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FELTON, RAU & ^BLEY'S 
 
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 Coach Painting: 
 
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 HILA, 
 
HELTON, RAU 4 SIBLEY'S 
 
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 CONTAINING 
 
 VALUABLE HINTS 
 
 ON 
 
 Coach Painting and Varnishing. 
 
 .1^ [^ 18': M 
 
 PHILADELPHIA: 
 
 1873. 
 
 Carriage Monthly Print. 
 
FELTON, RAU & SIBLEY, 
 
 "5 
 
 MANUFACTURERS OF ^ ^ ^^ 
 
 SUPERIOR COACH VARNISHES 
 
 AND 
 
 -j.i^iF'jLisrs, 
 
 AND IMPORTERS AND DEALERS IN 
 
 IFIITE] G03L,0I?.S 
 
 ESPECIALLY ADAPTED TO 
 
 COACH AND CARRIAGE PAINTING, 
 
 im, tm ^ MQ Mqmwb WuwMwm gr. 
 
 PHILADELPHIA. 
 
 Orders by Mail Carefully and Promptly Filled, 
 
I^K/EIFJLGE. 
 
 N presenting this little work to those with whom 
 we may have business relations, our object is to 
 put in their possession a book which will be con- 
 venient for reference, and contain many valuable 
 hints in regard to coach painting, as, from our own 
 experience, and the authorities from which it ema- 
 nates, we think that it may be of material assistance 
 in many cases. 
 
 Since the issue of our first edition of the Miscel- 
 lanea in 1870, we have received so many compli- 
 ments from our friends and patrons in various 
 sections of the country, and as we are requested 
 frequently to send a copy, we are induced to issue our 
 second edition as a compliment to our friends, and the 
 trade in general ; also, as a pleasant medium of keeping 
 up our relation with the trade so satisfactory in the past. 
 We have added a number of hints on painting in 
 this little work in addition to those of the previous 
 number of 1870. 
 
 We also desire, in the subjoined statement, to give 
 a slight sketch of our place of business, which we deem 
 
no more than justice to ourselves ; for in this exhibit 
 we furnish evidence that our facilities for carrying a 
 heavy stock of paints and varnishes are not sur- 
 passed. Competition is the life of trade, and com- 
 petition demands that we bring before the consumer 
 evidence of our ability to perform what our adver- 
 tisements or our agents assert. 
 
 In speaking of our own, we would not disparage 
 other reliable firms, for we are satisfied that individ- 
 uals who purchase and use stock in our line will 
 judge for themselves as to the good or bad qualities 
 of the same. Nor would we assert that whatever 
 may be purchased of us will invariably give satisfac- 
 tion ; experience having taught us that it is impossi- 
 ble to know certainly what may be the nature of 
 certain articles, as, for instance, the body and wear- 
 ing qualities of some kinds of pigments, or the 
 uniform good qualities of our varnishes in the 
 estimation of those who may test them under the 
 variable temperature of our climate, from the 
 blistering heat of the South in summer, to the ex- 
 treme cold of the North-west in winter, together with 
 the poorly arranged rooms in which a great deal of 
 varnish is laid. 
 
 Our place of business is at Nos. 136, ] 38 and 140 
 North Fourth street, on the corner of Cherry, 
 Philadelphia, where we occupy a building 42 feet 
 front on Fourth street, four stories high, running 
 
back on Cherry street 70 feet to an L, which is 38 
 feet loug and five stories high, giving us, on a 
 straight line, a depth of 108 feet. At a considera- 
 ble outlay, we have arranged for the convenient 
 handling of every article on sale, and in the all-im- 
 portant article of varnishes have tanks sufficient to 
 hold a very large quantity, which allows of one lot 
 becoming well ripened while another lot, ready for 
 use, is being drawn off. By this arrangement we 
 are enabled to furnish a superior article, as near of a 
 uniform quality as it is possible to obtain. 
 
 The rooms are heated with hot air, keeping up an 
 even temperature, which is very beneficial to all 
 varnishes. 
 
 The first floor front is occupied by the salesrooms 
 and tanks containing coach varnishe^, &c. Con- 
 venient to these tanks are the oil and turpentine 
 wells, where, by means of pumps, the contents of 
 either well are speedily drawn off in any quantity 
 required. The office is in the rear on this floor, and is 
 divided into three compartments, each one tastefully 
 arranged, and separated in such a manner as to facili- 
 tate business. 
 
 In the second, third and fourth stories front, may 
 be found a heavy stock of varnishes of different 
 kinds, besides numerous bulky articles. The fifth 
 story back is used for storing our gums, a large 
 amount being kept constantly on hand. « 
 
The cellar gives us large storage room, besides 
 containing the heater, oil and turpentine tanks or 
 wellsr 
 
 Our varnish factories are located on the outskirts 
 of the city — one exclusively for coach varnish and 
 japan, the other for furniture varnish. 
 
 It will be seen, by the above sketch of our prem- 
 ises, that we are fully prepared to meet the require- 
 ments of a heavy trade. Buying our material in 
 large quantities, and having always on hand a heavy 
 stock of varnishes, &c., we are fully prepared to com- 
 pete with other responsible firm? in this line. 
 
 In the above description of our premises we have 
 stated plain facts, for the purpose of affording to 
 those who may not visit the city an idea of the prep- 
 arations we have made to supply their wants. 
 
 Thanking our numerous friends for their patronage 
 during the past, we solicit a continuance of the same. 
 Paying especial attention to the wants of the coa^.h 
 painter, our stock embraces a full line of everything 
 required in the painters' department. 
 
 In conclusion, permit us to add, that should the con- 
 tents of this Miscellanea be the means of enlight- 
 ening any of the craft of coach painters, and assist them 
 in producing more perfect work, our object will have 
 been attained. Respectfully, 
 
 FELTON, RAU & SIBLEY. 
 
FELTON, RAU & SIBLEY'S 
 
 MISCELLANEA, 
 
 THE MANUFACTURE OF VARNISHES AND JAPANS 
 
 •v/ 
 
 EING carried on to a considerable extent in this 
 country, it follows that, while there are good 
 varnishes to be had, there is also a great deal 
 which is next to worthless. 
 
 They are known by so many different titles, that 
 to parties using them it is indeed a mystery often to 
 ascertain to what they are really adapted. 
 
