable you to master and regulate the nature and operation of size FOR A SIZE EXPOSED TO THE WEATHER. One tiling has been proved by experience, tliat is, that no gilding exposed to the extremes of summer and winter, wet and dry, cloud and simshine, should ever he varnished. The bare gold, if good, and on good size, will stand bet- ter, change less, retain its luster longer, with less liability to ^'dulce," or crack, than when varnished, although done with the best copal varnish ever made. I have seen a sign done with gold, upon a black ground, that had stood the weather ./or/// ?/r<'/r5.' The board had given way to the effects of the weather, and had fallen away in many places, leaving the letters standing out bold in good form and well preserved. So much for good si»e and no varnish. DRYING OILS. It may not be out of place to give, at this point, a few formulas for preparing drying oils, as many of the oils sold at the stores are of a spurious character, totally unfit for the development of good work. A fine, pale drying oil can be made as follows : Take eight pounds of linseed oil, one ounce of calcined white lead, one ounce of yellow acetate of lead (also calcined slightly), one ounce of sulphate of zinc (white vitriol), twelve ounces of vitrious oxide of lead (litharge), and one head of garlic. When the dry substances are pulverized mix them with the garlic and oil over a fire hot enough to keep the garlic and oil in a state of ebullition ; continue the process until the oil ceases to throw off scum, and until it assumes a reddish color and the head of garlic becomes brown. A pellicle will then be formed upon the surface of the mixturi-, which indicates that the operation is completed. Take the vessel from the fire, and ilie ])ellicle being pre- cipitated by rest, will carry with it all the parts which ren- dered the oil fat. When the oil has become clear, separate 24 haxky's }.r.\>:TTAL OF it from the deposit- and jdaco in wido-niouthod Ixittles, where it will completely clarify itself in a short lime and im- ju'ove in quality. 'J'he oil will bo lis^'hter in e;>l(ir if the dryers arc jiut into a bag and suspended by a cord fastened to a stick laid across the mouth of the bottle ; but you must use more dryers if you wish to adopt this method ; in other respects operate as described. To manufacture drying oil without heat: When linseed oil is carefully agitated with wliite vinegar of lead (tribasic acetate of lead) and the mixture allowed to clear by set- tling, a copious, white, cloudy precipitate forms containing oxide of lead, wliile the oil is converted into a drying oil of a pale, straw color, which makes an excellent strong dry- ing oil or varnish, which ought to dry in about twenty-four hours. It contains from four to five I'-er cent, of oxide of lead in solution. THE BEST ITIOCESS. The following proportions appear to be the most advan- tageous for a preparation of drying oil : In a bottle containing four and a half pints of rain water put eighteen (mnces of neutral acetate of lead, and when the solution is complete put in eighteen ounces of litharge, in a very fine powder, 'i'he whole is then allowed to stand in a moderately warm i)lace, frequently agitating it to assist the solution. This prepai-ation may be considered complete when no more small scales of the litharge are apparent. The deposit of a shining white color (sex basic acetate of lead) may be separated by fdtration. This conversion of a neutral acetate of lead into vinegar of lead, by means of litharge and water is etfected in about a quarter of an hour, if the mixture be heated to cl)ullition. Wlu-n heat is not applied the process will take from three to four days. The solution of vinegar of lead thnsformed is sufficient for the pre- paration of twenty-two jjonudsor three galions of drying oil. For this p«rpose the soluticm is diluted with an equal amount of rain v/ater, and to it is gradually added, with casual agitation, twenty-two pounds of oil, with which eighteen ounces of litharge have been previously mixed. SIGiVj CARRIAGE AND DECORATIYE PAINTIXG. 25 When the points of contact between the lead solution and the oil have been frequently renewed by agitation of the mixture (three or four times per day), and the mixture is allowed to settle in a warm place, a limpid, si raw-colored oil rises to the surface, leaving a copious white deposit. The watery solution, rendered clear by tiltratiou, con- tains intact all the acetate of lead originally employed, and which may be used in the next operation, after the addition to it as before, of eighteen ounces of litharge. By filtra- tion through paper or cotton, the oil may be obtained as limpid as water, and it can also 1)c bleached by exposure in the sun. If this oil requires to be absolutely free from lead, it may be so rendered by the addition of dilute sulphuric acid to the above, when, on being allowed to stand, a deposit of .sulphate of lead will take place, and the clear oil may be obtained, free from all traces of lead. ZINC DRYEE. This dryer is prepared from the oxide of manganese and raw linseed oil. The manganese is broken into pieces as small as peas, dried, and the powder separated by a sieve. The fragments are then placed in a bag made o^ iron wire gauze — this to hang in the oil contained in the iron or copper vessel- - and the whole heated gently for twenty-four or lliirty-six hours. The oil, however, nmst not be allowed to boil, for there is great danger of its running over. When tlie oil has acquired a reddish color it is to be poured into an appropri- ate vessel to clear. For one hnudred ]tarts of oil, ten parts of manganese may be employed, and which will serve for several oper- ations when freshly broken and the dust separated. Experience has shown that when fresh oxide of mangan- ese is employed, it is better to introduce it into the oil on the second day. The process occupies a longer time with the fresh oxide. Very great care is required to prevent acci- dent, and one of the jirincij)n] ]mnx< to be observed is that the oil bo not overheated. If (he boiliu'j: should render the 26 IIAXEY'S MANUAL OF oil too Ihic.lc, iliis may bo renietlied liy au acluUion of Ivir- ])('iiliii(', after it luis tliorouj^'lily cooled. COLD-MADE DRYING OIL FOR ORDINARY PURPOSES. Pour ounces of litliarije to ihe gallon. Stir it often, and allow it to settle. Pour oif carefully, and you have a good, clear, dryiiig oil. Any of the drying oils described' will work and stand well, if you u-u; siiflicienl turi)entinc in the mixing, and you will thereby be able to dis])eiiKe with raw oil and japan dryer.'J. If yon wish to hurry up your work a little drying jai)an can be used. c«ix^i>i."\'<:i- <:>r<^ <.i-i^j\.H^. This beautiful art is worked in many difierciit ways, every artist, having his own peculiar method. One very good way is to iirst outline WMt.h a jiiece of hard soap, your letters, scrolls, etc., (on the outside) then com- mence to outline on the glass (inside) with some suit- able color, a light shade line for the top and left side of the letter; then upon the bottom and right side of them use a bhu-k, or. in fact, almost, any color you may select, ^\'hen dry [)r()eeed to lay on your gold. Soini! use gin, some whisky, others siniply water ; gum arable in solution, white of t'iXii\ uiay b- used. One can merely breathe nixm the glass and it will sometimes answer till! purpose (>f a " tack'' for the gold. 1 have found an excellent size, made from a solution of gum tragacanth in water. The Iirst part that dissolves is the ]»art that suits best ; that ])ortion being pure, while the residue is cloudy and uutit for use. When wanted to use, reduce a ]'ortion of the gum with water to a v.'ry vreak standard, as in all cases you will tiud your gildimr bright in exact ratio to the tliinness and trans- parency of your size. 1 consider this the most desirable sij^e, es])eciall\' for large work. SIGN, CARIIIAGE AND DECORATI\'i: rATNTIXU. 27 First jMethotl. — Draw your lines upon tlie glass at the proper distaucos for the size of your letters, etc., witii a piece of hard soap, which will make very distinct lines. Then form your letters accurately, and in true distances or space, cue from the other, being satisfied that all your pro- portions, etc., are correct. You will now bo ready to com- mence your gilding. Second JMethod. — Ilaveyciir let tors, etc. .drawn ou ion fine paper ; prick with a pin the outlines of your letters, scrolls, etc. Next take a bag made of muslin, filled with fine ]>ow- dered cliarcoal 5 lay the paper carefully to its i)roper place ; ihcu pounce the charcoal bag against Ihc paper, and you can then trace the outlines in full with black japan. To make all secure it will bo r.eccssary to give the work two or three coats, and when dry, wasli or rub oil" all super- fluities with a sponge or soft cotton rag. N. B. — This method is only used after gilding, where the leaf is placed full with.out any outline. Third Method. — To get accurate lines upon glass, pre- paratory to gilding. In the first place, clean the glass thorougldy ; then witli a mixture of whiting, water, and a little milk, brush carefully all over the outside of the glass. V/hen dry, draw your i>arallel lines, letters, scrolls, etc., with a pointed stick. For small work, turn the glass around, ed with your gold at once, so as to secure a solid "cover" without being obliged to "touch up," and if on wish to use two coats of gold, blow your breath upon I he first coat to hold the second. Lay as much gold as possible befon' your sizi' dries, and i-o [tnK'ccd Uiiiil Vuur lines are finished. Then nu> il down 28 iiaxey's manual of .ucnily lo ivniovo llic ^npcrfluonR pilcl. Tlien jiroropd to ouiliiio as in second metliod aliovo ; or draw vdiir parallel lines llinmgh the fj^ildini>- (if in capitals of one, given length) and cut in your letters with Mack japan very carefully, forming them all backward. This is the i)rinciplc of the first method, but it requires considerable practice to do it correctly. If any ornament is wanted in the Ixidy of the letters, lay them in with oil size. "When dry, gild and shade if re- (juired. When all is dry, lay in tlu; entire letter with the size (spirit or water size) and gild and bad:, as above, viz. : with two or three coats of black jai>an. The shading is done afterward, and in a.ny colors the artist may decide ujion. It generally takes two coats to <'Over solid upon glass. Gilding n]>on glass re(inires great practice and very nice liandling. lait v.i:!i prop<'r caie. ihis })rocess looks very beau- tiful and stands well. •Silver leaf is laid on in the same manner, only it requires a little stronger size than the gold calls for. The .silver being heavier relatively, use the size of gum tragacanth. One point seems lather didicult — that of liaving to form the letters baclvward. but jiractice is the only thing that will make perfect in this respect, and enough of it will make, what at, first seems a dillicnlty, as easy as the ibrmutiou of letters in the ordinary way. Have a board made of any convenient size, and have a projecting band or molding around it. Then cut hito the band grooves the thickness of a liaiidsaAv, an inch apart, allowing each cut to reach to the bottom of the band. In each of thes(! slots insert strips of tin, just wide enough to fill the entire shst, and long enough to reach entirely across the sign b()ard. When all fitted, take them out and ])lace them edge to edge upon a flat surface, and paint any word you like upon tbeir combined surface. When dry, reverse and paint other words upon the other side. Next i>;iint any word:; yiui please; upon the surface of the SIGK, CARPxIAfiE AXI) PECORATIYE TATNTIXf;. 29 sign bonrd, and, wlicn dry, again insert 1lic strips of tin into the slots in tlie board, taking tliem np in tlie same order in which tl)ey lay when painted upon. This is really a magical sign (three signs, in fact), and changes as the observer changes his position, at one angle showing one tbing, and at another quite a different one. They arc coming much in use now-a-days, and it is a good branch of the art to make one's self iicrfect in. Draw your letters on paper to suit your sheet of tin, having first cleaned it with diluted alcolnd and a ])iecc of cotton. This will remove any grease or other matter that might hold tiie gold. Then take some wliiting and rub it over the back of the paper upon which your design is made and lay it upon the japanned tin. Place a weight upon the four corners of Ihc paper, or otherwise fix it securely to the tin ; then, with a fine point- ed piece of hard wood, trace the design carefully, bearing upon the paper with the point just hard enough to cause the whiting on the under side of the paper to adhere to the tin, and after going carefully over the whole, you will have transferred the entire design in fine white outline to the tin you arc to finish it u]?on. Then size with either quick or slow drying oil size, and, when sufficiently dry for gilding, lay dii tlie gold leaf, and "bat" it down thoroughly, alterward brushing off with your flat camel-hair brush or cotton. There is a difference between shading and shadows. Shading a letter is simply making an artificial representa- tion of a raised letter, and consequently requires a light fine shade upon the top and left side of the letter, and a dark one upon the bottom and right side. These shades will have the effect of raising (he letter, but the decejition is incomplete witliout the shadow. This is to be attained by representing a shadow cast by the painted object, and should always be of one uniform color : dark, but very thin. A mere glaze, as it were, composed ■'iO nAXET'S AfAXFAL OF <.f ivory l)lacic, A'andxkc lu-owii, raw iuu\ ])nr;it nraitcr, as- ]ilialtura, etc. Always kee;) ia vievvMlio tone (.I'lhc pToniid, for ihat lia.s ail lu do v;ith choosin.u' the most natural sluulow, as slated lielure. The ahove ormmeraied colors, Ity jndlcloiis and Aveli balanced composlliou, will yield an exeellent shadow to suit any trronud. In shadint": letters, consideralVie judgment is necessary, as some of the al})habet requires less shade than others, for this reason : a ]ioriion of tliem would be filled np too ninch if the shade was of niiiforni v.-eight. ]5, S, K, (J, aiul N, the body angles of whieii do not admiL of so heavy a shade as ix'rpendicular or bottom letters. It is very general with sign painters to make the bottom shades a tritle heavier than the perix'ndieulars, and fortius reason : the sun casts a heavier shade to the bottom in P'roportion to the ajigle of light, and for this reason a heav- ier shade is demanded. In regard to the formation of letters, ouf^ rule v>ill hold good in all respects, a.t least so far as IJoman letters are e;)ncerned; in ease you do not wish to j)aint them square — as wide as they are high — din)inish the width in exact ratio to the increase of the higlu, and rin; vcrsn. ^ rAixTiX(; OX ('i/)Tir ok silk. For ^[asonie or Oddfellow's apnms. batmers, or any work of like nainre, a few words may 1)C useful. First have your material ])ut it])on a stretcher, and the;i. complete your lettering and disign. Prepare a size as fol- lows : J)issolve bleached shellae in alcohol, and thin as much as will cover thc])arts to be painted or gilded, using the ])reeaution to cut over tlie outline a little, so as to pre- vent th.e color from spu-eading. Another size may be jtrepared by simply nsing ihewliite of an oentiue. 