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Guide 
 
 TO 
 
 Bronzing and Enamelling 
 
 BY 
 
 , , > , 3 
 
 3,333 3 '3 a 3 
 
 REPRESENTING 
 
 The Fuchs & Lang Manufacturing Co., 
 
 29 Warren St., New York City. 
 
b 
 
 
 <H 8 
 
 THE LIBRARY OF 
 CONGRESS, 
 
 Two Copies Received 
 
 AUG. 5 1901 
 
 COPYRIGHT ENTRY 
 
 GfcfifeS - XXc . No. 
 COPY B. 
 
 Copyrighted, 1897. by James Croke. 
 Second Edition, Revised, 1901. 
 
 • • •-• 
 
 HUNGtBFDRO-HOLBROOK CO., WATERTOWN, N. 
 
TO THE READER. 
 
 AVING fully decided upon the 
 style of architecture and the in- 
 side finish of your house the 
 question comes, How can we 
 furnish our home to beautify it 
 according to the most recent 
 ideas ? 
 
 With a view to assisting those 
 seeking such information, and in response to repeated 
 requests from architects, anticipating builders, con- 
 tractors, patrons and others for particulars, I have con- 
 cluded to put, in as concise a form as possible, a few of 
 the standard rules to be followed to insure the best and 
 most lasting results for interior decoration, where bronzes 
 and enamels are to be used ; and the proper method of 
 applying Bronze Powders by lithographers and printers. 
 
THE FUCHS AND LANG 
 
 MANUFACTURING CO. 
 
 29 WARREN ST., NEW YORK, N. Y. 
 
 328 DEARBORN ST., CHICAGO... 1 35 SO. FIFTH ST., PHILA. 
 
 MANUFACTURERS AND IMPORTERS OF 
 BRONZE POWDERS, :::::: 
 DUTCH METAL, COMPOSITION and 
 ALUMINUM LEAF, : : _ : : : : 
 YELLOW AND BROWN GOLD SIZE, 
 WHITE ALUMINUM SIZE, : : : : 
 GOLD AND SILVER INKS, : : : : 
 METALLIC GOLD PAINTS, : : : : 
 BRONZING LIQUIDS and LACQUERS 
 
 Factory: 
 
 North iith, Driggs and North hth Streets, 
 
 Brooklyn, N. Y. 
 
 WE MAKE OUR BRONZES IN AMERICA 
 
TT 
 
 BRONZING and 
 
 ENAME LLING 
 
 BRONZE AND BRONZING. 
 
 ^fc RONZING is the process of covering metal, ivory, 
 ^^ wood, plaster and clay figures so as to communi- 
 cate to them the appearance of ordinary bronze. 
 
 Bronze is a reddish yellow, fine-grained alloy of 
 copper and tin, in variable proportions. It was early 
 known, and what is usually spoken of as brass in regard 
 to the ancient nations was in reality bronze. The 
 brass, or bronze, referred to in the Bible was probably 
 composed of copper and tin, though some translators 
 consider it likely to have been copper alone. The ex- 
 aminations of the most ancient coins and metallic orna- 
 ments and implements leave no doubt as to the acquaint- 
 ance of the ancients with bronze; so much so that in the 
 antiquarian history of European nations there is a dis- 
 tinct period styled the Bronze Period. At the present 
 time bronze is largely used for house and church bells, 
 Chinese gongs, ordnance or cannon metal, and specu- 
 lum or telescope metal. 
 
GOLD BRONZE. 
 
 /jJ'OLD powder is used for the finer work, and is 
 ^^ prepared by grinding gold leaf with honey, on a 
 stone slab, till a very fine state of division is obtained, 
 then washing out the honey, and drying the gold powder. 
 Inferior gold leaf, or that which contains much silver 
 and copper, yields the German gold powder employed in 
 bronzing. 
 
 Copper powder is prepared by introducing an iron 
 bar or plate into a solution of copper, when the latter is 
 precipitated as a finelv divided red powder. 
 
 Mosaic gold, or Musivum, is made by fusing a 
 pound of tin, introducing a half-pound of mercury, 
 alloCving the alloy or amalgam to cool, then pulverizing 
 and grinding up with a half-pound of sal-ammoniac and 
 seven ounces of sublimed sulphur. Ultimately the 
 whole is subjected to the process of sublimation, when 
 the tin, as a brilliant yellow powder, resembling gold, is 
 left in the subliming vessel. The color of mosaic gold 
 may be deepened by the addition of red oxide of lead, 
 and it then assumes a copper tint. 
 
COPPER. 
 
 /tfp'OPPER is one of the most anciently known metal, 
 ^"^ and its name is derived from the island of Cyprus, 
 where it was first obtained by the Greeks. In the earlier 
 times, copper does not appear to have been employed by 
 itself, but always in admixture with other metals, princi- 
 pally tin, forming what is now called bronze. 
 
 There is every reason to believe that, next to the 
 large quantities of tin which they obtained, one of the 
 greatest inducements which the Phoenicians had in mak- 
 ing searches for metal in Great Britain was the copper 
 which they procured in their workings at Cornwall. 
 
 BRASS. 
 
 RASS is an alloy of copper and zinc, largely used 
 for household furnishings, certain parts of ma- 
 chinery, and other ornamental and useful ornaments and 
 articles. Technically, the term " Brass " is extended so 
 as to include compounds of copper and tin, as in brass 
 ordnance ; but such alloys of copper and tin, though 
 styled hard " brass," are more strictly varieties of bronze. 
 In the manufacture of bronze on a large scale, two parts 
 by weight of copper to one part of zinc are used, the 
 zihc being one half the weight of copper ; but alloys are 
 made for particular purposes with less or greater pro- 
 portions of zinc. 
 
TO DO BRONZING SUCCESSFULLY. 
 
 jjy RONZING is carried to a greater success nowadays 
 *^ than it ever was before. This is partly on account 
 of the superior bronze powders we now obtain and also 
 of a better knowledge of their manipulation and applica- 
 tion. Bronzing can be done now to look almost as 
 well as gold leaf, and for all interior work is practically 
 as good. The bronzing that was done only a few years 
 back was a sorry specimen to gaze upon after the rays 
 of light had cast their brightness upon it a few days. 
 Not so now. Light has little effect upon it ; only the 
 severe changes of the elements mar its beauty. 
 