 High sounding names are often adopted by manu- 
 facturers to make their varnishes more popular; but 
 common sense teaches that the plainer truth is told, 
 the more apt it is to be believed ; and in giving 
 varnishes their names, according to the value of the 
 gums and materials used, the qualities are more 
 readily understood. For instance, we call our best 
 
coach-body varnish Brilliant Wearing Body, it being 
 manufactured of the best and palest Zanzibar gum. 
 This is a yerj high grade of varnish, its paleness and 
 age being greatly in its favor as a wearing body 
 varnish. We have received many letters from parties 
 who have used it, and on their statements alone do 
 we feel warranted in speaking very positively as to 
 its good qualities. 
 
 No. 1 Pale Body being next in quality, &c., &c. 
 Our experience in the manufacture of varnLhes, 
 and the trade we have e&tablished, justify us in 
 saying that, for the quality of our different varnishes. 
 we stand second to none. In the first place, they are 
 made of the best material ; secondly, we allow no 
 stock to go into the market until it has the proper 
 age, thereby retaining its luster after beirg applied ; 
 thirdly, our Mr. C. F. Kau, who personally superin- 
 tends their manufacture, has had nearly thirl y years' 
 experience in the business, and has overcome many 
 difficulties to which varnishes are subject. We do 
 not mean to say that we are the only manufacturers 
 of the first-class varnishes, for we are well aware that 
 there are others who endeavor and do keep up their 
 reputation in this line ; but the public have been so 
 often deceived by inferior stock, that they often think 
 there is no good stock in the market. This we can 
 easily disprove, by giving our varnishes a fair and 
 impartial trial. 
 
9 
 BRILLIANT WEARING BODY VARNISH. 
 
 ^1 MERICAN energy has finally succeeded in the 
 Jji competition of finishing body varnishes over 
 ^ those of English manufacture, equaling them in 
 wear and finish, and being a saving to the trade of 
 33 per cent. 
 
 After years of experiments, Messrs. Felton, Rau & 
 Sibley have produced a finishing body varnish, 
 which they term 
 
 BRILLIANT WEARING BODY VARNISH, 
 
 because of its durability and brilliancy [oi finish. 
 They do not offer this as an article of sudden growth, 
 it having been subjected to tbe severest test for one 
 year past by the most practical coach painters, and 
 their unanimous verdict is that it equals the English 
 varnish in wear, and has not the faults peculiar to the 
 English make. 
 
 We most respectfully offer this varnish to the trade 
 as a finishing body varnish ; having full confidence in 
 its merits, we deem it worthy of its name, "Brilliant 
 Wearing Body Varnish." 
 
 Quick-Drying Putty for Touching up on just 
 Before Varnishing. — Whiting and lampblack, 
 mixed in japan. Whiting will not stain or wash up 
 as readily as dry white lead. 
 
10 
 
 THE CHAMOIS, 
 
 R, as it is generally termed, the " shammy," is often 
 the cause of an imperfect job of varnishing if not 
 kept perfectly cl ean and free from grease, caused 
 by rinsing in a water bucket used in washing oil and 
 dirt from the painter's hands. There should be a clean 
 bucket kept for the chamois exclusively. A body wiped 
 off with a chamois apparently clean, yet still contain- 
 ing some greasy particles, will cause the varnish to 
 enamel or draw. The chamois can easily be cleansed 
 by laying it out on a piece of board with a smooth 
 face, and rubbing it with white curled hair and soap, 
 rinsing through two waters ; wring out dry, and the 
 skin will again grasp the wet panel effectually, and 
 no doubt save worriment in varnishing. 
 
 THE VARNISH ROOM AND ITS CONTENTS. 
 
 fHE varnish room should be, as its name implies, 
 a place set apart for varnishing, and not, as is 
 J too often the case, a room of all work up to 
 within an hour or so of the time a job is to be fin- 
 ished. 
 
 The walls should be smoothly plastered or sealed, 
 and no paint bench, paint pots, or other articles 
 beside those required in the operation of varnishing, 
 admitted. Bodies and gearings should be kept sepa- 
 
11 
 
 rate, for there is no use attempting to obtain a perfect 
 finish on a body while there are hands 'tramping 
 around the room, as they are compelled to do, while 
 varnishing a carriage-part. The brushes, cups, stools, 
 dusters, chamois, sponges, buckets, &c., must belong 
 to the varnish room and be kept inviolate. 
 
 The room should be light, and yet the windows 
 curtained, so that in summer-time the rays of the sun 
 may be parried or shut out sufficiently to aid in lower- 
 ing the temperature of the room. They should open 
 from the top to secure proper ventilation. 
 
 The windows should fit closely, and where a por- 
 tion of the room is selected as the cleanest place to 
 finish in, the windows within that space may be made 
 air-tight by pasting strips of enameled cloth over all 
 the joints. They should not be raised unless it may be 
 to wash them. Screens for covering the work, when 
 finisbed, will also be found very useful, often saving 
 a body from unsightly marks made by insects, or 
 from dust occasioned by a sudden gust of wind 
 which searches out every crevice. 
 
 If possible, there should be n) stove in the varaish 
 room, the heat to be obtained by the aid of a drum 
 connected with a stove outside. Of course we are 
 now speaking of small shops not heated throughout 
 with steam. If a stove is used, the fire should be in a 
 condition to need no stirring while the varnish is wet. 
 In the summer-time it is n^t best to finish with the 
 
12 
 
 room air-tight when the thermometer indicates 80 
 degrees and upward. The air, if quiet, will not 
 do as much harm as the melting heat on the varnish. 
 
 The room should be swept the evenirg before 
 finishing is to be done, and no person or persons 
 allowed to visit it for any purpose, bef)re, during 
 or after applying the firishing coat, until it is dry 
 enough to be out of the way of dust. 
 
 The painter should dust himself outside the varnish 
 room, move cautiously about while varnishing, and 
 handle his work so as to cause the least possible 
 amount of jarring. 
 
 There is a diversity of opinion as to wetting down 
 the floor — there may be good work produced with or 
 without doing it. We prefer to have no dampness 
 directly under the work, especially in hot weather, 
 for we know that it has caused pitting by evaporation. 
 If you wet down let it be done thoroughly, so that 
 the floor will not throw ofif steam. 
 
 If the preceding hints are fully carried out, and a 
 sufficient quanity of varnish is laid on to give it an 
 opportunity to flow out, a good clean job will be the 
 result. If, on the other hand, you say " what is the 
 need of all this painstaking?" and pursue a careless 
 and dirty course, your work will speak for itself, and 
 continually advertise you as a " botch." 
 