32 ITAXKV';; /.i.wt'al or Boil for foni- hours, strain, olc, as abnvo. Use Olio ])ot (if this vaniisli to two of the former kind, tlio slow (Irving'. 'J'liis iiiixluro will dry in about four liours in siumncr and six in Vvintcr. This fjuick dryiuj.'; varnish makes a (rood dryer for deli- cate colors ; about a dessort-sp(;oiiful to twenty-five i)ounds of color being a fair iiroportion. Should thu artist not wish to nuinufacture liis own var- nish, let him avoid buying- any cheap article, but inquire for '' slow drying, body copal varnish," and also for the best drying- ja])an, so tbat if re(juired to varuish a y)iece of work that is wanted to dry (luick, he can do so by adding a little of the jajjau. M 1 S( ,'E L L A XEO U.-^ JIV.CE I I^TS. To Cleax Old Sh;x ]:Oai;d.S. — Urush over the face of (he board with warm alcohol, and re]>eat two or three times if necessary, after ^\hich the '• smalt will come off easily^ by the use of a dull chisel or an old jjlaiie-iron. Care should be taken not to cut into the surface, as such places are hard to patch u[) again. Anotiikr ^EkthoI). — Take tlircc and a half pounds of stone linu% two pounds pearl-ash, two ounces soft soap, three ounces of ammonia, ^^lack the lime, then add the soft soap. Jt nuiy retjuire a little water to form a jiaste ; then add the ])earl-ash and the li(|uor of ammonia. Keep in a close-stopped, wide-mouthed bottle, or stone jar, with a little v.-ater, like paint. This mixture, when laid on a sign o!' any old ])iece (;f painting, will soften it so that it will wash off witli the utmost ease. S'i'iLb AxoTiiiiK T\Ii;tiioi). — Lay your work top up, and go over it with turpentine : set fire to it, and the old paint will soften up. and v;ith an old chisel ov a piece vi' flat, sliarpened v.'ood yo;i can si'rape cfi' (he (ild color with ])er- fect case. The best way of doing this is to cover a foot or so at it lime v.'ilii tiie (urfientine. and ))roceed as above. TIk-u rub off with pumice and v.'ater. SIGX, CAKEIAGE AND DECORATIVE PAIXTIXG. 33 TO LAY SMALT GROUNDS. Mix yonr color as uear as possible to the ilesircd shatle to suit the smalt ; mix with strong drying oil, not too thin; then cut round your letters, serolls, etc. ; with a fitch and sash tool fill in all the spaces ; then witli smalt dust all the surface, taking care to ])ut n:!ore tlian enough on, so as to allow the " oil ground " to absorb all it possibly can. When dry (usually the next day) turn your signs on end. or on the side, and all the surplus smalt can be brushed oft" and saved. A small wire sieve is good for straining smalts. Some printers shade their letters first, that is, before smalting, which is the neatest way for fine or small work ; but for large signs it will have a better elTcct to shade the letters after smalting. Mix the shading color with very little oil, mostly japan and turpentine, and draw with short quill tools or Frencli fitches. FLOCKS. Flocks are laid upon the same princiide. These grounds are very beautiful and chaste looking, but Ihey are very unsuitable for signs that aro ex]ioscd to the weather, as the colors do not stand any length of time, black l)cing llio only one that can be depended on. Instead of smalts, colored sands are sometimes used. These retain their colors well, and if taste is displayed in arranging the hue and tints, very beautiful work can be produced. FACING PUTTY Foil SIGNS. Facing putty for signs that aro to be gilded may be made in this way : Take a little fine whiting, a very little drying oil, japan dryx'rs, and beat all up to a reasonable stiffness. AVith this mend all the inequalities with a square- ended knife. This putty will harden very rapidly and dries without any shrinkage, tack, or softness. In mixing, use more japan than oil, say two-thirds japan. SI nAXEY'S AFAXUAL OF c;lass siaxs, with peael settings. Tlio best moibod of doing such signs is, first to drtiw your parallel lines with a sharp pointed piece of bard soap. Then form your letters correclly, giving theui llie })roper distances, etc. J lave your outlining very true, as by so doing you ■will avoid much trouble when tinishing. if you d;>siro to en- close the pearl within gold lines, clean your glass upon tbo opposite side, then with your camel-hair brush lay on your size as directed for gilding on glass. When you have done this, lift your gold leaf and lay it on carefully. When all the gilding is done and dry, take a pencil of the proper size and cut in all the letters as neat as possible, giving them sufficient strength and weigbt in proportion to the size of the letter, leaving the center or lilank s]>ace entirely clear. By "cutting in" I mean that all you wish to show in gold must be laid in with black japan, two conts. When the japan is dry, then wash off carefully all the surplus gold. The work is now ready for the pearls. The pearl for tliis worlv is all prepared, ready for use, in thin pieces or sbeets. There are two kinds, the snail, and the (i-Hronf, also the small broken jtieces, called scraj), whicli is very usefid in filling up small portions of the work, and farming different kinds of ornaments. If careful in selecting the snail |iearl, great beauty and order may be ol>tained. fencil, etc., ready to work. Lay a coat of size over the face of the pearl and then put it in its proper place in the letter. Press it hard upon SIGX, CARKIAOE AND DECORATIVE PAINTIXG. 35 the g:lass so as to displace all the size possible, as much of the beauty of the work clepeuds upon having as little as may be of the size show between the pearl and the glass. As with glue and wood, the less glue there is in a joint the better it holds, and the closer the jfieces of wood approach each other. When yon have set all of the pearls turn the glass face upward, and see if all are placed so as to show alike, for if there are any corrections lo be made now is the time to make them. There are a great variety of forms manuftictured and for sale, such as representations of humming-birds, paroquets, fish flowers, scrolls, etc., which are susceptible of being made into very pretty work when judiciously handled. In short a thousand varieties of work can be produced and many difl'erent materials used in this same way. After the larger pearls are set you can form the other portions of your letters with such sizes as you may choose, and fill up the smaller portions with the " scrap," taking care, however, not to have the pieces set too near together, or the eifect will be bad, as much relief is obtained through the medium of the ground. When your size is dry and the pearl firm, then have your ground mixed up stiff with drying ja])an, oil, and turpen- tine, but only a small proportion of oil. After mixing it to the proper shade lay on a licavy coat of ground color. AVhen any particular style of ornamentation is desired you can vary the colors of your ground, shading the dif- ferent sides of iho letters, scrolls, etc., to suit your own taste and fancy, doing the shaduig in a similar w;iy as you would any glass signs. Green, red, yellow, white, etc., are used with good eilcct, shaded in order, viz. : greens with darlcer greens ; reds with brown, purple, etc. ; yellow with burnt und)er, blend- ing carefully. In short, a great variety of colors may be used in such work, ami, as before said, an endless variety of styles produced. 36 hanky's manual of >S1ZE TO FIX THE PEARL. 1st. Pure masiic vamisli. 2d. Pale, quick (Iryhi.i? copal varnisli. od. Copal varnish and Cauada !)aisam : one-third copal ; i\Yo-tIiirds Canada balsam. In shading letters, tiiey loolc best when the shade i^! drawn on an ani;le of iibout forty degrees, although nuich depends upon the taste of the artist. With the siin])le rules liere given for pearl and fancy signs, every variety kno^vn in the market may be produced. COXCLUI) IXG PEM APJvS. Having gone over ab.out all that is necessary to consti- tute a ready " Hand Book" to the sign painter, a few con- cluding remark's nuiy not bo inappro;>riate. I do not pre- sume to teach tho ])ractical sign ))ainter or gilder, still I tlatter myself that even he may fuul in this Manual many things that arc new or but iui])erteclly understood. These recipes and nu4liods — in fact, the contents of the entire book — is but the sunnnary ot' a loiii'; experience on my r»art, both in this country and in England. I have, given nothing and advanced nolhing but what I have nsed Jiiid itrotlicd by myself. tStill cxi>ericnce is not the only help a man may em])loy. The experience cA' others oftentimes savfs ns from much labor in jiersoual research and experiment, and what ! l-.avo read, what 1 have learned mys(df during forty years of practical sign and decorative ]iainting, is lure given freely iur the good of the ])roiession. Letters are generally charged for b\' the foot. Plain letters oOc. i»er foot. For one yliade, add - - lOc. '• T)oid)le :;hade, add - - - .'iOr,. Gold letters - - - - - -SI. 00 Crn.amented leltcrs, scrolls, etc., charge lor time and ma terial in the same proportion. 7c. per iuch. 2c. (. 7c. u 3c. '• SIG-V, CARRIAGE AND DECORATIVE PAINTIXC. o7 Japanned tin signs Shading '• ... Lettering on glass .... Letters made on glass, tin, or stone Plain ornaments, same as letters. Gold l)orders ..... 3c. " In gold or plain surfaces, the labor equal to cost of the gold. Ornaments in [)ioportion to the labor. These rules ■will serve as an average in proportioning the prices to the amount of labor. It would be superfluous to enumerate a farther list of prices, for the purpose of meeting every variety of letter- ing and ornamenting, but these prices given may bo taken as a standard, subject always to the fluctuations of the prices of labor and material. FRESCO PAINTING, AND ITS AUXILIARIES COMBINED. Of all those attainments which contribute as well to the gratification of the senses as to the refinement of the taste and the enlargement of the intidlectual powers, the art of Painting is perhaps the best adapted to the human mind. Tiie satisfaction derivable from the contemplation of a beautiful work of art possesses a peculiar advantage ; it is renewable at pleasure without any continuance of the ex- ertion by which it was produced. Put a rare combination of talent with industry, or, at least, great industry, can alone lead to ))roductions which may claim admiration be- yond the circle of our own partial relatives and friends. Experience has proved the impracticability of conveying a knowledge of the elementary principles of this art, in any manner so as to supersede iha useful labors of the drawing 38 HAXEY S MANUAL OF master or teacher, yet there h^ much to he learDcd before the ])upil can go alone, wirli contidence, after the period when liis attention ceases, and wliich the limited duration of his lessons caimot include; to this we must attribute tlio fact that so many who make a fair progress under the master's eye, cither never attemiit any performance with the pencil after he has ceased to siqierintend and direct tlieir studies, or finding themselves embarrassed at the out- set, abandon the ])ursuit and fancy "their genius does not lie that way."' AN'e will presume, however, that tlie reader has gone through the usual elementary course of instruc- tion, that he is able to copy with ac< nracy the outline at least of any object which may be set before him ; this and nmch more nuiy be obtained by any person of nu)derate ji1)ililies by industry, without an iota of that much mis- undersiood quality genius, which has proved an ignis fa- tuus to thousands. One of the greatest artists of tlie day was right when lie said : " Xotliing is denied to well directed iiulustry ; notliing is to be olitaiued withdut it."' Depend, then, whi/lly up-ou your own exertions, and listen rather to the criticisms df the judicious than the praises of those who will tlatter you with assurances that you ])cssess in- tuitive excellences which may render a]>plication ninu'ccs- sary. To reconuneiid a i)ropcr course of study will be tlio most useful ])uriiOse to which these ])ages can be devoted, for it cannot be dis|iensed with. Before any attem|)t ben;ade beyond copying, the student is enjoined to accpiire a clear view of the leading priucii)les of perspective on pain of con;mitting al)surdities, for which no beauty of color can atone ; it will be found less difricult than is generally imagined. Although it would be impos- sible to compress iuto our limits all the exphmations and diagrams necessary to an illustration of its theory, we shall subsequently ofler a few observations which, we trust, will prove beneficial to the student. There are two points to v>hich we would particularly wish to call attention, because ihey are errors that greatly retard the progress ; one is a want of <'oniniand of hand, the other, an inqiatience to produce a finished efTect with.