 All metals, except gold and aluminum, will tarnish 
 with exposure, and it is folly to suppose any liquid sub- 
 stance will hold them intact. We may prolong their 
 polished brightness by successful manipulation and the 
 use of proper liquids, but time and the elements will 
 cause their decay sooner or later. 
 
 How to extend their life and promote their beauty 
 to the best advantage is the purpose of this work. Many 
 a painter in the small cities (and the large ones, too, for 
 that matter), might do quite a little shop business during 
 the slack times of winter and midsummer, by supplying 
 himself with a variety of the best grades of bronzes and 
 doing a little hustling, either by samples, advertising, or 
 both. The fashionable parlor is not complete now without 
 
a gilded chair, which any painter can do and do hand- 
 somely, and to last, by following instructions herein 
 given. Not only the chair, but a thousand other articles 
 too numerous to mention, can be done by the house 
 painter and decorator with profit. A few other articles 
 we might mention are frames, picture mouldings, hall 
 trees, lamps, gas fixtures, and entire bed-room sets in 
 colors, stripes and ornaments. And besides the various 
 bric-a-brac ornaments, there are show-card signs, store 
 fronts, carriage gears, both for the babies and the grown- 
 up folks ; then, again, the various wire screens, iron 
 guards and railings look well touched up in bronze. 
 And further mention could be made of the decorative 
 work in stencil and fresco that is in this line of bronz- 
 ing also. 
 
 Let me say to all amateurs in bronze manipulation, 
 Get the best. The extra cost is nothing in comparison 
 to the satisfaction of doing work that will be pleasing, 
 satisfactory and lasting ; and besides, the better class of 
 bronzes are so much finer they spread out to a greater 
 extent, and the prices are not so much at variance as at 
 first supposed. One must not always suppose that be- 
 cause an article is higher in dollars and cents it is the 
 most expensive. It's like buying three pounds of cheap 
 color to tint a pot of lead, when one pound of good col- 
 or would have done the work at a third less outlay. 
 
 The most successful method of bronzing, whether 
 
a chair, frame or store front, is to apply the bronze dry. 
 Get your surface as clean and smooth as possible and 
 then give it a coat of almost flat lead, tinted a little 
 toward the color of bronze. But do not try to get the 
 color too close in tint for the first coat. The reason is 
 this : Suppose you mix your color for the first and second 
 coats the same shade ; it is ten chances to one that there 
 will be " holidays " in the second coat, and when you 
 apply your bronze there will be places where it will not 
 take, causing you much trouble in touching up. Sup- 
 pose you are going to apply copper bronze ; tint your 
 lead for the first coat with orange chrome — not too dark, 
 but just a medium shade. Put in enough ." turps" and 
 driers to insure a good, hard surface when dry. Re- 
 member that too much japan and oil never dries crisp 
 and hard, but, on the contrary, is always gummy. Your 
 next coat should be mixed to approach the color of the 
 copper. Orange chrome and Indian red will do as well 
 as any combination you can obtain. Sizing for store 
 fronts and all large surfaces should be mixed with nearly 
 all boiled oil and a little carriage varnish ; for vehicles, 
 coach varnish and a little oil ; for chairs, frames, and 
 small articles, gold-size Japan will be best. Now watch 
 your surface, and when it dries sufficiently to become 
 slightly " tacky," apply the bronze with a piece of raw 
 cotton and a soft-hair brush. The places not accessible 
 to the cotton must be done with the brush. 
 
FOR RADIATORS. 
 
 Use a thin, light-flowing liquid, made of good copal 
 varnish, boiled, and diluted with benzine, as this will not 
 discolor the bronze, and the drying capacity of benzine 
 is such as to leave the bronze in its natural lustre, with- 
 out giving it time to discolor. 
 
 Of course you can take more chances with the store- 
 front mixture. The bronze will take this many hours 
 after it is apparently in the right condition, which will 
 give you time to get over the whole without danger of 
 being too dry. Not so with your chair mixture. If this 
 gets too dry, the bronze will only take in patches ; there- 
 fore it is necessary to commence the work of applying 
 the bronze just as soon as you can brush it on without 
 moving the surface. Stand the article away to harden 
 some, after which the surplus is to be all cleaned off, and, 
 with a piece of chamois skin, you can polish your work 
 up. It will be seen at once that the dry application is 
 much superior to using the bronze in liquid form. Here 
 the metal appears in all its native beauty, whereas in 
 mixing with the liquid, it has a sickly, deathly appear- 
 ance, the same as gold leaf appears after being varnished. 
 Never use a rosin varnish about bronze. Rosin has a 
 tendency to color metals very rapidly. Although glue, 
 with a little syrup added, may be successfully used for 
 bronzing on cardboard signs or any water-color work, yet 
 gold-sized japan is much preferable. 
 
 7 
 
In bronzing silk, cloth or banner work of any kind, 
 two coats of sizing are always necessary. The first 
 coat may be of glue, or the two coats gold size or good 
 varnish. Use no oil, especially for first coating, on any 
 kind of fabric work. 
 
 In bronzing plaster casts, the porous surface should 
 be well filled with two or three coats of paint before the 
 sizing is applied. 
 
 In bronzing in imitation of old copper, the same 
 process is gone through as above ; then the work is 
 shaded up with walnut graining color in dappled form 
 or in patch reliefs. The shading must be done in an 
 artistic manner. The color must not be too prominent 
 and must be well blended off" to have the retreating edges 
 almost imperceptible. The work is then varnished with 
 a good rubbing varnish and rubbed to a wax finish. If 
 a high polish is desired, without regard to expense, two 
 coats of rubbing varnish are applied, after which it is 
 rubbed to a smooth, level finish and re-varnished with a 
 first-class body varnish. The varnish must be flowed 
 on quite freely and in sections to insure a perfect and 
 high-gloss surface. 
 
 In bronzing carriage gears, the work is brought up 
 to the finishing varnish in colors to suit the bronze 
 desired. The surface is then sized, bronzed, and, when 
 dry, polished, thoroughly dusted, washed, and the finish- 
 ing varnish applied. 
 
 8 
 
HINTS ON RADIATOR BRONZING. 
 
 (%N occupation which has originated since the systems 
 / *^ of steam and hot-water heating have been so ex- 
 tensively introduced is that of painting and decorating 
 radiators. Here we have a new industry, and one that 
 commends itself as filling a long-felt want. The refin- 
 ing influence of art and the conquests of gilt and paint, 
 bronze and enamel, over the rough and unfinished cast- 
 ing, are sure to please the eye and taste of all who use 
 radiators. 
 