 We are gratified to see the interest manifested of 
 late on the subject of varnish rooms, for it depends 
 
13 
 
 much on their proper arrangement, situation and 
 treatment by the painter, that good, clean, finished 
 work is produced. 
 
 The Carriage ifonf/%, of Philadelphia, has thrown 
 out several hints on this matter, which have had a 
 good effect throughout the country in awakening 
 employers to the stubborn fact that they must 
 provide suitable varnish rooms, or cease complaining 
 of the imperfect work coming from the hands of the 
 painter, or charging the varnish maker with furnish- 
 ing an article that is full of undissolved gum, dirt or 
 any other foreign substance. 
 
 VARNISH BRUSHES. 
 
 fHEKE are several kinds of these, and each have 
 their admirers. For finishing, there are the 
 J Thum's Half Elastic, Clinton's Extra (a very 
 superior article), the badger, sable and fitch, all 
 flat. These may be used either in rubbing or 
 finishing varnish on bodies. Thum's Half Elastic, 
 and Clinton's Extra, being better adapted to laying 
 on rubbing varnish than the others named, because 
 they have spring enough to lay off" the varnish 
 without the addition of turpentine. They are to be 
 preferred also for finishing, as they take good hold of 
 
14 
 
 the varnish, spread it more easily, and admit of a 
 heavier coat being applied, with less liability lor 
 runs. 
 
 The black sable, fitch and badger, are, however, 
 very pretty working brushes, and for light work will 
 answer a good purpose. 
 
 The oval brush of medium size, is best suited for 
 gearings. The tool used may be flat, as it accomo- 
 dates itself better to a great many narrow places, 
 where it is necessary to wipe out or level off. 
 
 Price of the above from 60 cents to $1 per inch. 
 
 THE CARE OF FINISHING BRUSHES. 
 
 They should be suspended by the handles on wire 
 in a closely covered pan, the points to be at least a 
 half an inch from the bottom, and not be allowed to 
 touch each other. Keep them in slow drying varnish, 
 filling the can up to a line about a sixteenth of an 
 inch above the bristles or hair. 
 
 The top of the can should have a wire soldered 
 along the edge, or the tin turned down to prevent 
 injury to the bristles or hair while wiping out the 
 varnish, preparatory to putting the brushes into 
 use. A sharp edge on the can will gradually split 
 the bristles, cause them to curl backward, and 
 eventually ruin the brushes. 
 
 Watch the surface of the varnish closely to see that 
 it does not skin over ; if it inclines to this, a small 
 
15 
 
 quantity of raw oil, thoroughly mixed with the 
 varnish, will correct the defect. 
 
 Finishing brushes should not be cleansed in 
 turpentine except in extreme cases. When taken 
 from the can, work them out in varnish, and before 
 replacing them, cleanse the handles, and binding 
 with turpentine ; wipe them out well and arrange 
 them on the wire, being careful not to bend the 
 bristles backward in adjusting them. 
 
 The can should be kept in a close cupboard or 
 box fitted up for the express purpose, and to prevent 
 all misunderstandings, should be locked. Meddlers 
 (and too many shops have them) will then be 
 taught to keep " hands off." 
 
 CAUSES OF IMPERFECT VARNISHING. 
 
 -» 
 
 flRST. Varnish room admiti^ig dust, cold air, 
 and subject to jarring by wood-workeis and 
 J others in adjoining rooms. 
 
 2d. By not keeping an even temperature in the 
 room whilst and ^after varnishing. The stove at a 
 red heat part of the time, and allowing it to cool ofi* 
 quickly. 
 
 3d. The[^smoke of bituminous coal, and sulphur 
 escaping, it incorporating itself with the varnish 
 while applying it, causing a blue, misty appearance. 
 
16 
 
 4th. By reducing varnish too much with spirits of 
 turpentine immediately before applying it; it should be 
 used as it comes from the hands of the manufacturer, 
 thereby retaining its luster, and being more durable. 
 
 5th. Varnishes not having sufficient age. 
 
 6th. Varnishes being made of inferior gums, 
 turpentine, oil, &c. 
 
 7tb. Want of cl^^anliness with brushes, and allow- 
 ing cans, &c., containing varnish to remain uncorked, 
 admitting dust and other foreign matter. 
 
 ^ BLACK LEATHER VARNISH, 
 
 fOR carriage tops, dashes, &c., has been a source 
 of anxiety and disappointment very often in 
 J producing the required etfect. West's Enamel 
 Dressing lately has become the favorite in that line, 
 and from the many commendations in its favor, we 
 feel justified in referring it to the trade for the above 
 purpose. 
 
 f VARNISH PITTING. 
 
 ARNISH pitting and crawling in warm seasons 
 may be overcome," said an experienced and suc- 
 cessful coach painter, " by placing the cup of 
 varnish in ice water until the varnish becomes 
 chilled, and then applying it to the job on hand." 
 The experiment is so simple that it is worth a trial. 
 
17 
 W REMOVE VARNISH CRACKS. 
 
 X 
 QUA AMMONIA applied with a sponge will 
 soften varnish, when it may he removed with a 
 putty knife or steel scraper made for the purpose. 
 The sponge should be fastened to a stick to prevent 
 bringing the fingers in contact with the ammonia. 
 After the varnish is removed by the ammonia, the 
 paint cracks can be leveled with pumice stone. — 
 Carriage Monthly. 
 
 FELT VARNISH RUBBER. 
 
 E AVY felt is much superior to old pieces of cloth 
 in rubbing down varnish. An old felt hat cut in 
 long strips in width to suit, and then rolled 
 tightly together and fastened, makes an excellent 
 rubber as well as saving the fingers in many instances. 
 
 Rubbing Varnishes. — There has been a great 
 difficulty experienced by p winters in getting a rubbing 
 varnish to suit their manner in working it. Some 
 require a varnish to dry very quickly, and others 
 prefer a slower dryer (which we think is the best). 
 To meet the respective wants of the craft, we are 
 making two qualities, one a quicker working than the 
 other. 
 
18 
 
 JAPAN. 
 
 /]j\NE of the indispensable articles which every 
 JIJ painter needs, is a good article of japan dryer. 
 y Inferior japan may occasion not only trouble 
 and delay in completing a piece of painting, but be 
 tbe cause of color cracking before being varnished ; 
 or, after the carriage is finished and put into service, 
 manifests its inferiority by the paint rising in blisters 
 and scaling off, when brought under the action of a 
 hot sun. 
 