- out the systematic and gradual process necessary to the production of a piece of good W(u-k. SIGX, CAERTAG?. AXD DECORATIVE rATXTING. CO To remedy tlio lirst vriil roqiiirc great altontion and prac- tice, if tho iiucertaiuty of baud or timidity of touch exist in a great degree. It is never found among Ihe artists of necessity, with vrhom quality of production is an ol«jcct of importance, as decorative painters, designers for furniture and manufacturers; with these freedom and precision of hand arc seldom wanting. Wo advise the pupil to study \Yell every lino before it is ])egun, to determine its exact com-sc and bearing ; in short, to look from the object to be represented to the surface on which it is to be drawn again and again, until the mind's eye transfer it and tbe imagination sees it in the place it is to occupy — that is the moment to be seized, and then the quicker the line is dravvn tho better. Largo objects should be copied on common sheets of paper ; it is a great check to the freedom of the hand to have your sheets too small, as it has tho teiulency to produce fear a1)out spoiling your design or drawing. Still avoid the opposite extreme, and remember ab\vays that true proportion and correctness is the first principle of tho art. ■An occasional hour or two would not bo misspent if oc- cupied in drawing straight lines perpendicularly, diago- nals, parallel to each other, and circles without tho com- passes. This observation is applical)le to many wlio would be ashamed of being seen so employed ; who have, in fact, attempted to execute a piece of vrork without sufficient practice in the rudiments of the art. The second error is even still more common, that is for a i)ainter to proceed to color, or rather to waste his time in shadowing or coloring upon an outline which might mean anything. There is no lime in the progress of a l^iece of work, when tho forms of ohjects can be so conve- niently improved, as when they are in a faint outline; a thorough conviction of this, and experience of the pleasure of modeling as it were into substance by shadows, and adding tho charms of color to well-studied forms v/ill render })atient labor less irksome by anticipation of certain ulti- mate success. In your early practice of drawing from solid objects, it would be well to make several studies from a v,'hitc globe, •10 IIAXET'S ir.VXUAL OF l»l;u'ing ii, iu diiTert'iit ligliti-:, and luiving only one window in the room. You will find Unit lliorc is l)iit a sinirle spot upon it which c;'.n 1)0 represented by perfect wlnteness ; and that all the other rays fallin,^ obliciuely upon a recedinjj^ surface, a weakened liglit is received, diuiinishing:, at last, into abso- lute shadow, until a<;-ain relieved by reflection irom sur- rounding- objects on the opposite side. A cylinder may be made by a roll of pa])('r, an eurp«)ses. and the Italian chalk, which is harder, for finishing', or where great neatness is required. Center pieces for ceilings, scrolls, spandrels, ])arterres, etc., molding-s, copies of the various orders of architecture, \\7.. : Tuscan, Doric, ionic, Corinthian, and Composite. Here the pupil vrill find a larire field fiir study, aujj we vronld strongly recommend thar those various orders should be copied from some g-enuine prints, in parts and in v/lnde, so as to familiarize the eye aiid cultivate the mind to all i!u> varieties therein contained. Those lessons iu colored cb.alks are the mo.«t ready me- thods for graining; Imowledg'C in shading-, etc., so as to raise any object upon a jilain surface, to represent that relief or effect vdiich is wished to be obtained previous to attempt- SIGN", CAKRIAGE AXD DECORATIVE PAINTIXG. 41 ing anytbing ■with water colors. For if not very conTcrsant witli the true forms of tlie subject to be painted, the pupil will find himself launched into a sea of trouble from which it will be diQicult for him to extricate himself. Therefore, I repeat, that owing to the difficulty of work- ing colors in distemper upon a ground of the same kind, where any fault, cither in tint or position, is by no means easily rectified, the more docs the pupil require extensive and laborious practice in coloring with chalks or crayons. Then he will become decided and sure of touch, and make every lino tell with masterly cfTect. Speaking of the various orders, their j)rominent distinc- tions are as follows : Tuscan, of which the usual liight of the column is seven diameters ; Doric, eight; Ionic, nine ; Corinthian, ten ; and Composite, ten. The Tuscan is quite plain, without any ornament what- ever. The Doric is distinguished by the channels :uul project- ing intervals in the frieze, called Triglyphs. The Ionic by the ornaments of its capital, which arc spiral and are called volutes. The Corinthian by the superior bight of its capital, and its being ornamented with leaves, which support very small volutes. The Composite has also a tall capital with leaves, but is distinguished from the Corinthian by having the large volutes of the Ionic capital. A complete order is divisable into three grand divisions, which arc occasionally executed separately, viz. : Tin; column, including its ba.se and capital; the pedestal, which supports the column ; the tutablature, or part above and su])ported by this column. These are again each subdivided into three jiarts: The l)edestal into base or lower moldings; dado or die, the i)laiu central space ; and surbase or upper molding. The column into base or lower moldings. PhafL or cen- tral plain space, and capital or upjier moldings. The entablature into architrave, or part immediately above the column ; frieze or centj-al flat space ; and cornice or upper projecting nu)ldings. These parts nuiy again be divided thus : The lower por- 4^ IFAXEY's .ma N'T AT; OF lions, viz. : llic l>asc of iicdestal, Imr-.;^ of (-olunin and urclii- Iravc, divided each into two parls; tlic fir! other parts joined to a face or to the column itself by a small hollow, then called apophyges. The torus, when very small, becomes an astragal, whieli projects, or a bead, which docs not project. (Compound moldings are the cyma recta, wl'.ieh has the hollow uppermost and projecting. The cyma rcvcrsa, or ogee, whicli has the round upper- most and projecting. The Scotia, which is formed of two ludlows, one over the other, and of dilTerent centers. Several beads placed togitther, or sunk in a fiat face are called reediuc'S. 44 nAXEY'S ilAXUAL OF All ilie.'ie moldings, except ihc fillet, may be occasionally carved, and they are then called enriched moldings. From llieso few sim]>lc forms, by adding astragals and fdlets aiul combining differently ornamented moldings, faces and soffits, arc all the cornices, panels, etc., formed, and the modern compositions in joiners' work, etc., fresco paint- ers, builders, etc., arc very numerous, and too well known to need describing. For human figures or animals, fruit, flowers, etc., the student must supply himself with good specimens, either lithograplis or good prints of any kind, aud practice from them until he has acquired sufficient knowledge of propor- tions, form, size, etc., to suit the various positions to which they may be applied ; true proportionsan'of vital importance to the fresco painter, as his drawing will 1)0 about the first point of criticism to which ho will tind himself liable, eveu more so than to his shading or coloriug. For it matters little ho\Y well coloriug or shading may be executed if the drawing is deficient. Therefore let 11)0 pupil persevere ia this branch of the art. lu drawing flowers the center should l>c drawn first, as by spreading outward, the graceful and ever varying forms of nature in every stem aud leaf nuiy be more easily expressed. Ju the subsequent operaiit)n of coloring them they require much more attention than any other part of the work, so as to produce a soft and accurate eflect; but not an equal degree of skill and experience to produce a beautiful whole. In this kind of drawing, as in every other, the first lesson should be obtained by following the draughts of the most skillful masters, com])aring their productions at the same time with nature. As flower pieces are inspected with almost microscopic attention the fibers aud figure of every leaf must be distinctly expressed. Flowers which do not blow at the same season of the year should never be grouped together. In drawing fruit great care is to be taking in assorting or arranging them so as to produce the most imposing effect. 8o ]dace them as regards color, size, etc., with an easy carelessness that they may by such freedom of position aid the pupil in producing a good haru;onious painting. SIGX, CARRIAGE AXD DECORATIYE PAINTING. 45 FIGURE rAIXTIXG, As Leforo staled, ro(|nircs correct proporiions, g-(!od coloring, great ease, and a general softness tlironghout, to be graceful and mellow in tint, avoiding cold or harsli shading, etc., having always in view the fact that this par- ticnlar branch of the art demands consummate skill and great truthfulness. OF LIGHT AXD SHADE. When a ceiling or side paneling is drawn out carefully, and the pupil is satisfied that all is in due propoi-tion and correct to the order desired, tlic next point of consideration will he to judge from what particular side of the room the light falls from and upon the ol)jects drawn, so that all the shadows may fall one way, and of course from the light. That part of design, panels, scrolls, etc., whose sides are nearest the quarter from which the light comes, must be the brightesr, and the remainder must be gradually darkened. Surfaces which arc wished to project being nearer the light than others, must l)0 sharp ai^l well illumined where the enlightened side can he seen. The faintest lines should be put in first, proceedhig gradually to (he darkest. All shades should bo rather too light at first, that they may bo worked up gradually to the full effect. All strong lights must be relieved by deep shades, but it must be remembered that strong reflections diminish and always soften the shades cast by the original light, so as in some instances to make the side of a body which retires from the light brighter than a nearer part. It is by the reflection of light received from the sky or terrestrial surfaces that the darkest part of cylindrical and globular bodies, is not that wliich is the most distant from the original light ; and from the peculiar nature of the re- flection from such surfaces, when tlic light falls on one side of them, the lightest part is not ahvays that which is nearest the light. In shading an upright round ])niar for example, a small i>orll(»!! of the side nearest IIk^ li^'ht, sujuiosinu- Ihe light 43 UAKEYS MANUAL OF to corne from oi^c side, Riurald 1)0 a litrlo sluuled ; ilic next portion sliouUI exhibit the stroiilaster (th.it is clean), I would in-efer giving them a good coat of i>aint previous to nsiniz; the distemper colors, and for the best of reasons, for by so th)ing you insure against stains or a striking in of your distemr-er coats, which is very apt to w.cnv if not painted. The first coat of paint should bo mixed al)out two-thirds turpentine and one-third linseed oil, witii as nnich japan drier as will dry it hard ; too much oil would be liable to bear out so as to cause your distem])er color to crawl and not lay well, therefore better err ujion the other side, viz. : loo much turpentine rather than oil. T\'hen Ihorough.ly dry have good glr.e in readiness, first prepared l)y steeping it over night in water to soften, then melt in a suitable pot or kettle, and 1)0 cautious not to overheat it in melting; in fact it ouglit never to boil, for boiled glue never v;orks vrell and soon spoils in mixed color. Then liavi^ good Paris whiting, ia];e ;;s nnuli as you lliink you will rcciuire for the amoiiiil^ of work you inlciid 1o tirst ccal, beat, il- up thick wilii water, be sure ihat you have i;. all retlueed (o a perfect l'ii!i>, i:o liniips. Th.-i! lak;- a v>'orkiiig pail, and put in as imicli of your SIGN^, CARRIAGE AND DECOKATIYE TAINTING. 47 l)eat-up ^vLitIug as will go over your intended piece of work. Then take the colors required to produce the shade wanted (the colors previously ground in water) and cau- tiously mix- with the hand, which is preferable to a spatula or stick, till you get the shade desired, which you can prove very easily by drying a little on your hand or on a piece of white paper ; if too dark, add more whiting, or if too light, more color. When you have got the tint to your mind, take your melted glue and put in enough to bind the color very hard so as not to rise or wash up with your second coat. This you can also test upon a piece of paper before you lay the color u])on yom- plaster, ceilings or walls, for by neglecting to have sulTicient size or glue in your color your second coat will mix up with your first, and the two will roll and gather thereby spoiling your work ; the result of which will be that you will have to sponge otF both coats with water, thus loosing your time and materials, and suffering disaptpuintment and mortification besides, for your neglect. If all goes well you will find that two coats will be suffi- cient in the most of cases, and ought to be made a rule as far as possible to manage ceilings with two coats. Having now got the ])Iane of your ceiling or wall done you now proceed to mix up the color for the stiles or hovd- cr, and carry out a similar i)roccduro with them until all looks smooth and solid, and if satisfied with the color and its covering qualities you next proceed to mix up all your sliades for drawing your moldings as above directed, viz. : run all your light lines first, tlien the secondaries, deep, etc., relief, etc., until the molding yields a just resemblance to the order required ,• the corner jiicces can now be acted upon, all cut in with the same colors ; when the last touches ai'c put in let the edges be cut sharp and crisp, and do not forget the relief shadows to them also. Now examine the whole work carefully so that nothing shall be left undone or forgotten. 48 HANEY'S ilAXUAL OF CENTER PIECES WITH FLOWERS. If flowers are to l»c put in panels, first draw them cor- rectly, then proceed to coh)r them accordin<^ to nature if so wanted, then lay in a suitable ground around the group up to the molding, let it be a somber neutral color so as to sink the ground and relieve the flowers. If FLOWERS IX RELIEF, You work them out in the same colors as was used in the moldings of the ceiling, giving the group a slr(mg re- lief shade ; but do not lay in any other ground but simply the panel color. Some fresco jiainlers lay such panels in a different color, but I question if that taste adds anything lo the general beauty and chasteiu'ss of the ceiling ; it is too gaudy, too much, to use the vulgar term, '* ginger bread style." Yet some i)artics will have such work, and to please sometimes the ariist has to give way; but always suggest, where it is safe to do so, if for uo other reas(m than to put yourself in a proper position l)efore the jjublic on such uiatters. It is the duty of an artist to state what is the right harmony, etc., whether adopted or not liy the emi>loyer. COLOR FOR CEILIXCS, WALLS, ETC. Regarding suitable colors for interior dceoraticm, there is several considerations of importance which nuist be here noticed. First, the kind of building and its use, a church, a public hall or dwelling house; also the position of the house in reference to tlie cardinal ])oints of the c(mipass, north, south, east or west, for the following reasons, viz. : If a south or west exposure, that portion of the house will have a large share of sunlighl, conse((uently a natural warm glow of heat, while the north and east, although possessed of sufficient light, as a natural result, a certain coolness consiMiuent to the want or alisence or nearly so of direct sunlight. Tlicri'lnrt' for south (»r west cx|)Gsure it will be seen at a SIGN", CARRIAGE AND DECORATIV^E PAINTING, 49 glance that cool colors must be selected, as a want of this knowledge might cause the most disagreeable feelings to those who had to endure the effects, although they might be altogether ignorant of the cause (by the painter) through neglect, or want of knowing why, this disagreeable feeling was induced. And vice versa for rooms situated on the