 The business of decorating radiators of all kinds 
 has become an established trade, and the blending of 
 colors, both in bronze and enamel, to match wall paper, 
 tinted walls, woodwork, carpets, etc., causes instant ad- 
 miration when practically carried to perfection. A radi- 
 ator is considered by some as an eyesore to a room, but 
 under the artistic brush of a practical radiator decorator 
 it is soon changed to a positive ornament. The appli- 
 cation of bronze or special radiator enamel will not effect 
 the radiation of the pipes in the least. After radiators 
 have been in use for a short time they begin to look 
 shabby, there is every need of their being attended to by 
 some one who is familiar with the work. The demand 
 for this class of work is very extensive. 
 
 For the benefit of those who have not studied this 
 question more closely, we give a few hints regarding the 
 
 9 
 
decoration of radiators with bronze. A majority of radi- 
 ators today are simply done in gold bronze or gilded. 
 This is the cheapest method employed in finishing radi- 
 ators by steam fitters and contractors ; and because the 
 fitter finds it hard to suit the tastes of the person hav- 
 ing the work done. This is a frequent occurrence with 
 fancy and ornamental radiators. Why ? Because the 
 steam fitter has not the experience in the shading and 
 blending of colors that a practical radiator decorator has 
 acquired through his daily work and years of experience, 
 and, in most cases where an artistic decoration is re- 
 quired, will use a horrible combination of color, at least 
 not satisfactory to the parties having the work done. 
 
 Combinations of colored bronzes whose shades are 
 near to each other ought to be avoided carefully, espec- 
 ially gold with any other color with a light contrast. Fol- 
 lowing are a few very pretty combinations in bronze 
 where two colors are used: 
 
 Gold body with Aluminum on ornamented part. 
 
 Gold body with Green on ornamented part. 
 
 Gold body with Copper on ornamented part. 
 
 Copper body with Gold on ornamented part. 
 
 Copper body with Green on ornamented part. 
 
 Green body with Copper on ornamented part. 
 
 Green body with Gold on ornamented part. 
 
 Aluminum body with Gold on ornamented part. 
 And many other combinations when the colors of the 
 room require it. A beautiful and quiet effect is pro- 
 
 10 
 
duced by bronzing a radiator with black bronze and 
 decorating the ornamental parts with gold bronze. 
 
 OXIDIZED SILVER. 
 
 An oxidized finish makes a very pleasing effect for 
 a radiator. To produce this finish the following rule 
 should be observed : First clean the radiator of all rust 
 and oil, then bronze it with a good quality of aluminum 
 bronze. When thoroughly dry and hard, apply one 
 thin coat of white shellac. When thoroughly dry cover 
 the surface with an oil black ; allow this to set for a 
 short time, then wipe all the black possible from the sur- 
 face. If carefully done will leave an oxidized surface. 
 
 For obtaining best results in matching wall paper 
 with a cream-colored ground, mix gold and aluminum 
 bronze together in about equal parts. Keep it well 
 stirred, and apply carefully. This combination has been 
 used by the writer with good results. 
 
 The question has often been asked of the writer, 
 How many feet of radiation will one pound of gold bronze 
 cover ? This is a question that is impossible to answer, 
 as it depends entirely upon the persons who use the 
 material, whether they will mix the bronze and liquid in 
 thinner or thicker proportions. A fairly good job, how- 
 ever, is done by using one pound of bronze to one quart 
 of bronzing liquid. The same will cover about one 
 hundred square feet of radiator surface in any of the 
 
 ii 
 
standard radiators. It is the opinion of many persons — 
 which I have found in my experience to be a mistaken 
 one — that a higher-priced bronze will cover more sur- 
 face than a cheaper grade. I have repeatedly shown this 
 to be a mistake, and could never get more work out of a 
 higher-grade bronze than out of the cheaper grades. 
 But the great advantage of higher and medium grades of 
 gold bronze is that they contain a better material, and 
 consequently will look much brighter and more lustrous 
 than the cheaper grades. 
 
 PATENT BRONZES. 
 
 yTVEVER use the so-called patent bronzes for radiator 
 tS decoration. These bronzes are originally silver 
 bronzes, and their high, brilliant color is given with 
 aniline. The heat of the radiator will destroy the aniline 
 color in a very short time, and nothing will be left but a 
 soiled, dull silver bronze. If the above hints are taken 
 advantage of, the decoration of radiators (in itself not 
 an easy matter) will be greatly simplified, and the fitter 
 and consumer will doubtless be helped in their efforts to 
 please themselves and others. 
 
 Some time ago the writer made experiments with 
 these so-called patent bronzes, the results of which may 
 be interesting to the reader. Applying to the surface of 
 several stones a coat of the various patent bronzes, also 
 
 12 
 
gold and aluminum, in order to determine the durability 
 of the various bronzes, with results as follows : After 
 bronzing the stones they were exposed to the elements, 
 and within two weeks the gold and aluminum bronze, 
 while having lost its lustre, retained its original color; 
 while the patent bronzes, exposed to the weather the 
 same length of time, had bleached out, eliminating all 
 traces of their original shades, leaving the surface of the 
 stones with a dull silver effect, which substantiates be- 
 yond any doubt what the writer has already stated, that 
 the patent bronzes are produced from silver bronze and 
 colored with aniline. 
 
 Bronze has come down in price to such a degree 
 that the consumer can buy it at $1.00 to $2.50 per 
 pound in a quality equal to the one for which he used to 
 pay from $3.00 to $6.00 per pound. But care ought to 
 be used to buy only bronze powder which shows per- 
 fectly dry and brilliant in the bulk, and is made with the 
 addition of as little oil as possible, as this will keep its 
 original color a great deal longer than bronze that has 
 been made with oil. And this brings us to the leading 
 question in radiator bronzing. — Which bronze will keep 
 its color longest on radiators ? 
 
 Bronze, with the exception of aluminum and silver 
 bronze, is made out of copper, etc., and the tendency of 
 heat is to darken the color of copper. The consequence 
 is that all bronzes, with the above exceptions, will turn 
 
 1 3 
 
darker if exposed to the heat for any length of time. 
 All gold bronzes will turn to a darker orange-like color in 
 time, but if worked properly in the way stated above, a 
 " dry-ground " bronze will keep a little longer than any 
 of the oily, so-called " fine-ground " bronzes, owing to 
 the absence of oil, which is likely to change the bronze 
 to a blackish yellow. If an absolutely untarnishable 
 bronze is required, let the fitter or consumer use u pure 
 aluminum bronze," which will never change its color. 
 