 By extended experience, which includes, of course, 
 the ideas suggested by practical painters, we have 
 been enabled to produce an article of very superior 
 quality, which we term Extra Coach Japan. It is 
 heavy in body and very strong; yet, from the 
 nature of the 'ngredients, does not cause the color- 
 to work gummy and drag on the brush while being 
 applied. 
 
 Having given very special attention to the manu- 
 facture of japan, we feel no hesitancy in recommend- 
 ing our make to the trade. 
 
 We append a few testimonials received from 
 prominent carriage-makers of Philadelphia, whose 
 opinion we esteem of more practical value than 
 pages of loud-sounding words. We are satisfied 
 that all who will give it a fair and impartial trial 
 would prefer it to any other make. While it is 
 superior in quality it is moderate in price. In order 
 
19 
 
 to make it the standard japan in every coach shop in 
 the country, we offer it at $1.50 per gallon, which, 
 considering its quality, makes it the cheapest in the 
 market. Be sure and give it a trial. Orders by 
 mail carefully and promptly filled. 
 
 TESTIMONIALS. 
 
 We are using the ext7'a coach japan manufactured by Messrs. Felton, 
 Eau & Sibley in our factory, and endorse it as a superior article. 
 
 W. D. KOCxERS&CO., 
 
 Pliiladelphia. 
 
 Messrs. Felton, Rau & Sibley, Gentlemen:— You are at liberty to 
 use my name as an endorser for your extra coach japan, as I have used it 
 in my paint room and have always found it reliable. 
 
 Samuel C. Rodgeks, 
 Race street, near Fifteenth. 
 
 I have been using the drying japan manufactured by Messrs. Felton, 
 Rau & Sibley, for some time past in my factory, and find it entirely 
 satisfactory. My painter says it is the best he has ever used. 
 
 S. W. Jacobs, Carriage-Maker, 
 617 Arch st., Philadelphia. 
 
 We are using the japan made by Felton, Rau & Sibley, and take 
 pleasure in recommending it to the trade generally as a first quality 
 article, having given us the most perfect satisfaction in every respect. 
 
 Gardner & Flemming. 
 Philada., Dec. 20th, 1872. 
 
 I have used Felton, Rau & Sibley's extra coach japan in my carriage 
 work for the past ten years, and consider it an invalu able dryer. 
 
 D. M. Lane, 
 34?2 Market st., Philadelphia. 
 
 We have used Felton, Rau & Sibley's extra coach japan dryer for a 
 number of years past, and consider it the best that we have ever used, 
 and decline to use any other. 
 
 Fulton, Walker & Co., 
 20th and Filbert sts., Philadelphia. 
 
20 
 
 GROUND COLOR FOR LAKES. 
 
 tHE ground color over which any transparent 
 color is to be laid, should be of a tone similar to 
 J the color of the lake to be used when "wet up," 
 provided you wish to preserve the full richness of the 
 lake, and secure its color exactly. Drop, Munich, 
 and English purple lake, and others of similar hue, 
 may be painted on dark lead coIo7\ Indian red, brown 
 of various shades, and black. As these transparent 
 colors ])artake more or less of the color of the ground, 
 work, it is essential to have the under coatings mixed 
 of colors which are durable. 
 
 We know of no ground color superior to brown, 
 mixed of Indian red and lampblack. In mixing the 
 ground color, it is preferable to have it a shade or two 
 darker, rather than lighter than the panel color. 
 
 Lakes painted on black are very deep and rich in 
 tone. The ground color should be ground out very 
 fine and painted solidly. If this ground-work is 
 streaked at all, it will be useless to attempt to make 
 a good solid piece of painting. 
 
 One coat of color, and two coats of color and 
 varnish, is the best manner of paintiug lakes. — 
 Carriage Monthly. 
 
 Paint Mills. — The " Harris Patent '^ is the best 
 in the market. 
 
21 
 
 IVORY BLACK, GROUND IN JAPAN 
 
 JL AS superseded the dry color in most all sections 
 ^) I of the country; it is really the painters' friend, 
 ^ saving them hours of laborious work. Felton, 
 Rau & Sibley's Ivory Black, ground in their own 
 japan, is acknowledged in all shops, where it has been 
 used, to be the most satisfactory in use, on account 
 of its jet blackness, its fineness and drying proper- 
 ties, also being cheaper in price. F. R. & S. could 
 furnish many testimonials in Hs favor, but they deem 
 a trial more convincing, as all painters desire to be 
 their own judges in an article so particular. 
 
 HOW TO GET A VERY RICH SHADE OF BISMARCK. 
 
 ^1 FTER sanding the putty, use white lead and 
 j\ burnt umber. Next coat burnt sienna, mixed ia 
 ^ oil stiff, and thinned fit for use with turpentine 
 and very little japan ; of this color give two coats. 
 Then give glazing coat of Bismarck, mixed as follows : 
 to about one ounce best bronze add half ounce 
 carmine, or a little le?s of crimson lake. Where the 
 color required is very light, use English or Trieste 
 vermilion. In mixing, use no japan, but, for dryer, 
 sugar of lead. To prevent it curdling, use 
 rubbing varnish instead of oil ; but when mixed 
 with oil, keep japan out and use sugar of lead. 
 
22 
 VEHICLE FOR MIXING QUICK-DRYING STRIPING. 
 
 it AKE one part rubbing varnish, two parts 
 41 , English varnish, and one part turpentine; bottle 
 J up, shake it well, and set it away for a few days. 
 For all colors except carmine and lake this mixture 
 will dry colors almost as rapidly as it is run on, yet 
 work freely, which is not the case with japan and 
 turpentine. Add to it a little japan for carmine and 
 lake. 
 
 TO MIX DEAD OR QUICK-DRYING BLACK, 
 
 Ji AKE two-thirds hard-drying varnish and one- 
 41 . third japan; mix stiiF, and use turpentine to thin 
 J with. After getting a little accustomed to mixing, 
 you can put two coats on a body in one day, or 
 stripe a light running-gear in the morning and 
 varnish in the afternoon. 
 
 COMPLEMENTARY COLORS. 
 
 HE color required with another, to form white 
 light, is called the complementary of that color; 
 thus, green is the complementary of red, and vice 
 versa; blue of orange, and vice versa; yellow of violet, 
 and vice versa, because blue and orange, red and 
 
23 
 
 green, and yellow and violet, each make up the full 
 complement of rays neces-ary to form white or sun 
 light. 
 