north or east side of a house. The colors must be of a warmer shade or tint ; thus, during the warm season the effects of color up- on the mind is such as to produce an ^fjuilibrium. So that any person passing through a house at any sea- son of the year would not, upon leaving a room on tlio north or east portion of the house to go into one in the south or west sides, feel any considerable change, if any, it would be but momentary, for the colors of the two would immediately blend or harmonize so as to produce a pleasing sensation. The effect of color thus has the ])()wer to some extent to equalize to the senses a feeling of nearly an even temperature. CHURCH COLOUS. In referring to church decorations, much difference of opinion exists. Many hold as a fixed rule that churclies in particular must have a somber monastic gloom. Such take the idea from visiting ancient buildings, the relics of l)ast ages, which, on account of their walls being generally built of stone, and that stone work being the interior finish without plaster, such churches do, no doubt, while lighted by stained glass and heavy stone work in their windows, etc., cast a dull, melancholic gloom. But this result by no means claims it as a necessity that such cold, forbidding colors should be a standard to Ihe present age. And further we take the ground that dark somber colors have nothing to do with producing religious feelings or awe. Decorations, colors, etc., style or order, ought to be care- fully selected and in good keeping, which should be such as to cherish a true sensibility of christian feeling, altoge- ther free from all depressing circumstances or causes such as cold, raw, uncongenial mixtures have the natural ten- dency to produce ui>on the mind. 50 HAXET'S MANUAL OF At tlic same time avoid all snoh colors as would be suit- uIjIc for theater decoration, llather choose a modest, plea- sant class of tints, a medium between the two, neither too bright and lively nor too dull and monotonous. PUBLIC HALLS OR LECTURE ROOMS. The best class of colors for such buildings are, or ought to be, pleasant, light, agreeable tints, neither too warm, nor in the other ex^-eme, too cold. They require to bo colors easily lighted, pure mixtures, not muddy but airy. Beautiful gray tints for the ceiling panels; pkjasant cool buffs or drabs for the divisions or stiles, which can bo broken up well in neutral tints, all combining to produce a sweet harmony. Ceilings so done rerpiire to have the walls in keeping, only giving your colors more tone or force, dividing judici- ously the various tints throughout the cornice, etc. Artificial moldings always partake of the color of the stiles, and are always allowed for in drawing out the lu'eadth of your stiles. The order you select will always guide you in finding the various members constituting the molding reipiired, etc. DWELLING iroUSES. The interior decorations of dwelling houses admits of more latitude. Here the painter has ami)le scope for the introduction of variety, as all colors consistent with the art of house decoration can be used with impunity. Still we would advise that colors of a chaste and pleas- ant character ought to be the general rule. Let the panel of the ceiling be of a tone of color agree- able and in unison with all the other arrangements, for in- stance; ascertain the color selected for the upholstery, car- pets, etc. (if already a furnished house), then thecoloi'S can be mad(! up in complete harmony. You can judge at once those colors that will l>c suitable not only for the panel, stile and cornice, but also for the walls ; and can also see what the contrasting shades ough.t to be to give the true tone and character to the whole. Eor panels grays of various shad(>s are cmitldyed, vary- SIGN, CAltKIAGE AND DECORATIVE PAINTINCi. 51 ing from the delicate French white to the dccidecl rrcncli gray and lilac, compositions of white, blue, red and black. As already mentioned, whiting for the base of almost all the shades required. Ultramarine blue, cobalt, Prussian and verditer being the blues generally used. Indian red, Venetian, vermilion, lake, carmine and sometimes orange mineral ; but for large surfaces it ought to be avoided, as it will be liable to sink owing to its great density. The only blacks to be relied on are the blue black and the Frankfort, or pure ivory black. Lamp black ought to be discarded, as it is generally foul and greasy. Pink or rose tints are got by a mixture of red with white, employing any of the reds most suitable for the shade re- quired ; if very rich, carmine or lake, vermilion or "W'uetian red ; Indian red, if not wanted bright. Greens. — Any good chrome green will answer ; niinend and Paris greens are of the first importance when bright greens are wanted, and works very clean. Bui'FS OR Drabs. — A great variety of shades of that class or color can be attained by a mixture of yellow ochor, red, blue or black. Some introduce umber to great ad- vantage in drabs or buffs. If wanted cool add more blue or l)laek and keep out the red, or subdue it nearly. Clirorne yellow of various shades can boused, and if only used with discretion is a valuable color, but bear in mind ihat chrome is a color of great strength, and has to be used with caution and judgment. These shades can also be improved if I hey are wanted warm and mellow, by the addition of terra de sienna, either in its native raw state, or calcined, known as burned terra de sienna ; it gives a fine warm tone to those colors. If cool buffs or drabs arc wanted, umbers can be intro- duced with effect, both raw and burned, producing great variety of color in mixture with or without yellow ociher, chrome yellow or raw sienna. The Turkey und)er is supe- rior to the English or American, being a more pure earth and stands better. 52 " HAXEY l; MAXUAli OF r.ROWNS FOIl .SIIADIXG, ETC. l-unit ii!nl)('r, Vandylcc Itrown, oxyde of iron (couinioiily ci'.llcd '• cokuithef''), ]mrple hrowii, burnt oclier, burnt sienna, etc. Burnt .sienna aiul ultramarine in mixture ; a beautiful sluiding color, not too nnich of tlie blue to show it. Always recollect Ihat for ^jround colors the mixed whit- ing is the base of composition. In finishintr panel worlc, whore ord<'r is not entirely bind- ing, colors can be introduced whicli lias a very fine etl'ect ; such an ])arting lines, sometimes red brown, green or blue. These are simply to divide contrasting or strong colors, and assist very much in relieving the whole work and gen- eral effect. ]'ut tlie pupil must be very cautious in intro- ducing such auxiliaries, for many times good colors, fair vcorkmanship and contrast has been destroyed by such in- troductions, ]»];!cing such strong tints where they really were not required, or of :;n iniproijcr tone to jiroduce har- mony. CKILTX(;S ORXAT^IKXTi:]) V»MTII COLD. Sometimes a ceiling h r!'lieved by gilding. The center picH'cs, corner ornaments, a menil)er of a nio!din;r. etc., are riMjuireil to be so. Then the student nnist select some (.f the ]»rojectiiig or prominent. ])arls, and iiaving sized in for gilding, after wliicli he must liave his cushion, tip, cutting knife, etc., all i]i readiness, also a l)all (»f soft cotton, large camel hair brush for dusting off idl the surpliis gold. etc. Then ]t!aco your gold leaf upon the cnsliinn, lak.' yoiu- knife and cut it into strips of a projter size, draw your tip across your hair (iiaving first drawn a pieco of ])nre tallow over the hair so that a slight touch will cause the tip to lift it]) and carry th(> leaf to 1h(^ piece of work to be gilded), then use the ball of cotton |o lay it down, and clean ctf with the camel hair brusli, etc. The size lor gilding upon ceilings, etc.. when a dislem- l)er grouml is laid, no oil size can bo used without first rnniiipg all th:> mcniber in willi a prena.ralion sizing fuich SIGX, CARRIAGE AXD DECORATIVE PAIKTIXCi. G?. cs gum water, weak glue, or thin shellac varnish (bleaehed) so as to keep the oil size from staining or running. To obviate this trouble and save time an excellent size for such work can be made by intimately mixing with thick glue a little fine pure honey. This is what is called by the French artists " batture." They contend that this size liightens the color of the gold, and such experience will teach the studeut is the case; it also gives the gilding a fine luster, closel}^ resembling burnished gilding. PAINTING VESTIBULES AND HALLS TO STAND WASHING. ETC. The walls must be prepared with oil paint, same as for any other painted wall, only the last coat must be " dead " or "flat;" that is, no oil used in the last coat, only spirts of turpentine. In the last or flat coat there ought to be a little good pale copal varuish, about one tablcspoonful to twenty-five i)ounds of paint; this gives a better aiid harder surface to the wall, and bears handling much safer, for no man can fresco a wall entirely free of some casual ity oc- curring, such as charcoal lines to dust off, a drop might fall from the brush, etc., and the varnish will enable the studeut to wash very lightly if anything should happen to require it. Before the wall receives the last two coats, let the de- sign or paneling be all correctly drawn out. Then mix the colors to the required tiuts (in oil), lay in the panels first ; then the stiles, and when thoroughly dry, put on the flat or last coat (si)irit color); The work will be dry for paneling in a few days. MIXTURE OF COLORS FOR THE PANELING OF WALLS OR VESTIBULES. Common spirits of turpentine for the mixing of the finish- ing colors is found to work too spare, does not cover very well, aud cannot be bound enough to stand the frequent jtassing u])ward and downward which is required with the brush in running moldings or lines. Therefore the following mixture is found to answer the purpose very well, viz. : Turpentine, a little white wax, :>\ HAXEY'S MANrAl; 01' ;i iilll(! mnslic vuniisli, and a liltln [iiio \y.\V^'. daniar varnish. 'i'!i(3 <|uan1ity of tlio varnish must Ix; very small, other- wise a gloss wouhl be jtrnduced which would not die down ihit in drying; all (hat is riMpiircd hy such a vehicle is sini'^ly to cause the color lo hohl or set quickly, so that ;ho work can be more expeditiously carried on. X liltlo ))ractiee will soon teach the student the quanti- ties required, for it is not possible to give correct proportions for those mixtures ; besides every painter has some par- ticular mixture lo Vv'hich lie jtrides himself. The above will a]iswer all purposes. In ]vreparing old walls or ceilings sometinu'S there arc stains, cracks, etc., in the plaster; these can be l)est seen after the old color has l)ecu removed by washing, which nuist always be done tlie lirst thing; then mend all the blennshes in Ihc ])lasier with size putty if small, (»r if deep cracks, taking' plaster of I'aris aiul a little putty lilue, enough, merely to keep the other from setting loo quick. Damp ;;il the places witii a brnsli and water, tlun apply the ]flasfer with a small trowel or knife, and finally wash and smooth over tiie places lo make good sound mendings. AVhen dry. give a coat of shellac var- nish to all the mendings. Afier ;ill Ihe necessary repairs arc hard and dry, if the ceiling or v/all is not lo have a coat of ]>aint, a prepara- tion coat in size V\'ill be necessary. This is a mixture of whiting with an extraquantity ofuieUed glue, to which niust be added a small amount of alum ; give the plaster a full coat of that, alhnving a full day to harden before the second coat is applied; inmost cases the second coat is sufficient if the lirst coat has been nearly of the required color. But always have enough of size in the second coat to have il^ well bound, for it may happen that a third coat may be retpiired to make a good fair suiface. Still it is highly necessary to avoid ttio much accumula- tion of color, as it is ]ial)le to produce a roughness or harsh- ness, which is at once detected even by the inexperienced eye. Always give a coat '• fall flowing.'" Xevcr aiierapt to ml) out the color, for such scantiness of ccilor will be sure to ruin all your expectations and prove a failure. SIGN, CARRIAGE AND DECORATIVE PAINTING. 55 NECESSARY IMPLEMENTS. A marble slab, to g-rincl all the colors not to be had ground at the color shops. A good pallet knife. A stopping knife. A small trowel. A square. A set of straight edges. A T square. One pair compasses. One scale for measurement. (Gmither.) One foot rule. Chalk line. Colored chalks or crayons. Charcoal for drawing lines. Flat nailed stock brushes, or tin bound. Round wire bound brushes for cornices, etc. Sash tools, six sizes, from No. 2 to 8. Flat French tools for drawing lines, etc. Roiuid quill or tin bound tools, various sizes, from small to large. Sable pencils, long and short, to use on scrolls, flowers, center pieces, etc., and various other purposes. An assortment of wood pails. Stone pots, large and small. Tin cups, large and small. Tin cans, one dozen or two, assorted in size Step ladders. Tressels for scaffolds, assorted bights ; planks, etc. One glue pot, double made. One tin basin, wire bottom, for straining colors after the size is put in to remove any extraneous matter in the color. Any other necessary article omitted, can be supplied when needed. And here I would sum up with a few useful remarks by way of conclusion. Knowledge is the grand element of decision in all things, and no less so in painting ; and we should neglect no means placed at our disposal of attaining that element. The same avenues of information are open to us all that 56 haxet's manual of supplied the minds of Rubens and Titian, if we will but resolve to apply them. The peculiar feature of fresco painting is what may be called "roughness;" and what some people would apolo- gize for on account of "want of finish," by saying that more finish is important, for that at a distance it would not be seen. But this is a very unfair and insufficient view of the matter. Not only is there no occasion for more finish in fresco painting ; but properly speaking it is highly finished already. It is a mere question of focus. To finish a piece of work, is to regulate and complete the various parts in conformity to the whole, and this effect once accomplished, all beyond feuds to undo instead of completing the painting. By attempting more finish you would obtain less, for the real finish in fresco ])aiiiting is gained by keeping the tints bold and firm, that they may blend well when reviewed from a distance. TO PREPARE TRACING OR TRANSPARENT PAPER. Take one quart of spirits of turpentine, one quarter of an ounce of sugar of lead finely powdered, shake it up and let it stand for two days ; then ]H)ur off and add to it one pound of pure Canada balsam, set it in a gentle sand heat and keep stirring it until it is quite mixed, when it will be fit for use. Then have yonr paper ready on a smootli l)oard, brush it over, and hang it up to dry. In about four days it will l)e fit for use. This paper will be extremely transparent. The most suitable paper is bank ])ost, and when for very nice pur- poses, use fine tissue i)aper. COPYING OR TRACING SHEETS. Take some hard soap and lamp black, and mix them to- gether to the consistency of jelly. Brush over one side of any smooth paper with this composition and let it dry. Place the colored side of this paper upon a clean sheet on SIGX, CARRIAGE AND DECORATIVE PAINTING . 