 ALUMINUM BRONZE. 
 
 ALUMINUM bronze cannot be too highly recom- 
 **' mended for radiators in place of silver bronze. 
 It is whiter in color, more brilliant in lustre, and, as 
 stated above, absolutely untarnishable if pure. Heat will 
 not affect its color. The price of aluminum bronze is 
 very reasonable, and for all practical purposes it is 
 cheaper than silver bronze. One pound of aluminum 
 bronze contains a quantity equal to three pounds of 
 silver bronze, and it is the only bronze material that can 
 be ground fine enough to cover more surface than other 
 bronzes. 
 
 I desire to caution the reader against the adulter- 
 ated aluminum bronze, of which considerable is sold. 
 This bronze contains about three quarters of aluminum, 
 and one quarter of silver bronze is added, in order to 
 
 14 
 
meet a cheaper price. The presence of silver bronze 
 will diminish the quantity to the pound, and seriously 
 impair the standing quality of its color. Upon close 
 examination the adulteration may be detected, however, 
 as the pure aluminum, if placed on the finger nail, will 
 look whiter and more silk-like than the adulterated 
 substitute. 
 
 ALUMINUM PAINT. 
 
 f^LUMINUM, when reduced to powder, and mixed 
 '**' with a solution in water of gum-lac, gives a 
 metallic paint which covers well, and may be shaded 
 with aniline colors, dissolved in water. The solution of 
 gum-lac is made by bringing to the boiling point a mix- 
 ture of gum-lac and borax and an alkali, such as soda of 
 ammonia. 
 
 The solution must contain at least from fifteen to 
 twenty per cent of gum-lac. Aniline colors are added 
 to produce the shade desired, and aluminum is added in 
 sufficient quantity to produce a paint sufficiently fluid for 
 application with a brush. The color is brilliant, very 
 durable and impermeable, and may be applied to metal, 
 paper, wood and wooden materials, yachts, etc. It may 
 be rendered supple by the addition ot a small quantity 
 of glycerine. 
 
 15 
 
POSSIBILITIES OF ALUMINUM. 
 
 'TfjfF aluminum ever becomes available as a commercial 
 "^ product, there will be no limit to its uses, for it is 
 far more abundant than any other metal or mineral. It 
 is contained in common clay, of which it constitutes one 
 of the chief ingredients. At present it cannot be got 
 out of the clay except by burning the latter at a heat 
 four times as great as that of the ordinary ^melting fur- 
 nace, — a heat that cannot easily be produced except by 
 electricity; but the progress of chemistry is likely to dis- 
 cover some new and cheaper process of extraction. 
 Some of the most alert minds in Germany, England and 
 this countrv are concentrated on experiments with clay. 
 Scores of patents have already been taken out in all 
 countries. Anv year may witness the solution of the 
 problem and the creation of a metal which may relegate 
 steel to the background. 
 
 BRONZING LIQUID. 
 
 J|pjO not use thick or turpentine liquids to mix your 
 ^^ bronze. A thick, heavy bronze liquid, when 
 mixed with bronze, will make it look like a yellowish 
 paint covered with varnish, and despoil it of its metallic 
 appearance. A turpentine liquid is even more dangerous, 
 as the tendency of turpentine is to color the bronze 
 greenish. Do not try to dissolve varnishes to make 
 
 16 
 
bronze liquids yourself, but buy a carefully and specially 
 prepared liquid for all purposes, and the result will be 
 gratifying to yourself and your patrons. 
 
 Of course I have often met the objection that 
 benzine liquid dries too quickly and could not therefore 
 be used to advantage in the bronzing of hot radiator 
 work. Just so. The work should not be bronzed hot, 
 if this can possibly be avoided. I have met steam fitters 
 who would heat a radiator up to its highest capacity, and 
 then bronze it, so that the bronze would draw blisters if 
 they just touched the radiator, claiming that this way of 
 using it would consume less bronze and liquid ; while if 
 they had made comparisons on cold work they would 
 have noticed that they had used not only considerably 
 more material, but had done much inferior work. The 
 heat or even moderate warmth in a radiator will hasten 
 the drying qualities of the liquid to such a degree that 
 it will dry almost under the brush, before a long, even 
 line is drawn to make a smooth job. If the bronze has 
 not time enough to settle, it will become streaky-looking, 
 and must be done over the second time. Besides this, 
 there is another disadvantage in bronzing warm radi- 
 ators, and this is the danger of having the bronze change 
 its color much sooner than on work that has been done 
 on cold radiators. Every bronze liquid must contain a 
 little oil, and this oil, if not dried out, will, when 
 warmed by the radiator, invariably darken the bronze. 
 
 l 7 
 
This could not happen if the liquid were given a chance 
 to dry on cold work. If the work is done during the 
 cold weather, it will be an easy matter to turn off the 
 heat during the time of decoration without any annoy- 
 ance to the inmates, who will insist upon having their 
 radiators as good and attractive-looking as possible. 
 
 PICTURE-FRAME GILDING. 
 
 *7jfT is a well-known fact that nothing in modern 
 "** times has been produced that is fully equal to gold 
 leaf for the purpose of gilding picture-frames and other 
 ornaments where color, brilliancy and durability are 
 required. It has been the aim of all manufacturers and 
 dealers to approach these qualities, and there has been 
 many imitations placed upon the market which claim 
 to be its equal, but in an experience of fifteen years I 
 have failed to see their claim verified. 
 
 I can supply a bronze and liquid which I do not 
 claim is equal to gold, but is the nearest approach to it 
 of anything that has yet been produced. It is brilliant, 
 durable, and very easily applied, and is an excellent sub- 
 stitute for gold leaf. 
 
 18 
 
BRONZING BY DIPPING. 
 
 ^JT^HE process of dipping in mixed bronze is a suc- 
 cess on certain articles, such as light hardware, 
 cast iron and sheet metal toys. The object being to 
 color the article gold or aluminum where a very bright 
 finish is not looked for. 
 
 While a fairly good finish can be obtained on iron 
 by dipping, it is difficult to dip wood articles with good 
 results, the wood being porous absorbs the liquid very 
 quickly. This causes the bronze to separate, look thin 
 and dull ; it will also peel off. 
 