 In painting an ornament in colors, the observance 
 of the above fixed laws will assist the painter in 
 producing a pleasing contrast. It is not required 
 that vermilion should be juxtaposed with chrome 
 green, or sky blue be invariably placed alongside of 
 orange, and so on. But, where several different 
 colors are employed, they should be modified and 
 assisted by observing the laws governing successive 
 contrast. 
 
 The effect of placing white near a colored body is 
 to heighten that color. Black placed near a color 
 tends to lower the tone of the color. Gray increases 
 the i>rilliancy and purity of the primary colors, and 
 forms harmony of contrast with red, yellow, orange 
 and light green. 
 
 Green near black makes it (the black) appear 
 rusty, because the eye in looking at green is excited 
 to see red, which is added to the black (iasensibly), 
 making it appear of a reddish cast. 
 
 Yellow, orange, blue and violet associate much 
 better. 
 
 " Experiments prove that yellow color is most 
 easily perceived ; the next are orange, green and 
 blue ; next red and violet. 
 
 " Dr. Van der Weyde states that in the prismatic 
 
24 
 
 spectrum, the yellow rays, situated near the middle, 
 are the most luminous, while the red and violet 
 toward the end are the least so. 
 
 "On the question, why the setting sun looks red, he 
 answered, that by the law of refrangibility of the 
 different colors contained in white ligh^, the least 
 refrangible rays (which are the red and orange), in 
 a great depth of any colorless refracting medium, 
 penetrate best in a straight direction. The more 
 refrangible rays (the violet, blue and green) have a 
 stronger tendency to sideway refraction, and this is 
 the simple reason of the bright blue of the sky, and 
 the dark blue color of water, if pure and of great 
 depth. 
 
 " Divers when under water also see the sun red for 
 the same reason." — Scientific American. 
 
 THE PREyAILING COLORS FOR 1813. 
 
 jnN heavy work, dark blues, dark greens, rich 
 41 J browns, lake and black for bodies, and corres- 
 ^ pondingly dark colors for the carriage- part, with 
 little display in striping. The body to have an initial 
 letter, monogram or crest, as fancy may dictate. 
 Brown and green satins and morocco being in high 
 favor for inside linings, the painting must, in a 
 measure, follow these colors. 
 
 On light work the colors are more generally of 
 
25 
 
 umber-toned drabs, a limited amount of striping, 
 yet in bright colors. Dark colors are growing popu- 
 lar for light work, some carrying it to the extreme of 
 plain black for both body and gear. 
 
 IMITATION BLOOD STONE COLOR. 
 
 J\ HIS looks very rich on light-top or no-top 
 41 , wagons. Indian red for ground, then mix one- 
 j quarter ounce carmine, and bronze the size of a 
 pea, mixed for color and varnish coat, commonly called 
 glazing. To apply this properly, do about three 
 spokes at a time, same as glazing carmine carriage, 
 to prevent streaks or shading. It must be kept well 
 stirred while using, as bronze is heavy and settles 
 soon. Stripe with gold or silver leaf, say oue- 
 quarter inch wide ; no edging. If gold be too 
 expensive, use some transparent color of its own 
 shade ; it looks very neat. 
 
 OILS. 
 
 fILS are termed fixed and essential. The i^xed 
 oils are the linseed, poppy and nut oils. They 
 ^ contain a large quantity of viscid matter, which 
 renders them durable. 
 
 Turpentine is an essential oil, very useful to be 
 
26 
 
 used as a diluent in tempering and thinning colors, 
 varnish, &c., but it is wor(hless to the carriage 
 painter to mix his colors in, having no adhesive pro- 
 perties. 
 
 Linseed oil is considered the best among the fixed 
 or fatty oils. It should be of a pale amber color, 
 transparent and limpid. It possesses more strength 
 than other oils, dries better, and wears the longest. 
 
 It is not so well adapted to the mixture of light 
 and delicate pigments as poppy oil, but for all pur- 
 po?es of carriage painting, linseed oil is all that is 
 required. 
 
 For ornamenting, a pale drying oil should be 
 used. This may be had of any respectable dealer in 
 paints, oils and varnishes. A very convenient dry- 
 ing oil, for ordinary use in ornamenting and striping, 
 may be made by taking one part of good brown tur- 
 pentine japan, and three parts of raw linseed oil, to 
 be put in a glass bottle, and set at the window where 
 the sun will strike it. It will bleach out, settle down, 
 and be ready for use in a couple of weeks. 
 
 Fat oil is used as a gold size, to which is added 
 chrome yellow, to enable the painter to see his out- 
 lines better. The chrome yellow may be dispensed 
 with. 
 
 For great durability, no sizing excels fat oil when 
 laid on thinly, and allowed at least two days to dry 
 before the leaf is laid. 
 
27 
 
 Boiled oil should not be used by the carriage 
 
 painter, unless it be for mixing striping color, or to 
 
 add to lake, carmine, ultramarine blue, and any 
 
 other transparent color that needs to dry glossy. 
 
 Varnish will answer every purpose, and should boiled 
 
 oil form no part of any color mixed in the shop, its 
 
 absence will not be detrimental to ths wearing of the 
 work. 
 
 ON GILDING. 
 
 Jj O lay gold leaf smoothly and dexterously requires 
 J I , careful preparation of the surface, a certain 
 
 J consistency in the size, which should be laid on 
 evenly, and the manner in which the leaf is handled 
 while applying it to the sizing. 
 
 If the surface over which an ornament, lettering 
 or scroll pattern is to be laid in gold contains grit or 
 roughness from any cause whatsoever, it is evident 
 that were the size laid on ever so evenly, the leaf, 
 when applied, would partake of that roughness, and 
 in the attempt to burnish it, there would be 
 liability of rubbing through. 
 
 Use fat oil size for work requiring great durability, 
 such as omnibuses and railroad cars. It must be 
 laid on thin, and gilded on the second day after. 
 
 For ornamenting and striping on carriages, either 
 rubbing or English finishing varnish will be fmnd 
 
28 
 
 serviceable. They are, however, very treacherous, 
 the edges on broad striping often drying before the 
 inside, which gives a ragged appearance. This may 
 be remedied by adding a few drops of fat oil. For 
 hurried work a varnish size must be used ; but 
 for first- cla?s work there is nothing equal to fat oil. 
 
 The English method of preparing the color in size, 
 which serves as the ground on which the gold is laid, 
 is to grind together some red oxide of lead with the 
 thickest drying oil that can be procured, and the 
 older the better. To make it work freely, it is mixed 
 before being used with a little oil of turpentine, till 
 it is brought to a proper consistence. 
 