57 a smootli table ; over both these lay any design to b(3 copied, and trace its outlines with a metallic or ivory point just sufficiently blunted to prevent its cutting Ihe paper. The colored paper, wherever it is pressed upon by the point, will- make a mark on the white sheet it covers, and the lowermost sheet will by this means receive Ihe whole design. Black lead, vermilion, or any other coloring matter may be employed. In copying any ornament from the sheet, use the precau- tion to fasten your sheets securely, for a shift of any of them would make a false copy. POUNCING ORNAMENTS OF ANY KIND. Prick the outlines of any design to be copied with small pin holes, very near to each other. Place the design to be copied upon a clean sheet of paper, and dust it over with finely powdered charcoal from a muslin bag. The charcoal will penetrate through the pin holes, and upon lifting up the pricked paper, the design will be found upon the sheet beneath it. The pricked i)aper will serve many times, and ought to be carefully laid away for use upon some other occasion. Correct copies of any scroll or design can be thus trans- ferred to a ceiling or wall with ease, and saves all the trouble and time in repeating drawings. STENCIL1NG.=*= Draw any design necessary to ornament flowered mold- ings, trusses, friezes, etc., and with a sharp knife cut out the principal parts of the drawing, only leave as much as will connect and keep together the sheet in duo form, then take a short brush with the color required, and not too thin, pass over the sheet carefully avoiding the liability of under-blotting, when the design will be painted entire *IT()W TO TiiKPAKK Papkr FOR STKXCri.iNc;. — Coiit tlif slieets of papi'i- witli hdilfd oil first roat. Hkmi <,'ivc tliciu three iiiorc coats of oil paint, tlir-y will then stand the mixture of the water color and action of tlie brush. 58 hanky's manual op (willi llio excoplion of the small parls wiicro tlio eonnec- lions were), which can he touched up wilh a small hrush with the .same color. This method saves a ^a-eat amount of laI)or, and for sncli pieces of work answers very well ; all that has to he done is simply' to put ill the shade linos along with tlie others. ]\rany ornaments are done in this manner, and to the fresco ])ainter is a <:reat economizer of lime. Every appliance tjiat can be adopted ouj^dit to he hiought iido recjuisition to lessen lahor, and therehy add to tlic! remunerative in- terests of ])hysieal action. In conclusiun, 1 would say, ix-rseven^ and the result is sure. ORDEllS OF AUCUITEC'J'inM:. 'I'he painter of interiors lias c(»nstant nse for pillars, rolunnis and ])ilas1ers. We }^iv(!, therefore, a specinum colunm of <'ae!i principal order ot an'hitecture, with tlxi tec-hni(;al desi'^nations of eacili part. 'The ])ainter must constantly renicmher that these are only flat representa- tions of solid bodies, and he sliould study every fine row of columns that may ci)m(! under Ids observaticm, and cnlar}:;e his knowledge ])y the! study of some com])lete work on architecture; and followin,!]^ these pillars W(! t^ive a few desjo-ns for ceilint^'s in fresco. Also an ornameidal scroll and a border for several colors. P>ut I he painter in atdive ])racti(.-o will constantly fmd use for larj^er collections of designs. ]\n should also be ready witli pencil and sketch book to copy anything new wliicli he may see, and to in- vent designs for himself. 1 Ovolo 3 I / • 5 L ) Apopliyges Astrngnl ^Jj Bead, No. 1 ^ Bead, No. 2 « T Ci'ina nc(!ta Opop, or C'yinii Keversa 10 11 12 13 14 V Scotia ^ Quirk cd Ogco _y Quirked Ovolo "^ Facia 59 TXTSo.A.5sr onrjEn. T J_ ?^ Cavetto OvoU) Cavetto 5 s I Facia ^ Abacus Astragal Torus I'liuUi 60 laortia onrsEpi. Gl /, Cyuiatium^ Corona Modillioiis E^^IJgL-mSI Deuteumnujji Torus [[|[;^ L,ljlJ,l Si-OlKl ' Torns riiuthr lou'ia OFt.n'E'R. Echimis Corona d Cymatium'^ BOEDERS. Gt SIGX, CARPJAGE AND DECOKATIVE PAIXTIXG. C.> COMBINATION SCROLL. G6 nA?;ETS MANUAL OF COKNEKS. SIGN,- CARKIAGE AND DECORATITE PAINTING. G7 WALL DECORATION IN TINTS. GS haney's manual of WALL PANEL DECORATIONS. ^^» SIGN, CAKEIAGE ANT) DECORATIVE PAIXTING. 69 WALL DECORATIONS. ^^^^i^^^^^ ►:) -H K ^, M K >— ( y. ^ a - » ^ H '^ O >H o o w K >^ H r* tt ?3 r ^ I-; f b^ a -' O >^ I V. ?•. I i I I P i 70 HAIfEY'S M^LNUAJj OF '^ O SIGX, CARRIAGE AND DECORATIVE PAINTING 71 72 HAKEY'S ilAXUAL OF SIGN, CARRIAGE AND DECORATIVE PAINTING. 73 74 IIANEY S MANUAL OF A COMPLETE SYSTEM COACH PAINTINQ Tins is a Ijnuicli of the art, of groat importance, yet one but very imperfectly kuown to the masses. One reason for this statement is that coacli painters geueraily keep a very close surveillance over visitors, few, if any, are allowed to enter iheir W(»rksh(»ps, and no class of painters are so un- v/illing; to communicate any of the principalb- or theories of their business. House painting, sign painting, etc., are branches of the art that cannot be well concealed from the ])ublic gaze, for the operations are so common, and of every day occurrence, that any perscm of moderate ability can soon oI)tain sutli- cient information to enable them to do a jiassahle piece of work, esjiecially in house ])ainting. draining recpures not only good judgment, a true sense of the various woods and marbles he wishes to imitate ; l)ut also the organ of imita- tion well developed. Sign i)ainting ])eiiig in ])art meclianical, has been acquired with more ease than many other branches of the art, yet there are some points got ridy by long ])rac- tice and through the help of others in the same line. l?ut, ;is stated above, coach jiainting ditlers so nnich fn»m any of the above in the nietliod, mixtures, etc., that even a good ('lear knowledge of any of the others is of no use when a])plied to coach ])ainting. Ln starling with giving the ])upil a correct idea of coach painting, it will be necessary first to mention the kind of materials, tools, etc., re(iuired. In iio braiu-h of painting sluudd more care and knowl- edge l)eeni[)loyed lli:ui in selecting the most suitable stock l)efor(' commencing a ])iec(^ of v/ork ; for without p;iying strict attention to this fact, good Vv^ork cannot be done. A first-rate coach painter cannot execute a piece of work to SIGN, CARRIAGE AND DECORATIVE PAINTING. 75 advantage with poor materials ; the paints nuist be of tlie best quality, varnish, japan, oil and turpentine dryers, etc. ; let those be good and the chances are all in your favor. MATERIALS REQUIRED. White lead, B. B. brand, ground in oil. Same quality, dry. Japan dryer, No. 1. Black Japan. Body copal varnish (flowing). Body (hard), for bringing up the work, for rubbing down and using in the previous coats, then finish with the body flowing. Carriage varnish, Nos. 1 and 2. Drop, or Frankfort black. Chrome yellows, of all shades to orange. Indian red. Vermilion. Venetian red. Orange mineral. Red lead. Scarlet lake. Crimson lake. ) n , • i i • i Purple lake. } ^«"^'' ^^'^^"^^'"^ ^"^^^ ^''''^- Yellow lake. Carmine Purple Brown. Burned Umber. Raw Umber. Burned and Raw Sienna. Chrome greens, assorted shades. Olive, or quaker's green. Ultramarine blue. Prussian blue. Cobalt blue. French yellow (ocher). Whiting, best quality. Ground pumice. Pumice in lump. Rotten stone, very fine. 76 haney's manual of Tripoli powder. Granulated zinc (putty powder). Fine wheat flower. Olive oil for polishing. Brushes of suitable sizes, short f(»r painting. Oval hound varnish brushes. Sash tools, assorted sizes. Pencils, large and small (sable). Long liners for striping (camel hair or sable). F(tr fine lines, long black sable. tSand paper, assorted numbers. Emery paper, for rubbing old work, viz. : iron, springs, bolts, shackles, etc. Dusters. A few tressels to stand bodies upon of a suitable hight. A wheel stand, which is an upright mortised into a . square block of wood, about two inches above the half diameter of the largest wheel ; have a pin of iron put through the upriglit, a little less than the size of the axle, and long enough to hold the wheel while painting or when striping. And another, made witli a block or stool, with an upright bolt or i)in from the center, so as to place a wheel upon a horizontal j)Osition. A bench for the flag and muller. A small paint mill attached to the bench for grinding colors. A square putty knife. A diamond pointed putty knife. A ])allet knife. A flat flle. ) f , . 11 , . 1 If 1 /■! } bir cleaning did work. A half round file, j ^ Flat broad chisel. Flat scraper, or old plane iron, used when firing off old paint. Varnish pots (tin), with a win; a(;ross the nioulli to wipe the brush over. J\iint cans, assoi'ted sizes. Oil cans, etc., marked for boiled and raw. Turpentine can. Japan can. Cloth, double milled, for rubbing the varnish coats. Sponge and chamois skin, etc. STGX, CARRIAGE AND DECORATIVE PAINTING. 77 Having mentioned almost all the necessaries required to fiirnislx a coach painter, I will now proceed with the (^cn- (?ral instruction for preparing a carriage for painting. i'irst, take and dust all the machine carefully before tak- ing it into the paint room. Have two boards like small table tops connected by a bolt in the center, so as to re. volve when wanted. Place these upon the tressels, then take the body off the under carriage and set it upon the smalV tressels before mentioned, then take off the wheels and let the carriage rest upon the asle on a tressel of a proper flight, same as the wheels ; take the wheel stand and place upon it one of the wheels, then the work will be all easy of access and ready to commence i)ainting. In coach painting very little oil paint is required, and here is the difference that occurs between house and coach painting. Only two or three coats of oil paint is sufficient in bringing up the work. This we call priming. Just give as many coats as will carry out a slight gloss, no more. The best oil for this purpose is good drying oil, say two- thirds oil and one-third tur])entine, and have a little of the fine litharge ground into it, about two ounces to twenty pounds of paint. The litharge causes the paint to become bard, and rub down better than if only drying oil alone was used. We mention litharge because it is the best dryer for this purpose. Patent dryer is, no doubt, convenient, l)eing al- ready ground, but it never dries paint so hard as litharge, nor rul)s down with the sand paper so well, being more apt to hang to or clog the paper-, and roll or draw upon the work. r After all is first coated and dry, take your sand paper and rub down very smooth, making sure to cut down all inequalities, ridges, or deficiencies in finish by the coach builder, otherwise by neglecting to do so on the first coat, you would have the mortification to find that those places would cut through in your second coat, thus losing your time to a considerable amount. You now dust your work carefully, and mix up some putty (b(!tter make your own) v."ith whiting and oil (raw oil) and about one-fourth part white lead, and work into it while kneading it, a little pulverized litharge to make it 78 K.-U^ET'S MANUAL OF dry g()()(] and bard. This is very important, as tlic putiy sliould be dry, otherwise it would rub up in the pro- cess of the "work, and spoil the entire job. Observe that the putty must be stitf, and well worked up, before using it. You now take your putty -knife and till up every crack, crevice, knot hole, etc., etc ; level every inequality smooth and tine ; study rather to have your tilling-up rather high- er than otherwise, for you will put that all right when rub- bing down the next coat, but if below the level, you have to commence puttying again. That is bad work, so be sure to putty carefully. All this done, then dust oft" the work again, previous to second coating. Should your col- or be too stout or thick, thin with turpentine, but be sure not to use thin color, for it not only covers badly, but rubs down very tacky. For all dark colors, use a dark lead color for your oil coats — '"merely black and white," but, for pre])aring for any such color as light green, let the color be light lead color. If for a yellow, begin with white, or slightly tiuled with a little chronie yellow. In laying your second coat, be sure to lay it regular, not fat in some places and spare in others, but as far as pos- sible an equal fair coat, and we would wish to guard you against one of the very worst faults a painter can commit, viz. : to leave full or fat edges u})on any ])art. of the work, such as the springs, shackles, bolt-heads, or luits, or any part of the carriage, for if left by neglect, tliey will tell upon you at some stage of the work, and at a time, pos- sibly, when you cannot well rej^air the evil done; therefore be <'areful. AVhen this second coat is dry, examine minutely, that you have missed none of the places requiring putty. The second coat being thoroughly dry, proceed to rub down with your sand-paper, using a finer quality this time, so as iu)t to cut so deep, ho])ing that all projections have been cut down ujion the previous coats. Now dust off your work, and commence to give the third coat, putting on a very tight coat (tiiat is, rubbing it out well, uot too n)uch paint). After the work is all dry and bard, you next proceed to SIGX, CAERIAGE AXD DECORATIVE rAIXTING. 