 The difficulty with bronze dipping is in keeping 
 the bronzing material well stirred and of the proper 
 consistency to adhere, cover and drip. 
 
 A tub for dripping should be made to slant toward 
 the centre. A revolving roller to run slowly through 
 the tub lengthways will keep the material well stirred. 
 
 A special bronze liquid is made for dipping pur- 
 poses. A dipping liquid should be a light flowing liquid. 
 It will drip and become hard in less than one hour. 
 
 STRIPING BRONZES. 
 ijJ^OLD, aluminum and copper striping bronzes are 
 ^^ the product of the higher grades of French leaf 
 bronzes. After going through a process to extract the 
 finer from the coarser particles, dried and polished, it is 
 then ready for the consumer. 
 
 l 9 
 
Gold and aluminum striping bronzes are mostly 
 used by carriage painters, and would have been in 
 greater demand by this trade if known to them where 
 some could be procured and at a reasonable price. The 
 writer has called upon scores of carriage painters during 
 the past five years that have experimented with the 
 ordinary bronzes. The results being very unsatisfac- 
 tory, having bought their bronzes from jobbers and 
 paint dealers who were not aware of the difference in 
 striping from other bronzes. 
 
 In buying bronzes it is advisable to buy from the 
 
 manufacturer. 
 
 To obtain best results with gold and aluminum 
 striping bronzes it is necessary to use a proper size in 
 mixing. 
 
 Many painters will mix turpentine and varnish 
 with their striping bronze and wonder why the results 
 are unsatisfactory. 
 
 Turpentine will discolor bronze, will cause it to 
 crawl and turn a very dark greenish shade. 
 
 Gold size japan or ordinary japan are the best 
 admixture for striping bronzes. For fine lines use gold 
 size japan, for coarse lines use ordinary japan. 
 
 Gold striping is made in two shades — pale gold 
 and rich gold. Copper striping is made in two shades — 
 natural copper and dark copper. Copper is used largelv 
 by piano plate manufacturers and japanners. 
 
 20 
 
Aluminum striping is a light silver shade ; is used 
 largely on delivery and express wagons instead of flake 
 white. It is lighter in shade, has better covering ca- 
 pacity, will wear longer and look better than flake white. 
 
 Aluminum striping bronze is so fine that it can be 
 used for lettering by mixing and applying with a pencil 
 like any ordinary japan color. 
 
 m 
 
 HOW TO USE GOLD PAINT. 
 
 IX in a shallow vessel a small quantity of the gold 
 powder with sufficient liquid to give it the con- 
 sistency of paint, and apply the mixture with a soft 
 brush. Do not prepare more of the mixture than re- 
 quired for immediate use. A second application, when 
 thoroughly dry, will improve the appearance of all 
 objects on which this gold paint is used. 
 
 21 
 
LITHOGRAPHERS 
 and PRINTERS 
 
 ^P*HE consumption of Bronze Powder by the Litho- 
 ^^ graphers and Printers, is greater than in all other 
 lines of business where bronze powder is used. Until 
 within a few years, lithograghers and printers applied 
 their bronze powder by hand, that is, after applying the 
 gold size on their presses, they used a bronzing pad 
 covered with chamois skin or beaver fur dipped in dry 
 bronze powder, then lightly going over the surface sized, 
 when it would be set one side to thoroughly dry, before 
 dusting off to remove the superfluous powder from the 
 sheets. 
 
 While many lithographers and printers continue to 
 applv their bronze powder by hand, a majority of the 
 larger, and many of the smaller houses, have adopted the 
 new process of applying their bronze powder by machine, 
 (a cut of which is shown on the following page). 
 
 22 
 
COMBINATION BRONZING AND DUSTING 
 
 MACHINE. 
 
 Made in Fifteen Sizes. 
 To bronze sheets from 14x25 to 64 x 64 ; adjustable to all 
 thicknesses of paper or card board. Will bronze from 1,000 to 
 2,000 sheets per hour, according to size of machine. 
 
 Will bronze sheets up to size 14x25. 
 Sizes: — 14x25; 16x30; 20x30; 20x35; 25x36; 
 25x38; 30x44: 34x50; 36x50; 36x54; 44x56; 
 48 x 65 ; 64 x 64. 
 
 23 
 
Provided with patent devices for applying, polishing 
 and removing the superfluous powder from the sheets, 
 which after being bronzed are deposited upon the deliv- 
 ery-board with the bronze side exposed to view. This 
 machine has been manufactured during the past ten 
 years, improvements being constantly added — 1,500 are 
 now in use in the United States and Canada. 
 
 It is acknowledged by the many lithographing and 
 printing houses throughout the country who are now 
 using the Combination Bronzing and Dusting Machine, 
 that for the average class of work it will bronze and dust 
 effectively in one operation. The machine is built on 
 thoroughly scientific principles, and devoid of all unnec- 
 essary mechanism, one of the features being that all ad- 
 justments are made on the outside. Heavy, or thin 
 paper can be bronzed and dusted equally well, without 
 readjusting the machine. This patented improvement 
 overcomes the great danger of the delivery roller being 
 wrongly adjusted, and the sheets sticking in the machine. 
 The fountain, which is also secured by patent, is the 
 only effective fountain applicable to a bronzing machine. 
 Besides the knives which regulate the flow of bronze, 
 a sectional brush is attached in such a manner that the 
 bronze is sprayed directly on the sheet, and awav from 
 the bronzing pads, this allowing them to do their work 
 more effectively than by any other known process. 
 
 24 
 
By setting any particlar section of the brush closer 
 to or farther from the fountain roller, a stronger or lighter 
 flow of bronze will be sprayed on the sheet under that 
 section. 
 
 No extra cams for different sized sheets are needed, 
 as the flow of bronze can be regulated to any sized sheet 
 by a set screw. 
 
 If a printer would consider the advantages of a 
 Combination Bronzing and Dusting Machine he would 
 not long be without one. It will thoroughly bronze 
 and dust 1,000 to 2,000 sheets per hour, without scat- 
 tering bronze, as happens when the work is done by 
 hand, and saves a great deal of labor and more time. 
 
 The larger machines grip the long side of sheet, the 
 same as a steam press does. This overcomes the danger of 
 stretching a large sheet out of register and also facilitates 
 the bronzing, as sheets need not be turned while travelling 
 from the press to the bronzer. 
 