 Size, when too thin, will curdle and run ; when 
 too thick, will give heavy edges and diminish the 
 brilliancy of the gold. 
 
 The outlining pencil should not be so narrow^ as 
 to lay on a heavy edge, which cannot be worked back 
 into the body of the letters, or other patterns in hand. 
 A short pencil is best to fill in with, as it takes 
 hold of the size, spreading it evenly down. 
 
 There are various modes of applying the leaf 
 some using the tip (a flat brush made for picking up 
 gold); others, again, cut the books into required 
 widths, or turn down a leaf of the paper, exposing 
 the gold to the width sought, pass the finger-nail 
 across and apply it to the size. 
 
 Probably the mo t expeditious manner is to use 
 
29 
 
 any empty gold book, greasing the leaves slightly, 
 which are then to be placed over the gold, rubbed 
 gently, and when the leaf adheres, cut it into the sizes 
 required. 
 
 If there be any excess of oil on the paper, the leaf 
 will not come off without tearing. 
 
 In the use of the tip, mentioned above, the gold is 
 laid out on the cushion, cut up with the gold knife as 
 required, and with the tip, slightly greased, the gold 
 is picked up and laid on. 
 
 On heavy scroll patterns, the book should be 
 opened and whole leaves of gold put on, making 
 allowance for using up the overlapping parts on the 
 smaller places, thus preventing wastage. By this 
 means the saving in time overbalances the seeming 
 extravagance. 
 
 LAMPBLACK. 
 
 fA^MPBLACK is obtained by burning resinous 
 woods ; the soot is collected by means of conical- 
 shaped covers, or some other suitable appliance. 
 It is of a greenish cast when compared side by side 
 with the best drop black. 
 
 On white, straw color, yellow and similar light 
 grounds, it, in contrdst, appears black enough, and as 
 it covers better and runs smoother, is superior to 
 drop or patent black for striping purposes. 
 
30 
 
 When mixed in oil and exposed to the weather, 
 (without being varnished), its power of resistance is 
 surprising. 
 
 PENCILS. 
 
 HOW TO MAKE FINE LINE PENCILS. 
 
 HEN you cannot purchase fine liners to suit, 
 obtain a lar^e sable pencil, gr*. ase the hairs 
 till they adh( le, then cut the quill and remove 
 them. 
 
 Take out what will be required for the sized quills 
 you may wish to fill, tying with sewing silk. Leave 
 the ends of the silk long enough to drop through 
 the quill; after being wrapped two or three times 
 around the hair, insert it and pull down to its place 
 by means of the thread. If you have calculated 
 riglrtly, the wrapping will hold the pencil securely. 
 
 Quills from the pigeon's wing are generally used; 
 they should be cleaned out, placed in warm water, 
 and, when softened, placed on round sticks to give 
 them proper shape. 
 
 A very good pencil can be mfde by inserting the 
 hair in a stick split at one end, the hair laid in flat, 
 and the end bound tig]itly with thread. In case of 
 accident to a quill pencil while using it, and having 
 no quill handy, this method will occasion but little 
 delay. 
 
31 
 
 ORNAMENTING PENCILS. 
 
 These may be had in quill without handles, or tin- 
 bound with handles. Those without handles are in 
 goose, duck, crow, and swan quills. 
 
 The sizes are various, suited to the most delicate 
 touching, or the larger ornamental work. The best 
 are those with handles, tin-bound. For ornamenting, 
 both flat and round are necessary. 
 
 Sable pencils are the best and cheapest, although 
 they cost more at first. They should be bound in 
 tin, with cedar handles. 
 
 Either oil or varnish the handles to prevent paint 
 from fastening into the grain of the wood. 
 
 For delicate leafing use the pointed round pencil ; 
 for thin and crispy touche?, the flat pencil. 
 
 THE CARE OF PENCILS. 
 
 We dislike to see them placed on the window 
 frames, because it is a filthy practice, and then the 
 heat of summer and cold of winter does them no 
 good, to say nothing of their continual exposure to 
 dust. It will cost but little time or money to pro- 
 vide a suitable box, with covei , in which to keep 
 them ; this should be done by all means. The pen- 
 cils to be greased, and laid out straight on a piece of 
 glass fitted to the size of the box, and the broad 
 stripers kept separate from the fine lining pencils. 
 They should be arranged on the glass according to thtir 
 
- 32 
 
 sizes, placing tlie lesser to the left, and graded up to 
 the right ; each pencil having its appropriate place, 
 any size required may be instantly removed, or 
 should a favorite one be taken, its place is missed 
 immediately, and, beside, it is systematic, therefore 
 proper. 
 
 In cleaning them it is better to shake them well in 
 turpentine, and wipe gently on a soft rag, than to 
 merely dampen them by pulling them between the 
 fingers, or on any coarse or dirty rag that lies handy. 
 The small clippings from the trimming room, which 
 are swept off the benches every day, will serve for the 
 purpose ; have a box for them, so that you can put 
 your hand on them at any moment. 
 
 TO STRAIGHTEN STRIPING PENCILS. 
 
 If, by some mishap, a striper becomes bent out of 
 shape, the hair can be straightened again by greasing 
 it, and drawing it over a piece of warm iron. A 
 favorite pencil may thus be saved to please its pos- 
 sessor, by continuing to do good work. 
 
 Pencil Grease that will not Harden in 
 Winter. — Try out some beef tallow, adding a small 
 quantity of sweet oil. This will be found a great 
 convenience to the painter in cold weather. By the 
 use of hard grease the hairs are often pulled out, and, 
 aside from this, it is very inconvenient. 
 
33 
 
 PUMICE STONE. 
 
 N the selection of lump pumice stone, preference 
 should be given to that which is light and porous. 
 Economy in its use requires that it be sawed up 
 into pieces best suited to surfaces to be rubbed. 
 
 The smaller pieces that may crumble off while 
 sawing it, lay away in a box kept for the purpose, and 
 at some future time, when considerable has gathered, 
 grind it fine enough for rubbing down varnish. The 
 hard, flinty pieces may all be used up in the same 
 manner. 
 
 Saw it across the grain, shape it on a file, and 
 round off the rough parts to prevent the sharp edges 
 from wearing the fingers. The face may be kept 
 clean and level by use of the file or a piece of coarse 
 English rubbing stone. 
 
 English rubbing stone is now preferred, as it fur- 
 nishes its own grit, and cuts more rapidly. It is a 
 good plan to do the main rubbing with English stone, 
 then complete the work with carefully selected pum- 
 ice stone. 
 