79 giving the filling np cnals. Filling is ,a mixturo proij.ircd as follows : Take dry French yellow, litharge, a little whito lead, whiting — say about one-sixteenth litharge — a small quantity of white lead, a small amount of whiting ; a little red lead will also improve it; take your dryiug Japan and pour in as much as will nearly mix it; put in a very little drying oil, very careful not to have too much, otherwise the filling will be soft and tough ; turpentine to thiu to a suitable thickness, to make it spread like a stiff coat of paint. This filling must be laid full, a coat to flow on freely. A little practice is necessary to find out the exact quantities of thinners to be used in piixing good " filling up stuff." After all is right, commence to coat your body, laying it fullest where you see any hollow or want that you cannot putty very well, as this is really its use. Then, if a good job, coat your shafts, springs, wheels, etc., etc., etc., and when all is done over, let it stand until all is perfectly hard (try with your thumbnail) ; if it feels hard and don't peel np, it will stand another coat. In the most of cases, two coats of filling will be suffi- cient. The last coat must be allowed to dry hard, as it has to be all rubbed down with lump pumice stone. Rub the pumice flat upon a stone before you commence rubbing down carriage work. When the student begins to rub he is to be very cau- tious to avoid cutting through, and here he will find a " proof" whether or not he has paid attention to rubbing down carefully with his sand-paper, for if lie has not, of course his pumice will cut in all places neglected, as stated above. In rubbing down with lump pumice, you must use plenty water ; keep your sponge in your left hand, and supply water whenever required ; it will cut quicker, and not be liable to roll up, as it would undoubtedly do if not kept perfectly wet. Draw your finger or side of the hand over the parts you are rubbing and you will see when you have it done enough, that is, all perfectly firm and smooth. Then yon have done all that is required. Take your sponge and wash off all the work ; wring out your wash leather (cham- ois) and dry off the Job ; then if all is perfect, all filled. 80 nANF.Y'S ART OF tlio wnrlc will feel like a piece of ivory, (juiic smooth and level. A panel or piece of coach work cannot, he got level or fit lor finishiuji' without heiug filled up hy this method, for the p-rain of the Vv'ood will ahvays l)e more or less seen un- less done so. We now come to the next stage of operations, viz. : color. Whatever color the carriage is to be painted, the color must be fresh ground, as it is a mixture that drys very (piick. If you want a dark green of the oliv(^ shades, you take deep chrome yellow and drop black ; have your black powdered ; mix the two together in a pot with the drying Japan, and a little turpentine — not too much s])iritsal; first, as it would not grind vrell if thin ; put your mixture into the bench mill and grind it into a clean pot (always wash- ing out the mill, to keep it clean), then see if the shade is of tliG kind dt'sired ; if too dark, you want more yellow, or vice versa; if the color is wanted warm olive or quak- er's green, ])ut in a little India or Venetian red. Now lake a clean brush, and make up the color to the proper thickness and commence work at once ; as the color drys or sets very quick, be expeditious in laying it on. The same care is not now so necessary as regards fat edges, as the color will all dry hard. Still, av-oid all careless or slovenly work ; always work clean, *if you want the work to look well. A small drop of drying oil can be used in very warm w'eather, if it should set too fast to allow time to lay the color, yet an expert never uses any oil, and it is J better not to use any, unless you wish to let the work stand for a longer period of time than usual. By working tfie color free of oil, two co;its per day can be given easily. Two coats of this color will be sulTicient. I have often done a good ]>iece of work with one fiowing coat. All plaiii colors are done in the same manner 5 all opaque colors that cover well lequire no more. Greens, browns, olives;- yellows, etc., etc., but for an ul- tramarine blue, the work has to be got up very diflerently. You must ground uj) after your filling has been rubbed down, w^ashed, dried, etc. with a coat in " oil," that is not SIGX, CARKIAGE AXD DECORATIVE TAINTING. 81 in "japan," using just so mucli oil with tlie color to keep it from setting too quick ; for such colors use sugar of lead for the dryer, in preference to japan dryers, as the color will be purer. Grind some good Prussian blue in oil, then add to a mixture of white lead as much blue as will make a ground dark enough for to bear the ultramarine blue, that is about as dark as you wish the carriage to be when finished. Tou now proceed to give a nice careful coat over ' all the work that is to be finished blue. When dry, if solid enough, it will require no more Prussian blue, but generally two coats are required. When satisfied that your ground is good, take some of the best ultramarine blue, grind it on the stone with a little varnish, pour out some of your body flowing varnish into a clean pot, put in your ultramarine already ground, and with a clean brush mix well the blue with your varnish ; try if there is blue enough in it, and, if all right, commence to give a very regular flowing coat all over, and the colored varnish coat will flow on very evenly and give a tone and transparency, a depth of color which cannot bo got by using full ultramarine alone. We always recom- mend two coats for a coach wanted in this peculiar color, second coat the same as the first, only before giving the second coat rub down all the work with ground pumice and water, with a cloth. You thus remove the gloss, and the next coat will lay and flow better. Let the work stand for a few days, then rnb down again with ground pumice and water, wash, and dry with your skin, after which the work is all ready for picking out and striping, of which I will lay down general rules hereafter. CLARET OR LAKE COLORS. Your first coat is composed of vermilion and rose pink, in oil, as for blue. Filling all rubbed down, washed, dried, etc., dust clean, then proceed to give a coat ; this you will find to cover very well. When dry, give another light coat ; as soon as hard, rub with ground pumice and water, same process as for blue. Dust clean and nice. If you wish a very rich light claret, you must calculate not to have too much rose pink in your ground color, for 83 EANEY'S IIANITAL OF il" you do, you will not got the color you anticipate. But for dark clarets, use considerable rose pink. The student must pay attention to these important hints. For the light shade, have some scarlet lake ; grind in a similar way as directed fur ultramai#ne ; take the body- flowing varnish and put in the lake; mix well, and pro- ceed to coat very carefully. This color sometimes takes three coats, but with due care, and a good brush hand, it can be attained with two coats. DARKER SHADES. Use more rose jiink in the ground. Then, instead of scarlet lake, use the best crimson lake, and in the same maimer as for the lighl^ claret; tvro coats will be enough if carefully laid. In all those colors got, the princii)al idea is to have a solid, true body, not sliady but fair. STILL A DARKER SILVDE. Vermilion, rose pink, a little ultramarine blue, for the ground. This is for a i)urple shade of claret. Ground good and solid. Then grind some purple lake, same as above ; put into your '• body-llowing varnisii;'' two coats will be enough, if managed U'ell. Should any imperfections appear, give another coat and all will be sure. TO PAINT A CARRIAGE 1>URE G.\RMINE. This is sometimes required for fancy machines, or fire- engines, hose carriages, et(^ Many ]Kiinters fail in paint- ing with this very valuable color, and also through ignor- ance of how to use it. They very generally attempt to get the color by the use of the carmine alone. This color, if pure, is worth 63 per ounce. Ground your work with the best I'^iUglisli vermilion ; sec that the color is comi)lete and solid. 'I'iien take pure carmine, grind in a little drying oil, put it into the body-flowing varnish, and coat very carefully. It will take two coats to produfp a solid, jmre color. SIGX, CAKRIAGE A^"D DECORATIYE TAIXTIXG. 83 By tliis metliod, one ounce bottle will do a whole ma- chine, thereby saving a largo amount of cash for carmine, and time, which is capital, and at the same time produce a very superior color to anything that can be realized from pure carmine. All the above coloi-s arc produced by what is called in the trade, glaizing. A green can be done in the same way ; laying a light green for a ground, then use the green lake to glaize, as in the clarets, carmines, ultramarines, etc. '^ JAPAN BROWN." Grind drop black in japan; add to it a little vermilion, just enough to see it. This makes a very rich color, and looks very well with vermilion lines, or an orange line ; either looks well. OXFORD BROWNS. Take a little chrome yellow, white lead, India red, l>cst ocher, burned umber, just white enough to bo seen ; yellow is the principal color ; red to warm it, umber to give it the brown tone. Many varieties of Oxford brown con be made by the adding more or less of the leading colors of the compos- itions. CHROME GREENS OF ALL SHADES, Or greens composed of chrome yellow and Prussian blue. Let all the greens be ground in japan. Being opaque, they all work in that way remarkably well, and by far superior to any attempt in oil. FAWN COLROS. Yellow, rod, a little black, or a little burned umber may be added, even burned terra de sienna is sometimes put in the mixture. Coach colors vnry from the shades in gen- eral use by house and sign painters. They are strictly a class of colors peculiar to that branch of the art, and are S4 HANET'S :\rAXITAL OF tied to no eoiiiinon estaljlislioil rule. I have seen u oarriago painted with the cleaning of several pots, forming a color that wonUl ])uzzle almost the best colorist to imitate, yet it looked tirst rate, although a nondescript! We advise the adoption of the principle, as it not only produces var- ieties of color but will be a point of economy of great im- portance, as much valuable color is often thrown away through this want of judgment, mto the common receptacle for all left colors called the " smudge barrel." DUABH. Any variety can be made to suit the most fastidions. Composition draljs, red l)lack, and yellow, nniber ; also some mineral colors, from which many fine tints can be made, liaw umber and white alone constitute a good cool dral), and can 1)0 toned either with a little '• chrome," or •■ red," so as to be eitlier rich, or warm. Any fancy shade of color wanted can be mixed with perfect ease, for very soon the student will acquire sufficient knowledge of color to mix any shade he desires. A COOP, DURABLE. CEHAP COLOR. Vermilion and Prussian blue. This is an easy way of getting at a ch.eap, rich piu-jde, with a small (juanlily of white lead. ANOTHER. ; Vermiliou and dir.j) black nudces a cheap ])lum brown, or claret; covers well, and looks and stands well, although far deficient to the claret got up by glaizing witli crhnson lake, already mentioned ; hut for low priced work looks very well indeed, and will r.ot cost one-half the price; as much time is saved, and the materials moderate. Having given a general outline of colors, we propose to next ])oint out to the student the n;;inner of "breaking out," or '• picking out," as the trade term lias it. That is, laying in the lines or stripes, "blue ground." If a large carriag'e, with heavy wheels, draw lines (with SIGN, CAEFJAOE AND DECORATTYE PAINTING. 85 japan mixed color) witli ground Frankfort l)lack, from three-quarter inch to one inch broad, on every part of the carriage, spokes and springs, filloes, hub, etc., etc., etc., shafts, etc. Then, with a light primrose, or light orange color, draw fine lines about three-eighths or a quarter of an inch from the broad black line, showing that separating distance clear and distinct of the blue between. And great care is required in drawing the fine lines, so as to have them true and cqui-distant. Wherever the broad black line is drawn, carry your two fine lines all through the work, bolt heads and nuts black with one fine line round the edge. For an extra finish a fine line can be drawn down the center of the black, a deep orange, or pure white, or gold. This style looks very beautiful. In drawing fine lines, as a general rule, the color is ground in drying oil, as it combines more closely, and gives out from the pencil much better, and makes the lines more regular, although for work in a hurry, where the lines are not required to be so fine, japan color will do. GREENS. Generally ])ick out with black, and if a light green, black lines will be enough. If a little more expense is to be gone to, run u]> th(^ center of the black lines with a white, and not too line. This makes a good neat finish. If a dark green, pick out with black, and run very fine line on each edge of the black, three-eighths of an inch olf the black. With a very bright green, that looks very nice indeed, or any other color to suit the taste of the artist. CLARETS. Almost all colors of this class are picked out with blac-k. Fine side lines are either vermilion or a rich orange; or side lines of orange, not too dark, and a vermilion line run up the center of the black ; or one large black line, with a gold line up the center, about one-sixteenth of an inch StrODii:. EAXETS MANUAL OF FAWX COLO lis. rick out with black, fine line with white on each edge, or brown drab shade — any color that will show well and bo in harmony. OXFORD BROWX. rick out witli l)lack, fine lino vermilion or medium tint of chrome yellow with a perceptible touch of red in It. Sometimes part the black line with white down the center. JAPAX OR PLUM BROWX. Vermilion line looks best of any color, and for cheap work rc(iuires nothing more. BLACK BOLTS AXD XUTS. Some dark colors (very dark) look well to pick out with drab, or fawn color, edge lines vermilion, center line black. This looks very clean and showy. OLIVE, OR QUAKER'S GREEXS. Pick out generally with black, fine line with white, orange, or light green. DRABS OF ALL SHADES. Pick out V\-ith black, fine line with vermilion, or orange liigh colored. Extra finish, center line white. PURPLE. Pick out with black, fine line with a bright line of orange or lilac, or with vermilion. These remarks api)ly to most of the colors in use by coach ])ainters, although there can still be a greater var- iety of work done than we can enumerate, which can be put in practice at any lime. The next operation is to varnish. Xow, it appears a SIGN, CARRIAGE AND DECORATIYE PAINTING. 