 Should it be necessary to change from one shade of 
 bronze to another, the machine can be thoroughly cleaned 
 in one half hour. 
 
 It has been said that the cheaper grades of bronzes 
 are good enough for the average lithographer and printer. 
 This is not so. In fact, the finer grades of bronzes are 
 none too good. The lithographer and printer of toda) 
 will not use cheap chemically made bronzes, they prefer 
 the new Leaf Metal bronzes, especially where the work 
 
 25 
 
is to be embossed after being applied. This new Leaf 
 Metal bronze is especially adapted for the lithographer 
 and printer. It can be worked on all grades of paper or 
 card without sticking or smutting the stock, and gives an 
 unusually fine, bright and finished appearance. 
 
 This bronze is destined to take the place of the 
 high priced French Leaf bronze powders, because it will 
 cover as much surface, does not adhere to the rougher 
 kinds of stock, and possesses the same brilliancy and 
 fineness. It is carefully made from the scraps of Dutch 
 metal, the best obtainable article used in making high 
 priced bronzes. It will also preserve its color and dur- 
 ability. The quality of this bronze will be maintained 
 to a uniform standard and can be furnished in any desired 
 shade, as follows : 
 
 Pale Gold, Rich Gold, Pure Gold, 
 
 Green Gold, Deep Gold, 
 
 Lemon, Copper, Orange, 
 
 Fire, Crimson, 
 
 Lilac, Maroon, Blue, 
 
 Silver, Aluminum, 
 
 High Red, Yellow, Olive Green, 
 
 Navy Blue, Dark Blue, 
 
 Dark Green, Antique Green, Sea Green, 
 
 Light Blue, Grass Green, 
 
 Rohe, Amaranth, Violet, 
 
 Emerald Green, Magenta. 
 
 BRONZE SIZING. 
 
 ^frRONZE sizing is made in three shades,Yellow, Brown 
 ^^ and White, and is ground to set quick, medium 
 
 26 
 
and slow. For obtaining best results in bronzing, it is 
 necessary to use a size specially adapted to the grade of 
 paper or card to be bronzed, as well as the shade of bronze 
 to be used. Yellow and Brown size is used for Gold 
 and Colored bronzes, while White size is made specially 
 for Aluminum bronze. 
 
 On glazed papers a special Glazed Paper Size must 
 be used to obtain the best results. A regular size is 
 liable to pick the glaze or allow the bronze to rub off 
 when dry. 
 
 The cover of this booklet is bronzed with pure 
 Aluminum bronze over white size. 
 
 GOLD AND SILVER INKS. 
 
 /fjTOLD and Silver Inks are used like ordinary inks, 
 ^^ though it is necessary to follow certain rules to 
 secure the best results. Gold and Silver inks should be 
 flowed on the disc from a fountain, as it is necessary to 
 use these inks freely to secure a lustre to the bronze. 
 Use only rollers that have been in use a long time, that 
 is, a dry roller. A new roller, being damp, repells the 
 bronze and effects the lustre, especially on glazed paper. 
 
 Gold ink is made in two shades — Pale Gold and 
 Rich Gold. Silver ink is made of Aluminum, and gives 
 a white and silver-like finish. 
 
 A specially prepared varnish is used for thinning. 
 Do not try to thin with ordinary varnish. 
 
 27 
 
ENAMEL and 
 ENA M E LL ING 
 
 ^IT^HE almost universal use of enamel, like bronzes, for 
 ^^ work in which, hitherto, the house decorator and 
 painter have been considered necessary, and at the same 
 time the frequent misuse of these mediums, from ignor- 
 ance in their application, call for a guide to their manipu- 
 lation, with directions as to the treatment of different 
 substances and articles. The very simplicity of the 
 medium is a difficulty in itself, as people are apt to 
 be careless about work that entails little or no trouble. 
 Things that can be done at any time are very often not 
 done at all, and so things that require no trouble are as 
 often as badly done ; therefore, whenever failure results 
 in the use of enamel, it cannot be too emphatically stated 
 that the fault rests with the operator. If the following 
 simple directions are not followed, and the mistakes 
 avoided, the material itself will not only be wasted, but 
 the article under treatment spoiled. 
 
 Pure enamel does not dry quickly. If it did so it 
 would chip, as do all the much-advertised imitations. 
 Tin, to which it has been applied, can be dented without 
 chipping or breaking the medium. Turpentine must 
 rarely be added to the enamel, as it makes it dull. Thin- 
 ning is not required in a pure enamel. Enamel should 
 be ready prepared and in every particular fitted for im- 
 
 28 
 
mediate use. For all large surfaces use a three-inch hog- 
 hair brush ; for radiators and bath tubs, a one and a half 
 or two-inch brush. For smaller articles a one-inch 
 badger-hair brush can be used with great advantage in 
 painting an article. They produce a fine, smooth, liquid- 
 looking surface, but are expensive. Brushes should be 
 thoroughly cleaned with turpentine each time they are 
 used, and to preserve them for future use they should be 
 suspended in linseed oil. One gallon will cover forty 
 square yards of a non-porous surface, or about a half-pint 
 to two and a half square yards. It is well, when the 
 wood is new, to give it a priming coating of common 
 paint. This will render it non-porous and economize 
 the enamel. 
 
 Terra-cotta articles ought first to be sized, as this 
 ware is very porous. If preferred, a common paint may 
 be used for the priming medium. 
 
 Picture-frames must be carefully washed before 
 enamelling. For these, two thin coats will be sufficient. 
 
 Should any object, or any portion of a room, under- 
 go much fingering or unusual wear and tear, one coat of 
 clear enamel, after the color has thoroughly dried, will be 
 found a first-rate preservative. There are very few 
 articles of domestic use to which enamel is not applic- 
 able, and as stated further on, its value for decorative 
 purposes cannot be made too well known. 
 
 29 
 
Cold deteriorates its drying power. Keep the 
 enamel always securely covered up, as the air will cause 
 the contents to skin and become useless. 
 
 In line summer weather open the windows and let 
 the articles enamelled dry in the genial warmth. 
 
 HINTS ON RADIATOR ENAMELLING. 
 