 For cutting down old work, the use of rubbing 
 stone will be found the most economical When 
 not in use, it should be kept in a damp place. 
 It is very irregular in iorm, but by sawing all around 
 to the size and shape required, it will break pretty 
 evenly. A level face may be obtained by use of a 
 file or a level piece of stone. 
 
34 
 
 TRANSFER ORNAMENTING. 
 
 ( 4 III IRST, let it be understood, that all pictures that 
 show the colors complete, are ouly suitable for 
 white or very light-colored brown ; those that 
 are covered with a white grounding, gold, metal or 
 silver leaf can be used on any color, light or dark. 
 After getting the work ready for ornamenting, give it a 
 smooth thin coat of some quick-drying copal varnish, 
 thinned with turpentine, being careful not to go 
 beyond the outline of the design. Allow it to dry 
 until it has a good tack, and put on the work in its 
 proper place. Roll it smooth with an India rubber 
 roller, or smooth it with a paper-folder, until every 
 part adheres well. (For very large pieces, it is well 
 to lay them after they have the right tack, between 
 two sheets of damp blotting-paper. It will stretch the 
 paper and make a smooth transfer.) Now, wet the 
 paper, smoothing it down at the same time, until it 
 has absorbed all the water possible ; leave it about a 
 minute and pull off the paper carefully. Should any 
 parts of the design still adhere to the paper, press it 
 down again, wet-rub it until it separates easily. 
 
 After having removed the paper, press the design 
 on well, and wash and dry it off. Should any blis- 
 ters appear, prick them with a pin and press down. 
 In a few hours the design may be varnished, which 
 will increase the brilliancy of the colors." 
 
35 
 
 STRIPING SPOKES. 
 
 HEN the stripes are to be carried from the 
 hub to the felloe, each stripe will have a lap 
 on it ; for the stripe must be started from two 
 different points, viz.: from the hub upward and 
 the felloe downward. If they are all drawn from 
 the hub to within a certain distance of the felloe, 
 when the wheels are finished, the laps, if not per- 
 fectly executed, will present a continuous defect 
 around the wheel at those points. 
 
 To obviate this, join the stripes at irregular dis- 
 tances from the felloe, or stripe from the hub and 
 felloe alternately. 
 
 When the face of the spokes also require to be 
 striped, take your position to the left side of the 
 wheel and run on all the stripes on that side ; next 
 do the fionts, and then the remaining side of the 
 spoke^ Should you reverse this order, the stripe on 
 the front or face of spokes would be wiped off or 
 blurred in the act of striping the second side of the 
 spokes. 
 
 Gold Dust. — Gold dust for striping is much 
 preferable to bronze, as it produces a more finished 
 effect, and wears better. It is applied the same as 
 bronze ; it can be purchased in all large cities, it comes 
 in small packages containing one divt. 
 
36 
 
 REMOVING OLD PAINT. 
 
 Jl HE Wakeman Patent Burner for removing old 
 \\ , paint has been used very successfully the past 
 J two years, principally among hou=e painters ; 
 recently coach painters have adopted it especially for 
 cleaning off large work, such as coaches, cars, 
 omnibuses, &c. It consists of a lamp inclosed, 
 throwing a strong flame from a small pipe ; the 
 flame is generated from alcohol, similar to the ex- 
 haust of steam. They are perfectly safe to use. 
 The directions accompanies the burner. 
 
 ROUGH-STUFF OR FILLING. 
 
 jifREXCH Umber has met with success on account 
 
 ir of its cheapness and easy rubbing qualities, and 
 
 ] thus far it has stood the test of wear very well. 
 
 Tully's Patent Filling has also become a general 
 
 favorite on account of its fineness of surface, and it 
 
 being already ground and prepared for use, painters 
 
 find it very convenient, and always uniform for fine 
 
 work. It is without doubt the best filling in use. 
 
 Lump Pumice Stone may be kept clean and 
 sharp, by rubbing it occasionally on a piece of 
 English rubbing stone. — Carriage Monthly. 
 
37 
 
 PAINTERS' COLIC. 
 
 jT OR the benefit of those who may be aftected bv 
 If that much dreaded disease, we give the following 
 ] recipe. During ten years I have not found a 
 single case it did not cure : 
 
 Iodine of potassium, . . ^ oz. 
 
 Water, 4 " 
 
 Mix and take one teacpoonful in a little water 
 three times a day immediately after meals until all 
 pain is gone. If it causes a burning sensation in the 
 stomach diminish the dose. The principal on which 
 it acts is, the iodide neutralizes the poison of the 
 paint, and carries it out of the system. — Carriage 
 Moiiihly. 
 
 WHITE LEAD. 
 
 n Tj HITE lead, no matter how pure, if not suffi- 
 A\\ ciently aged, will not produce as good an 
 'Jj effect as the same article after beins: kept three 
 or four months on hand and then being used, tbe 
 demand being so large that manufacturers are 
 generally compelled to put it in the market before 
 being sufficiently ripened. 
 
 Ivory black is made from ivory shavings burnt 
 to a black coal in a crucible stopped up, and after- 
 ward ground very fine. 
 
38 
 
 Quick-Striping Color — Eequires shorter pen- 
 cils than those used in oil color. 
 
 MiLORi Green. — A very fine and )»rilliant color 
 for striping and ornamental work, it being the best 
 known for that purpose. 
 
 Tuscan Red. — A color lately introduced, meets 
 with much favor, its color similar to drop lake, and 
 its strength equal to Indian rerl. 
 
 Bronzes. — In Germany, mica has recently found 
 application for the production of bronze — like colors 
 which bears the names of " brocades, crystal colors," 
 and "mica bronzes." 
 
 To Mix Lampblack so as to put on One 
 Coat a Day. — Mix one-fifth drying japan, two- 
 fifths oil, and two-fifths turpentine. This will require 
 varnishing to give a gloss. 
 
 Lettering should be charged for by the foot, 
 running measure. 
 
 Lettering in colors, per foot, - 20 to 50 cts. 
 
 Gold, per foot, - - - - 50 to $1.00 
 
 Ornamenting. — Lanscape, figures, fruit, &c., 
 from $1.00 to 10.00 
 
39 
 
 English Filling, Philadelphia Method. — 
 Take 5 lbs. filling, dry^ mix with turpentine on stone, 
 add Ih. pints japan, 3 gills oil, 3 lbs. pure white lead, 
 3 gills varnish (rubbing). Apply two coats a day. 
 