87 simple process, but it requires not only great practice but considerable ''knack." One tiling must be understood and put in practice, viz. : never use a dirty brush or pot ; keep your brush in a narrow tin case or canister in raw oil ; cut a hole in the to]) large enough to admit the handle of the brush, and bore a small hole through the handle to admit a piece of wire to hold it up from the bottom, for if the point of the brush touch or rest on the bottom, the bristles will be turned, consequently will not lay the varnish close and smooth. Wash the brush out clean witli turpentine before using. Then pour into your pot (if for the under carriage) some carriage varnish, and work in your brush thoroughly ; then start either upon your wheels or carriage first, it is of no importance which ; lay a full coat, never pinch it, for a half coat of varnish is always poor and hasky, and never yields a good gloss. When all your carriage work is done pour back the varnish into your can, then take some body varnish and give your first coat to it also ; then let all stand until it is quite hard and dry. Then take your ground pumice and water and cloth rub- ber (woolen cloth) and wet it well ; then have some pum- ice on a board or plate convenient, dip the clo^h in the pum- ice and commence to rub every part of the varnish, taking great care not to run through any of the ground, or lines, but merely to remove the gloss. This we call flatting the work. Then wash of all the pumice thoroughly, and dry with the wash leather, which must always be used wet ; just wring it out of the water as dry as you can, and it will dry best ; never use it dry. You now examine the work carefully, and see if you have cut through anywhere; if you have, you must touch it up with japan color, so as to dry soon, then you can begin your second or last coat. A very good job can be done with two coats. Give a very full coat, almost to running, and lay it otf very clean. When you do the wheels, a full coat, take and spin them upon the standard for some time, indeed until nearly set. This plan is not generally practised, but it gives a very superior gloss, and secures the danger of the varnish run- ning, a very important point, and one not easily got quit of, and about the worst eyesore that can occur. 88 HA^^EY'S ifAXUAL OF If tills second coat uo not ploaso yon, flatten the coat aijaiu witli your pnnnce, clotli, and water ; wash and dry as before, and then give a reasonable coat carefully. In good jobs, where it is reqnired to be polished, you must commence with tine ground pumice ; do not depend upon the fineness of the pumice as sold, but, for this pur- pose, take and mix with water, then grind it upon the flag very fine, then there will be no danger of scratching. Hub just enough to bring all to a perfect smooth state, rdl brush marks removed, then wash very clean and dry \\'o]\ : then dust carefully. But always before washing, drying, etc., sweep out your floor, and sprinkle with water to lay the dust. The same precaution is necessary always before varnishing, for dust getting into the varnish will cause ilie work to look ''seedy," or lousey, as Iho paiiiters call it. Your next operation in polishing is lo take rotten stone, finely sifted through muslin, and mix in olive oil; take a piece of fine ch)th for a rubber, and rub every piece very carefully, which will again restore the gloss by reducing it to fineness again; rub off the rotten stone occasionally Willi the side of your hand or finger, and you will see if all is jiolished enough. Then, if all right, take and wipe off with a piece of soft old cotton cloth, free of dust, then take some fine wheat fiour, and a piece of fine flax full of the flour, rr.b all the work over so as to take np all the oil and rotten stone that is upon the work, then with an old silk handkerchief wipe all the work np pretty smartly, and if all has been don(^ right and with care, the work will have a very fine, bril- liant gloss. Some finish with putty powder, and olh.ers use Tripoli instead of pumice. But the above i)rocess answers every ])urpose tliat is recpiired. But when the work is intended to have a ])olish and hurnish finish, always give au extra coat of varnish, as it is not good policy to attempt polish- ing on two coats of varnish, for such work is generally left from the brush if clearly varnished. SIGN, CARrvIAGE AND DECORATIYE PAINTING. S9 REMARKS. In paintini? ilie Ixxly of any coach or machine, tlio same order in regard to lines, colors, etc., must be strictly at- tended to, so as to have all in keeping. The black part of the body is done with drop black in japan and spirits, and the lines must be introduced, if there is any number on the body, suitable. The black of the body will require two or three coats to make a sure cover, and never attempt to varnish on a poor ground. I cannot account for the method that is practised in this country by coach-painters in bringing up the black wor of a coach. In England we give a coat of dark lead color as a first coat, then give a good full coat of drop black in japans, as directed for grounding. Then we take the best black japan and give two or three coats of that, rubbing down with ground pumice and water, every coat same as far a coat of varnish ; after this we give the body one coat of the fine flowing body varnish. This method will give a jet black, while the other will, when varnished, be simply a gray black. But I believe the reason why the painters adopt this plan is because the black japan manufactured in this country, is, for some reason or other, very liable to crack. Such is not the case if the London coach japan, manufactured by Noble & Hoar, is used. The finest jobs done in Europe or England are done with this fine black japan, and it is, no doubt, the best method ever adopted. All our coach painters use English coach varnish, dry- jing japan, and also l)lack japan ; those, I mean, who do ^■. the best kind of work, as they cannot depend upon the home manufactures. There is some particular secretin varnish making, known to but few. Penny's body varnish, Noble & Hoar, of Lon- don, for carriage varnish and black japan ; Kersley & Sons, Eipon, England, and Williamson & Son, Ripon ; these are tiie most celebrated makers, and supply most of the United States, France, and other European countries. Lawrence Bradley & Pardee, New Haven ; Wood — in 90 HANET'S MANUAL OF fact all our coach builders of any iiotc — use lliosc varnishes, aud Ihey cannot rely on any other. FACING PUTTY FOR SMALL FLAWS. Mix whitiug, a little white lead, litharge a small quan- tity, with japan dryers, and add a little drying oil — very little ; work this very well, not too hard, and use it quickly as it sets very soon. This putty will rub down very soon, and not tear up with the pumice stone or sand paper. FIRING OFF. Firing off is a term used b.y painters. Some use a gas burner attached to a rubber hose pipe, so as to di- rect it to any portion of the work required to be cleaned off. The heat causes the paint to soften, so that it can be easily removed by the blunt chisel, or plain iron ; then can be reduced to evenness by rubbing down with lump pumice and water. Another method is to take a brush with turpentine, lay on a coat upon one ])art. then, with a match or candle, set fire to it. When the old paint becomes soft enough, blow out the flame, aud remove with the chisel, etc. Another way is to hold smoothing irons to the part, and, if very hot, the paint will soon soften so as to be easily removed. In conclusion, I would state that liy attending to the in- structions here given, and by a little practice, any man of moderate ability, a steady hand, etc., will very soon have the satisfaction of turning out a good piece of coach- painting. Striping, if well done, tends much to the beauty of the work, so the student will have to practice this department with care. Hold the pencil between the finger and thumb and guage with the fingers, keep- ing the thuml) uppermost, and drawing the hand back- ward; by this means he will draw the lines straight and quick — one pencil full will run a whole spoke, from the hub to the feloe, all but a small piece, which he must join, by drawing from the feloe to the line. iiow to Make a Bad Memory Good and a Good MEMOKY BETTER. Tliis little volume will sliow how to systematize and tram the Memory in such a manner that figures, d *<;3, facts, names, and in short almost eve.rytking that it la desired to recollect ma, ue remembered with ease. The method is not very dittl- cult to learn, and hy i(j aid the most wondorlul power of memory is acquired. This power is astonishing to those who do not know its secret. Tlio following items, among its contents, will give an idea of the scope of this work : How to re< member any number of words after one reading ; how to remember a series oC words from different pages of a book, so as to be able to tell the page ; how to re- member figures generally ; how to repeat a hundred figures, selected at random, alter hearing them once ; how to remember dates : how to remember poetry, prose, reporting, extempore speaking, chapters and verses from the Bible ; re- membering a variety of errands, messages, etc., latitudes and longitudes, etc Memory applied to chemistry, grammar, geography, botany, with other studies. Training the memory ; " stage memory ;" impaired memory ; and many things of interest on the subject. The foregoing gives but a slight outline of the contents of the work, which will bo found a valuable one for all who desire to improve their memories. Teachers will find it of great assistance in their profession, and stu- dents, especially when preparing for examination, will find it a valuable aid. The information in regard to " speaking without notes" will often save clergymen, lec- turers, and speakers, much tedious preparation and materially assist them in their delivery. The work is written in simple style so as to be easily understood and every tiling is made perfectly plain. Even children can be taught the method. Alter instructing his readers " how to remember," the author tolls them " how to forget," and though this last accomplishment is given more as a curiosity in mem- ory it may sometimes be of use. Price Fifteen Cents. Comicalities : By Orpheus C. Kerr. This is really one of the funniest, jollicst books that hag ever appeared. II contains, in addition to Orpheus C. Kerr's capital letters on REOuNSTKUCnoi*, numerous other comical matters by the greatest of American humorists. It is Illustrated with some 150 side-splitting engravings. Price 26 cents. Handbook of Dominoes. Those who who have hitherto looked upon Dominoes as a very tamo source of amunment will be surprised, on reading this little book, to find how many dilTor- ent games may bo played and how much real enjoyment be derived from Dom/- noos, ffhich, when properly understood, admit of nearly as much variety aa do cards The Handbook i9 the only work which gives descriptions and full di- recti'« .s for playing all games of Dominoea, including all those recently invented, and ,bo very popular European ones. Pnco FUteea Cents. Rogues and Rogueries. A new, revised, and enlarged edition of this work has Just been issued, Inclnding. in addition to its former exposures of fraud and rascalitiy, full descriptions of all tlie new humbugs and swindles Road this book before you send your money to a;i?/ unknown person. Read it before you embark in any sclieme, however plausi- ble it may appear. There will be no harm done, and you maif, thereby, learn something oi which you were not aware, and be saved the mortification and loss you might otherwise Incur. All the tricks and traps of great cities, all swindles tbrougb the mails, jewelry and gift schemes, petroleum and mining swindles, quacK •jioctors, runners, procm-essos, panel game, agricultural swindles, lotteries and " policy" schemes, fortune-tellers, gamblers' tricks, patent safe dodge, matrimo- nial advertisements, pocket-book dropping, thimble rigging, concert saloons, love powders and dangerous cosmetics, situation agencies, sewing machine swindles, li'avelling swindlers, confidence operators, professional beggers, counterfeiters, and hwndreils others too numerous to mention. The book is both interesting and y-al- nable in a rare degree. Illustrated. Price Twenty-five Cents. " Its perusal will bo attended not only with pleasure but with profit." — Jersey City American Standard. " A valuable and entertaining work on the tricks, traps, dangorsand temptations of the great metropolis. * * * To the uninitiated in mysteries of lilo in a largo city, ' Rogu.iS and Rogueries' vrJl prove of unfailing interest." — Watckmaii, Mon- ticMo, N. Y. " New York and other cities are full of traps for the ' green 'uns,' and it is much better to know all about them than to incur the liability of buying the knowledpa by experience at a high figure. Wo therefore commend this book to the uninitu^' ted." — Yankee Biide. IIanet's Journat. oecnpies a field entirely its own, competes with no other publication, and while we advise you to pive up no accustomed jiaper to take this, wo think all can alford the email outlay of 50 cents a year, and we in- tend to make it PAY every reader— to " put money in his pocket," as well aa interest and amuse him. No important change will be made in form or char- acter, but we shall aim to make every number just as good as possible ; wa do not know that we can maie a better paper than we have already, if wo CAf we Wn.L. Haney's Jotjrnal is ?!"/ a "cheap" paper, Thoiigh furnished at a low price, it is a costly paper to make, no pains or expense being spared to make it as good as possible, and merit the high favor it already enjoys. Our large circulation enables us to give each reader, at a small price, what costs us very much. Competent persons are employed upon each department, and in every respect the Journal, will be first-class, and even if " only fifty cents a year," His no "ax-grinder" advertising sheet, or trashy " scissors-and-paste" affair. It is not sectional or local, but designed for general circulation, and we en- deavor to exclude matters of only restricted interest. We don't want anybody to take Haney's Joitrnai, out of charity, but if you think it will paii you, wo should be most happy to have you iry it by sub- Bcribing for 1871, iiemember. What .JAMES FARTON tliiuKs of Haney's Joanial s "I was one of your "pioneer" subscribers, and when years ago, I sent the money for my subscription, I predicted the success of H.\:ney's Jouhnal. I knew the pubUc would appreciate a paper of such real escellence, and I am pleased to know I have proved a true prophet. I consider the Journal of to- day even better than in those early days, g(jod as I beheved it then." [Jamts ParU>n. We might add many commendations from many sources — from those who have MADE money from its information, from tho.se who have SAVED money through its exposures of humbugs, and from many who have derived pleasui'e and instruction from its pages. JKS^If there is a newsdealer in your ^-icinity we prefer you ehoiild get tha JooRNAL of him. He will get it for you if rcquesUxl to, even if he does not keep a supply on hand. The price is 5 cents a copy. If any trouble is ex- perienced in getting the Joui!N%\x of dealers, the subscription price — 50 cents — may be sent us and the paper will be sent one year. In nil cases where spfri- mens are desired, the price must be sent. Wo send no gratuitous copies. No " premium hsts" and but very shght iudncements to club-raisers. Subscrip- tions may commence with any number — back numbers fi'om January can be supplied, as we have cwnpkte electrotype plates. Ji:SSE llANSY & CO., Put>lisliei-s, 119 NASSAU STREET, NEW YOKE. JSgyDealers supplied at reguLar trade prices, by the news companies and all wholesale houses. The Jodbsal seUs steadily and quite largely in many io- caliUes. 