 JpOR many years various kinds of paints have been 
 J) experimentally used in decorating radiators, but 
 none have been satisfactory and durable enough to take 
 the place of bronze powder. As a consequence, no im- 
 provements have been made in the decoration of radiators, 
 which, being a part of the ornamentation of rooms, are 
 very awkward when failing to harmonize with the sur- 
 roundings. In fine apartments it is very desirable that 
 something besides the customary article be used, and to 
 this end the enamel has been brought forward. By its 
 use a beautiful and artistic effect can be produced, by 
 selecting colors harmonious with the surroundings, and 
 in good taste. Combinations with bronze colors are 
 easily made, and thereby the appearance of the radiators 
 changed from unsightly to ornamental features of the 
 rooms. 
 
 Enamel is perfectly adapted to this kind of work, 
 and has been thoroughly tested in all necessary condi- 
 tions, and the results are entirely satisfactory, proving in 
 
 3° 
 
actual practice its ability to stand heat, even when sub- 
 jected to very high pressure of steam. 
 
 Care has been taken to produce a line of shades 
 which can be arranged to suit all tastes, and others will 
 be forthcoming as occasion demands. 
 
 The enamel is easy to apply, and only requires two 
 coats to produce a perfect surface which remains hard 
 and glossy, allowing any discoloration, dust or dirt to he 
 washed off without any injury to its appearance. 
 
 While the first cost is a trifle greater, it is more 
 economical than bronze on account of its greater dura- 
 bility and remaining unchanged in color for years. 
 
 Special shades, to match any sample, made to order. 
 
 For the benefit of our readers, I will furnish good 
 color combinations to those who will write me, stating 
 the pattern of radiator used and the shades of the wall 
 paper, carpets, etc. 
 
 Enamel can be used with admirable effect for 
 steam and water radiators. In this direction there is a 
 wide field for its usefulness. Enamels in all shades can 
 be produced by tinting white enamel, and thereby obtain- 
 ing any shade required for a radiator when being matched 
 to wall paper, tinted walls, woodwork, etc. When a 
 perfect match is obtained a pleasing effect can be had by 
 touching the raised parts of the radiator with gold or 
 silver bronze, or other bronzes to match or blend with 
 the surroundings. The essential object in the decora- 
 
 3 1 
 
tion is harmony, — harmony in design as well as color. 
 This can be obtained with as pleasing results with simple 
 materials and slight expense as with the most expensive 
 elaboration. It is well to give radiators a coat of paint 
 to act as sizing before applying the enamel. This coat 
 should be what is termed a half-flat coat, and this coat 
 should be thoroughly dried before applying the enamel. 
 A very light heat will help the spreading of the enamel 
 in cold weather. 
 
 BATH TUB ENAMELLING. 
 
 rjji TIN bath tub will require three coats, very thinly 
 ™^ applied. Each coat must be thoroughly dry be- 
 fore the next is added. This drying between the coats 
 applies to every article enamelled. Thoroughly clean 
 the bath, and see that it is perfectly dry before applying 
 the enamel. Wherever there is a suspicion of grease, 
 the article must be washed and dried. All articles that 
 have been handled must also be washed. Ivory and 
 snow-white are the best tints for bath enamelling. 
 Also, be careful never to touch the enamel with the 
 hands, as their warmth, and natural, if impreceptible, 
 greasiness, injure the medium. 
 
 It is not necessary to remove old paint before using 
 the enamel ; if the surface is good and smooth, go 
 straight over it. If it is rough, rub it equal and smooth 
 
 3 2 
 
with sandpaper. Should it be requisite to remove the 
 old paint, use turpentine or sandpaper; get as much off 
 as you can, then rub the surface until it is quite smooth. 
 It is a good plan to fill a bath, after it is finished and 
 dry, with cold water, and to let it stand forty-eight 
 hours. This will tend to harden the enamel. 
 
 The outside of an iron bath-tub should be enamelled 
 before it is set in position. First, set the tub upside 
 down. After filing off all rough places and thoroughly 
 going over the surface with sandpaper, apply two coats 
 of white zinc thinned with turpentine ; sandpaper after 
 each coating. Then apply two coats of enamel. In 
 applying the enamel on bath tubs (inside or outside) 
 draw the brush vertically. This will avoid running and 
 sagging of the enamel. After which rub down with 
 pumice stone and water ; thick felt is used for this pur- 
 pose. If properly done will produce a surface as 
 smooth as glass. 
 
 MIXING COLORS. 
 ^7jfN mixing colors for woodwork and interior decora- 
 "*' tions, where it is desired to produce a result in 
 harmony with the wall hangings, a great deal of valuable 
 time is frequently spent in getting suitable tints. The 
 writer remembers spending the greater part of a whole 
 day in endeavoring to satisfy the tastes of a customer of 
 the gentler sex, who insisted that every attempt was out 
 
 LofC. 33 
 
of harmony, but who, strange to say, finally chose the 
 very colors that had been suggested in the first place. 
 In cases of this kind it is well to have on hand a 
 portfolio of colors and tints. This would prove of 
 immense advantage in all cases where colors were to be 
 selected ; but many decorators fail to keep them on 
 hand, generally falling back on a sample book of plain- 
 ground wall paper. This, however, gives no adequate 
 idea of the appearance of a color when \arnished or in 
 oils, as, being entirely without gloss, they are taken by 
 the uninitiated far too literally. Of course, they answer 
 admirably for water colors, but in all other cases espec- 
 ially prepared samples are very useful to have on hand. 
 
 HOW TO MIX PAINTS IN THE 
 PREPARATION OF TINTS. 
 
 The first-named color always predominates. 
 Mixing dark green and purple makes bottle-green. 
 Mixing white and medium yellow makes bufT tint. 
 Mixing red, black and blue makes dark brown. 
 Mixing bronze-blue, lemon-yellow and black makes dark 
 
 green. 
 Mixing white, medium yellow and black makes drab tint. 
 Mixing white, lake and lemon-yeliow makes flesh tint. 
 Mixing lemon-yellow and bronze-blue makes grass-green. 
 Mixing white and black makes gray tint. 
 Mixing white and purple makes lavender tint. 
 
 34 
 
Mixing red, black and medium yellow makes maroon. 
 
 Mixing lake and purple makes magenta. 
 
 Mixing medium yellow and purple makes olive-green. 
 
 Mixing medium yellow and red makes orange. 
 
 Mixing white, ultramarine blue and black makes pearl 
 
 tint. 
 Mixing white and lake makes pink. 
 Mixing ultramarine blue and lake makes purple. 
 Mixing orange, lake and purple makes russet. 
 Mixing medium yellow, red and white makes sienna. 
 Mixing white and ultramarine blue makes sky-blue. 
 Mixing ultramarine blue, black and white makes slate. 
 Mixing vermilion and black makes Turkey-red. 
 Mixing white, yellow, red and black makes umber. 
 