 Quick or Hard-drying Putty. — Use dry white 
 lead, mixing two-thirds quick-drying varnish and one- 
 third japan, using a little turpentine. This putty 
 can be kept any length of time in water ready for 
 use. 
 
 For Coating Wood with a Substance Hard 
 AS Stone. — Forty parts of chalk, fifty of resin and 
 four of linseed oil, melted together ; to this should 
 be added one part of oxyd of copper, and afterward 
 one part of sulphuric acid. This last ingredient 
 must be added carefully. 
 
 The mixture, while hot, must lie applied with a 
 brush. 
 
 Fine Gold Bronze. — By using the best quality 
 of bronze a very good imitation of a gold stripe may 
 be produced, without the necessity of laying on a 
 size. The bronze can be mixed in varnish, boiled 
 oil, or raw oil and japan. 
 
 It should be used from a small vessel, so that it 
 may be stirred occasionally, as the bronze will have 
 a tendency to settle down to the bottom. Purchase 
 the finest quality. 
 
40 
 
 Jonquil Yellow. — Cremnitz, flake or china 
 white, lemon chrome, and a small portion of 
 vermilion or carmine. 
 
 The jonquil is a species of daffodil, a plant having 
 a yellow flower. 
 
 Sponge. — Are you aware that the sponge you are 
 using from day to day is pinned together with me- 
 tallic pins, similar in form to those used at the toilet ? 
 The microscope proves this to be true. 
 
 A body sponge should not be used on a gearing, 
 and vice versa. 
 
 Putty that will bear Leveling with Pum- 
 ice Stone. — Dry white lead, mixed in hard-drying 
 rubbing varnish. It should stand two days. It will 
 not sand-paper smoothly, being more apt to tear out. 
 For bruised places, on a job that has been brought 
 to a surface, it is indispensable. It should be kept 
 under water. 
 
 Soft Putty that will not require Sand- 
 papering. — Take one part whiting to three of lamp- 
 black ; mix in oil. It is useful at times in puttying 
 irons that do not fit closely to the body, and serves to 
 keep pumice stone and water from enter'ng, thus 
 saving time, labor, and, it may be, the mortification of 
 having a job spoiled. 
 
41 
 PAINTS AND VARNISHES. 
 
 E append a few leading articles from our price 
 list in " Thf Carriage Monthly, ^^ which we cor. 
 rect each month. This, of course, doi.'S not 
 include our full stock, and it would be impossible to 
 go into detail without furnishing a separate catalogue 
 of the same. 
 
 Prices for the following list will be found in " The 
 Carriage Monthly'^ to which we would refer our 
 patrons, as it is revised and corrected by us each 
 month. 
 
 VARNISHES —Brilliant wearing^ body; finishing body, ex. pale; fin- 
 ishing body, No. 1, pale ; finishing body. No. 1, hard drying; car- 
 riage, No. 1, light color; carriage, No. 2; rubbing light color; mining 
 or color ; Harland & Son's English ; Noble & Hoar's English ; black 
 enamel English for carriage tops; black enamel American for carriage 
 tops ; West's enamel dressing for carriage tops and dashes ; Black 
 body varnish. 
 
 PIOTROWSKI'S PERMANENT WOOD FILLING. 
 
 PAINTS. — Black — Raven's wing drop; refined English drop; No. 1 
 English drop; ivory, drop black in japan; No. 1 pat. drop; Eddy's 
 refined lamp ; extra coach painters' lamp ; refined coach painters' 
 lamp ; Germantown. 
 
 Blues. — Pure Chinese ; No. 1 Prussian ; No. 2 Prussian ; Ultramarine, 
 No. 0; No. 1; B; celestial. 
 
 Greens. — Malori green, three shades ; pure chrome, L. M. & D. 
 shades ; extra dark ; bronze or quaker ; pure emerald ; pure Paris ; 
 Brunswick. 
 
 Reds.— Best carmine No. 40 ; Victoria lake ; Florentine do. ; Supr. Rose 
 do.; English purple do.; Mauve do.; Vienna do.; Red Brown do.; 
 violet do. ; fine crimson or claret lake ; chatamuck or carmine lake ; 
 rose lake; best rose pink; pure Indian red: Tuscan red; Vermil- 
 ions—English pale ; deep ; Gergoth. pale ; deep ; Chinese ; Trieste ; 
 Italian ; American ; Eng. Ven. ; red lead. 
 
 Whites.— Pure lead; Colorado lead; Nevada; Dakota; Cremnitz for 
 striping; whiting; pure dry lead. 
 
 Yellows.— Pure chrome, L. M . & D. shades ; Orange do. ; Bradon ; 
 French ochre; Eng. stone ochre; Eng. chrome ; French do. 
 
42 
 
 IVOEY BL\CK IN JAPAN, a very superior article, ground by Felton, 
 Rau & SiBf.EY and highly endorsed by the trade. 
 
 SUPERIOR WET COLORS, (Masury's).— Superfine ivory drop black, in 
 oil; do in japan; orange chrome; coach painters' dark green; 
 lemon chrome; fine drop l)lack, in oil; Indian red; pure Prussian 
 blue; coach painters' medium green; golden ochre; deep orange 
 chrome ; coach painters' light green ; me lium chrome; Italian burnt 
 sienna; burnt Turkey umber; Italian raw sienna; genuine Vandyke 
 brown; raw Turkey umber; royal red; silver white; sup. scarlet 
 lake, C. ; sup English purple do. ; sup. English crimson do. ; sup. 
 Munich do B. ; sup. carmine do. B. ; sup. crimson do. B. ; English 
 vermilion ; No. 40 carmine ; lakes in ^ cans 
 
 MISCELLANEOUS. — Extra flint or sand paper; sup. Irish glue, very 
 strong; Buffalo glue ; broid scraping or body knives ; dryin.? japan ; 
 turpentine; Jinseed oil; English tilling; English rubbing stone, 
 pumice stone, ground ani lump selected; extra fine gold striping 
 bronze ; chamois ; French umber (equal to English filling) ; Tully's 
 Patent Filling. 
 
 BRUSHES. 
 
 Paint.— 0; 00; 000; 0000. Varnish— 0; 00; 000; 0000; Badger hair 
 flowing ; Fitch do. ; camel's hair striping pencils; saVjle do 
 
 BEST PAINT MILLS.— Large and .small. 
 
FELTON. RAU & SIBI. 
 
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