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HANEY & CO., 119 Nassau St., N. Y. Secrets Worth Knowing. A noat volumo of 100, 12mo. pages, giviu? rccipos for making numerotia usofol articles, including patent medicines, perfumery, hair oils, hair dyes and restora- tives, iwmatums, all cosmetics and toilet articles, common and I'aucy soaps, deli- cious beverages, temperance and sick room drinks, wines, cordials, candies, house-keeping articles ; also recipes for numerous artictes in universal demand, easily made at trifling cost, and generally sold at immense proats. It will be found very useful to have at hand lor reference, and every one would do well to procure a copy. You cannot fail to And some thing useful to you, and a single recipe may be worth to you twenty times the cost of the entire book. Us value may bo judged from the fact that single recipes contained therein are sold at from 25 cents to $5, and in soma instances even more. Thousands of per-ona are making money by the mauufncture ol articles, recipes for which will bo found in this book ; witness the succesj of Spalding's Glue, the various roofing cements, indolib'.e inks, cordials, and the ijinumorable articles which every body needs and will buy, and which can bo manufactured and sold at a good profit. Wo have no "wish to exaggerate — we do not offer any one a •' fortune for 25 cents" — but we do oflcr to tell our readers how things can be made at a small expense, which are sell- ing every day in all parts of the country for five or ten times their original cost. A man of our acquaintance in this city is making several thousand dollars a year by making one single article, the recipe for preparing which is only one among hundredsiof others equally valuable given in this book. Price Twenty-five Cents. " Tho remarkable cheapness of the work places it within the reach of all." — Columbia, Penn., Spy. 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One decided attraction is ►: g .2 the number of delicious but inexpensive preparations which Sj^o are included in the work. It is free from those errors so .■5 M^ common and so aggravating in many even high priced b 3 books, and the proportions of ingredients are carefully giv- J2 01 1^ en, as well as their manipulation and proper serving up. § « S The book contains a very large amount of matter for the •0^2 price, and even if j'ou already possess a good cook book, P g-3 you cannot fail to find many things iu this one amply worth the iirice. 30 cts. >o-: HANDBOOK OF VENTRILOQUISM, and how to make the Magic Whistle. l/> cts. " Really a valuable aid." — Boston Wide World. — "Will enable any one to produce the most wonderful vocal illu' sions." — N. Y. Alias. JE.S.SK HANEY & CO., IID Nassau-st, N. Y. Self Cfre of Debility, Consumption, Dyspepsia, Nervous Disorders etc.— It is a fact that niost of the disorders, to treat which quacks pretend re- quires rare skill, special traininp and lonif experience, aro really the very ones in which self-treatmeut is best adapted. We cannot here enter upon the deceptions and frauds prac- tised by advertising " specialists," but, it is a fact that not only are millions of dollars wasted, but often lives mined by their treatment. Quackery has been pretty fully ex- posed in previous numbers of Haney's Journal, but we truly believe this Txiok will do many times the good we have been able to efl'ect, for being able to cure himself by following its instructions, the reader has no occasion to con- sult any advertiser, and so runs no risk. The book des- cribes the various causes of feebleness and lack of vitality, and the ailments to which they give rise. Then it show.i how tendencies to even hereditary diseases may be kept at bay; how the constitution may be invigorated by judicious exercise, etc. ; how to cure many ailments by simple changes of diet, habits, etc. ; and how, in short, to secure the great- t^st degree of physical vigor possible in any case, as well a« pointing out the dangers of empirical treatment. There is a \7\do range of subjects included, all important and all clearly and accurately treated. It is a pood book, and one whose guidance may be safely depended upon. It adver- tises no dplicalion to Iho reader's own family physician. Itis'alniost needless for us to say that there is nothing in this hook to pander to any prurient curi- osity or vicious tiiste. Thereare no illustrations. It is .1 work which has been much needed, and it fully answers all re- quirements, being prepared with remarkable ability and evi- doutly with the most conscientious aim on the part of the au- thor to guard and save the inexperienced, tor whose spec^ial beiiefit are several chapters of vital moment. It fcs worthy the examination of the medical profes.'^ion, parents, and teachers; and there are some points which might suggest to our legislators the desirability of even more strint;ent measures to protect our youth from the snares set by de- signing persons, and certain dangerous promoters of vice more or less openly advertised in even iamily papers. This wo copy from IlANEY'S JOi:RNAL for the benefit of those needing an effective and reliable treatise on the subjects mentioned. It may be procured of any bookseller or by sending 75cts., the regular publishers price, to JESSE Haney they desire to do so. A complete guide for amateur or professional trainers, tspiiiniag tne moet approved methods of tbe most oelebxateil and eucoessful traioeM, ttioronglily initiating tUe reader Into ail tbe secrets of tbe profession, exposing vanoua bogus "charms," &c., sold to the credulous at high prices, aad telllne, la fact, everything connected with the art of breaking, timing, and training all kinds of aaimals. It includes a new and improved method of horse and colt brei^iug, selection of horses, miuagement of farm auimals, watch and sport- ing do jj, aud a complete, system of teaching all t-irjus Tricks. Besiaes all these, it h-i3 a chapter oa Snake-Charming, coaptars oa Singing, Tilting; and perfjrmina Birds, ioclaiiag iniormatija which is alone worth tha piii^i of the book to any bird owner. Ai Ilea of the boDk may be gleaned from the following partial synopsis of a lew eft ie chapters : Horte Tammy anj Horse Training. — How to manage a horse, conquering vicious and braikiag wild horses, kindness and firmness, curing stubborn disposition, the timers toola, to teach a horse to stop, to teac'i a hore to back, to make a horse folloiv you, to stiud without holding, whip training, to drive without bit or bnd> tocu:.^ bilky horses, to prevent harnessed horses run- Eiug away, to Instantly stop a runaway horse. Trick Horsea. — Apuliinces used in teaching tricks, to teach ahorse to sit up, to kick at command, t ) answer questio is, to jump, to stand erect, to " pirou- ette," pe^estj.! feat-^ to kiss, to Jetch and carry, to find hidden aiticles, to select chosen card, to hr^- pistol, to dance, tj eat at table, to play hand-organ, to feisn lameness, lo walk over you, &o. Performing />.^f/?.^S:mpletrick3 and t.'-aining, to teach him his name, to leap, to walk erect, t J dance, to Juoip rope, 1 5 sit and lie down at command, to beg, to give his pavv, t > sneeze, to speak for it, to fetch and carry, to brim; you his tail in h'S mouth, to stand on a bill and roll it up and down a plank, to walk on Btilts, t J go up and dowu a ladder, to stand on his head and walk on fore logo, to "Bin-,'," lamp of Buaar trick, to f"ign death. ^Voll^lerful FiinU of /^ii^yi.— L'tUebrated canine pt>rformers of tbe world, to teach dogs the alphabet, to select from a number of articles any article called lor, to place any article In a'jy plice directei, or give it to any designated per- son, to eat aoy article of food and leave auy otber, as he may be orlerea, to play dominoes, " Munito" and " Mile. Hianoa," their wonderful performan- ces, how they were really achieved, tricks of exhibitors, as well as tncka of per- fb'-mers, reft education vs. clever deception, full details of training, canine &0 OIB. And ovF.a twentt other chapters. Gloi^s more information about training anima's in a sinyle chapti'r than ant/ other entu-e work. It is cram full of etc^ries and anecdotes about celebrated performing animals, and is a most interesting and readable book, even to those who care little for tbe mere secrets and in- etructious. Over >Jt)0 largo r2tnn. pages, and ever GO illustrations. Only 50 cents in paper covers, and $X.O() in cloth binding. Just published, audmay be had of all booksellers, or by mail, post-paid, oa receipt of price. T/ade supplied by News Companies and wholesale houses. JES.SK II.WEY & CO., 119 Nassau St., New York. " EvJry man w'li owns au animal, iroin a horse to a canary bird, sh»-JJ havo a copy. It will te.icli him more in a ^\aek than he could loam in a '•.'.o-iinie with- out It. .. .No moio acceptable book could ba put into tbe handji ^» boys who live In tho country It will at cnce take itu place as astaadard work ... Wo do not know ot a book better worth thi price a.sked for it."— .V^'to York Eominj I^esn. * It seems to bo a gui le not only to teaching the niore intelligent of tbe dumb beats good tr'.ck.s, but also of breakiutj them of b.nl (iue,J."— P/-ou Morn.Hnrald. ■' It 13 higbiy spoken ul by those cap ibio of judging. ' — Chicago Eoe. Journal. " Willcoiumeud itself to most readers interested iu animals."— iiuiiore Koeri- ing Traveler. ■' The auscdotes are quite amasiiig, and will eutortiiiu both old and young "— Advance, Chicago. " Tao general mathJd roccmraon led i3 loasoaable."— Broo.i/^n Daily Eagle. ' A mora complete manual of Iho art ot animal training Ihaa this would be difficult to im.igiao."— iV. Y. Evening Express. '•The teachings are very clear, and tbe lUustratloas numerous, leaving nothing In thedarii "— vl)(ie,-i<;a» Union. •♦ Wttii all itsprecisiiin, it is by no moan.? a purely didactic work, but mingles with it? cl3ar direcUous a number of ploaaaut l'act>, pleasantly told " — Day Hook, •• Thtt courses comoisDdcd must end iu tuccos3."~F/a^ of Our Union. r JESSE HANEY & CO., 119 NASSAU STREET, NEW YORK, Will seuJ, post paid, on receipt of price, any of the followinff Oood Books,, or they umy lie ordered through any bookseller or newsdealer. Guide to Authorship. — A practiciil iiistnictor in ;ill kinds of literary <-ouij'U.sition, J'rose and verse, with all kinds of useful iuforination on such )>'>iiits £9 writers, wheiher experienced or not. generally desire assistance. It in- cludes punctuation, proof-reading, editing, preparation of MS., and its value and disposal, copyrights aud customs iu tlie trade, publisLiing and estimates for getting up books, pamphlets, sheet music, &e., Trith a vast amount of sensible and valuable inform.'itioti. jugt v.-h&t ■;\'r;ter3 v.-ant. and will save them time and money, to be had nov.-here cise. Enlarged and revised. Cloth, 81. OG ; paper covers, 50 cts. Phonographic Handbook. — An entirely new work fcr self-in- struction in the modsiu iinpro\H;d system, used by practical reporters in the courts of law and on the newepapeis. It uuites simpliciiy with thoroughness. >i5 cts. Secrets "Wos'tli Knowing. — A guide to the xnanufacturo of hundreds of useful uuJ Balable articles, including patent niedioines, perfumery, toilet and dental articles, and many others easily made at triHing cost and selling readily at large profits, with many manufacturers' secrets, ice. ^J» cts. Rogues and Hogueries. — An exposure of the enures and pitfalls of the great metropolis, and the multitude of devices for entrappintr the unwary, including many of the operations practiced in other cities, and swindles tlirouali ilie mail. New, revised, and enlarged, illustrated edition now ready and selling by thousands. An intei-estiug as wellas instructive book. Js5 cts. Watchmakers' and Jewelers' Manual. — Giving tbe latest and most approved secrets of the trade, embracing watch Hud clock cleaning and lejiuir- Ing, tempering in all its grades, making tools, compounding metals, soldering, jjlat- iiig, &c., viith plain instructioi.s for beginners, ice. '-io cts. Painters' Manual. — Giving best methods and latest niprove- ments ia house painting, sign painting, graining, varnishing, polishing, staining, gilding, glazing, silvering, Cirecian oil-painting, Chinese jiaintnig. Oriental painting. Sif. Also, principles of glass staining, harmony and t:outrastof i-olors, with jihiloso- phy, tiieories and practices of color, &c., &e. jO ct.^. Horse Shoers' Manual. — Giving plain, praetical directions with niimerous illustrative engraving.^. Includes preparation of foot, choice of shoes and their preparation, fitting, filinjr, nails and nailing, shoeing with leathei', cutting, removing, dec, ice. Contains much that every horse owner should know. «•> cts. Soap Makers' Manual. — A practical instructor in the nianufac lure ot plain and fancy .soaps, hard and soft soajis, washing fluids, medicinal soaps, die. for the guidance of families and manufacturers. Has e.\pi«ures of the adidtei - at'iocs practiced, and illustrations of most ai>proved machintry for those desiring to operate iiie,li..m sized soap works. Has the best English, French and German for- mulas. 35 cts. .Bad Memory Made Good and a Good Made Better.— iSLows how a wonderful power of memory ujay be acqui red by a simple art, readily learned and enabling its )iossessorto achieve feais inconi]irelienslbleto tho.se ignoran* of the secret. It will be of great assistance to teachers, pupils, and professional men peneially. Clergymen and speakers will .•;ave much time by itschapteron Speaking \Vithout" Notes, a.s will students preparing for examination. I't cts. Wightside of New York. — This i.s th(^ hook after which the coBtl\- subscrijition books, treating of New York, are moileled. It gives about all the really interesting matter to be found in these books. To those curious to know how the great city looks and acts after the lamjis are lighted, this book will prove highly interesting-. Sensational but truthful. Illustrated. /J5 cts. Home Recreations. — A collection of amusing games, pleasant diversions aiul otlier entertaining matters for juvenile parties, or the home circle. It sLovfS the young peojile liow to amuse themselves and young companions. ^-^ cts. Handbook of Ventriloquism.— A little work explaining all the m>slerics and really teaching the art. Also tells how lo make the Magic "Whistle for imitating birds, animals, &c. 15 cts. » Comicalities, by Orpheus C. Kerr.— A capital work by tliis very popular American humorist. 150 illustrations. >»5 cts. V, JV' 'Mr^^'^m-^^^^^^^^V^ '^^^a.m^'^i^r^r ipnoA ipi|.?,r^^^^^^^.««^; '^^ ^:'^.*, wwm ^r(>pSS«©- 'vo..£Pf^.^;^i H^'/^ 1 ^hi * /^ . ^ A ^ ^ .N ' ~ " ^'^'^^h<':&.r.,r;&c^^Si^ h^fAf- ,cm' ^•Nj^ArNA r^MA, AP/^^ 'A^ftPl! ^''.:^'^^^^^'Qi^^^t^ ''^^.^''^kf^r^r^'^^^mf'.^^^^ K.:,MfS' '-^^^mm^m M^m'''^^^^^^^^ ^«. 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