 JAPANNING. 
 
 3APANNING is the process of giving to manufac- 
 tured articles of tin, sheet metal and iron the 
 appearance of lacquered wares. The colors mostly 
 used in japanning material are black and light and dark 
 brown. Black japan is a mixture of copal varnish and 
 ivory drop black (ground in japan). Light and dark 
 browns are a mixture of copal varnish and asphalt in 
 sufficient proportions to produce the desired shade. 
 Various shades are made by mixing copal varnish with 
 colors ground in japan, the following colors being used : 
 Indian red and vermilion, plain or glazed with carmine ; 
 
 35 
 
coach painters' green, light, medium or dark blue, white, 
 &c. Gold, copper and other shades of bronze powder 
 can be used, and produce an excellent finish for piano 
 plates and light hardware. 
 
 Do not undertake to mix your own japanning col- 
 lors, but buv a carefully and specially prepared japan for 
 all purposes, as you will find it cheaper and better. 
 Use only bronze powder which shows perfectly dry and 
 brilliant in the bulk, and is made with the addition of as 
 little oil as possible, as this will keep its original color 
 longer than bronze that is made with oil. Before apply- 
 ing the japan care should be taken to clean ofr all rust 
 and oil, for if not thoroughly clean the japan will 
 peel off. 
 
 Use a flat bristle brush of proper size in coating 
 the articles with japan. The elasticity of the material 
 makes this necessary to secure a smooth and even sur- 
 face. On cheap tinned articles one coat is all that is 
 usually applied. Sheet iron should if necessary have 
 two coats, though one coat can be applied to cover 
 thoroughly when put on by an experienced japanner. 
 Large and small cast iron articles are coated with a 
 brush, though small castings are often dipped and 
 allowed to drip suspended from wires. 
 
 To produce a gold, copper or other bronze finish 
 first coat the article with varnish size, allow the size to 
 become nearly dry, or tacky, and then apply the bronze 
 
 36 
 
with a velvet or plush pounce. Japanned and bronzed 
 articles are given a coat of varnish immediately after 
 being taken out of the baking oven, though this is only 
 when a very smooth and glossy surface is required. 
 
 The process of mixing and applying being finished, 
 it is necessary to place the article in the baking oven. 
 These ovens are specially constructed for the purpose 
 of baking japanned work. They are built in various 
 sizes, according to the room required, usually of brick 
 and having sheet iron doors, with tiers on inside walls. 
 A steady temperature from 250 to 400 degrees F. is 
 required, and articles remain in the baking oven from 
 12 to 48 hours. Heat is obtained by the use of coal, 
 but recently gas has been introduced. The gas oven is 
 preferred, being cleaner, gives a quicker and more steady 
 heat, can be easily regulated and is less expensive to 
 operate. 
 
 37 
 
The FUCHS & LANG MFG CO. 
 
 29 WARREN ST., NEW YORK, U.S.A. 
 
 LARGEST MANUFACTURERS 
 AND EXPORTERS OF 
 
 BRONZE POWDERS, 
 BRONZING LIQUIDS, 
 BRONZING MACHINES, 
 PRINTING INKS, 
 LITHOGRAPH INKS, 
 LITHOGRAPH MACHINES, 
 LITHOGRAPH SUPPLIES, 
 PHOTO ENGRAVING SUPPLIES. 
 
 FACTORY, 
 
 North i ith, Driggs & North 12th St. 
 brooklyn, n. y. 
 
 Correspondence Solicited. Send for Circulars 
 
 WE MAKE OUR BRONZES IN AMERICA. 
 
LUCAS HELPS 
 FOR ENAMELLING. 
 
 LUCAS BATH ENAMEL. 
 
 White and four beautiful tints, will stand 
 hot water, dilute acids and alkalies. Tip 
 top for bath tubs, radiators, registers, etc. 
 The Enamel for Golf Balls. . . . 
 
 LUCAS ENAMEL PAINT. 
 
 Six Tints, 12 Colors, Black and White. 
 Unequalled preservative and decorative 
 agent for home use 
 
 LUCAS ENAMEL PRIMERS. 
 
 Thoroughly reliable for first coat or prim- 
 ing, wood and iron work ; bath tubs, bicy- 
 cles, radiators, registers, etc 
 
 LUCAS ENAMELS MAKE PRETTY HOMES. 
 
 WRITE FOR SAMPLE CARDS. 
 
 JOHN LUCAS & CO., 
 
 NEW YORK, PHILADELPHIA, CHICAGO. 
 
NONE JUST AS GOOD AS THE 
 
 Hot Water Heaters, Steam Boilers 
 and Radiators. 
 
 THE STANDARD OF EXCELLENCE. 
 
 CAPACITIES FOR ANY REQUIREMENT. 
 Send for Catalogues and Discounts. 
 
 GURNEY HEATER MANUF'G CO., 
 
 74 Franklin St., Boston. 
 
 N. Y. Branch, Western Selling Agents, 
 
 in Fifth Ave. N.Y. City. Jas. B. Clow & Sons, Chicago, III. 
 
CONTENTS 
 
 Bronze and Bronzing, - I 
 
 Gold Bronze, _____ 2 
 
 Copper, ______ 3 
 
 To do Bronzing Successfully, - - - 4 
 
 Hints on Radiator Bronzing, - 9 
 
 Patent Bronzes, - - - - - 12 
 
 Aluminum Bronze, - - - - 14 
 
 Aluminum Paint, - - - - - 15 
 
 Possibilities of Aluminum, - 16 
 
 Picture Frame Gilding, - - - - 18 
 
 How to Use Gold Paint, - 21 
 
 Striping Bronzes, - - - - - 19 
 
 Bronzing Liquids, - - - - 16 
 
 Lithographers and Printers, - - - - 22 
 
 Bronzing Machines - 23 
 
 Bronze Sizing, _____ 26 
 
 Gold and Silver Inks, ----- 27 
 
 Enamel and Enameling, - 28 
 
 Hints on Radiator Enameling, - - - 30 
 
 Bath Tub Enamel, - - - 32 
 
 Mixing Colors, - - 33 
 
 How to Make Tints, _ _ _ _ 34 
 
 Japanning Tin, Sheet Metal, &c, 35 
 
in lOOl 
 
AUG 5 1901