Document DvDK2wmw9r79jw9M3wnmd6XBM

TAINT for EVERY TRACE and TURPO, <By R. S. AMADDOCK TART I This is the fifth article in the series of comprehensive building articles--whick are really little building manuals in themselves--by authori tative authors, which have been added to Co u n t r y Lik e each month. In this series we have endeavored to make an exhaustive research into the subject under consideration and to give our readers the latest and most complete information of practical value about that subject. Thus the first article in our April issue took up the roof and discussed it from, every possible angle, hi the May issue we treated of stone walls and their construction, in June the various methods of heating the house, in July, windows, in August, mantels andfireplaces, and this month paint. Other articles to come will include " Stairs and Stairways" " Floors and Flooring," *" Doors and Doorways" etc.--Th e Ed it o r s . HIS article has to deal particularly with Tpaints so constructed that they may be used to beautify and protect the struc tural materials that are used in the build ing of a residence, and it is our desire to present the subject in such a way that a better and more intimate understanding will be had, both of the making of paint and of its proper use. The simplest form of oil paint consists of a single pigment mixed with linseed oil to the con sistency of thick cream, this mixture being com bined by hand with a stick. A small percentage of volatile thinner such as turpentine, is added until the paint is of good brushing consistency. Opposed to this simple mixture of paint are the scientific machine-made paints, the composition of which has been determined by painstaking study and research. a fair and representative example of of two identical houses, each with about 3,600 square feet, to be covei coats of paint. In other-words, ea< 7,200 square feet of surface to be pai two houses were painted several yea order to have them painted with pr< mind, the figures now existing for I paint are employed. IIUUSH j-AINTKD WITH MACHINE- MADE I'AINT 12 ballons machine-maJe paint (two coats) at 3.75 per gal............................. 17 ballons luaii-smd-oil paint 45.00 (two coats) at fa per gal. Labor cost at 8 per dav . (20 days) 160.00 Not less than an average of four years will be the life of a job painted with the properly made machine paint, and more often the life will be extended to Total cost to owner for two coats of paint. Life of the job before re painting was necessary . --which would mean an annual cost to the owner of five, or six years. Oh the other hand, experience has determined the life of a job done with the best hand-made paints to be from two to three years A oalnt skin of three layers of paint. It is like a sheet of rubber when dry, and from 1-t,000th and 1-500th of an inch thick. Thin as it is, this coating when properly made of the right materi als, gives complete protection--but only when so made This would mean that over a pe. years, on the basis of the four-year - for the house painted at most. It has been found in the chine-made paint woi instanceswhere On the basis of the tin the cost to the owner painted with the ban would be #1,068--a diH we will [assume that the chalking does not take place until the third season. Think of what this differ lost to the owner on p: a period of twelve y< added disadvantage o ence in length of life means in the cost of paint and re-painting over a period of twelve years. You will find, after careful study, that the factor of labor cost as it relates to the durability of the paint is so important that you, as the bift the very best paints available. This is such an important factor that we will explain just what we mean by On the left a surface painted with machine-made paint; on the right one painted with lead and oil paint made- b__y__th_e-s..t.i.c..k..-.m....i.x.e...d...m...e...t.h..o..d... _ .B..o...t.h1 pat `ints were applied at the same lime and under the same conditions, and were exposed for the same period to the action of the elements upon paint too often. It will be noted that of the machine-made the house with two that lasted four yeai still in a receptive cond late more paint. ( hand, it required sev of hand-made lead-ai cover a like house, ansary to repaint within 74 N39117 NT for EVERY PLACE and PURPOSE % R. S. HADDOCK TART I This is the fifth article in the scries of comprehensive building articles--which are really little building manuals hi themselves--by authorh ? authors, which have been added to Co u n t r y Lif e each month. In this series we have endeavored to make an exhaustive research into ubject under consideration and to give our readers the latest and most complete information of practical value about that subject. Thus irst article in our April issue took up the roof and discussed it from every possible angle. In the May issue we treated of stone walls their construction, in June the various methods of heating the house, in July, Endows, in August, mantels andfireplaces, and this month i. Other articles to come will include " Stairs and Stairways" "Floors and Flooring," "Doors and Doorways," etc.--Th e Ed it o r s . as to deal particularly with istructed that they may be tify and protect the strucs that are used in the buildnd it is our desire to present i way that a better and more ing will be had, both of the of its proper use. n of oil paint consists of a d with linseed oil to the conjam, this mixture being coma stick. A small percentage such as turpentine, is added if good brushing consistency, iple mixture of paint are the nade paints, the composition i determined by painstaking . It is a proven fact that a ide paint will outlive the very :ad-and-oiI paint by at least Fen by a full two years. Not e of four years will be the life th the properly made machine :en the life will be extended to aboiSf^BoO;. square feet, to 'Be 'cdvered^^^^^o coats*6F paidt. In other* words, each house had 7,200 square feet of surface to be painted. These two houses were painted several years ago and in order to have them painted with present costs in mind, the figures now existing for labor and for paint are employed. HOUSE PAINTED WITH MACHINE- MADE I'AINT 12 gallons machine-made paint (two cuats) at S3.7S per gat. ..... t> 45.00 17 gallons leatl-an<l-oil paiiic (two coats) at S3 Per &al. Labor cost at per <tav . (20 days) 160.00 HOUSE PAINTED WITH HAND MADE I'AINT t S> 00 (27 days) 216.00 (longer time re quired--same rate per day) Total cost to owner for two coats of paint. Life of the job before re painting was necessary . --which would mean an annfu.a.l..c.o.s.t..t.o...th..e..o..w..n.e.r iSzos.OQ 4 yea:* fi It.25 $267.OO 3 years $ Rq.00 id, experience has determined one with the best hand-made two to three years A oaint skin of three layers of paint. It is like a sheet of rubber when dry, and from f-I.OOOlh and l-GOOl.h of an inch thick. Thin as it is, this coating when properly made of the right materi als. gives complete protection--but only when so made This would mean that over a period of twelve years, on the basis of the four-year cycle, the cost for the house painted with the ma- een found in the id-made lead-and- On the basis of the three-year cycle, n used that chalkng powdery) takes the cost to the owner for the house naiatedL^th. the .econd season, but :hat the chalking f^osvner:on~pamting, v :e until the third ,S 11110J ui r 1 v \* ir wuh Lie * what this differlife means in the re-painting over a ears. ifter careful study, f labor cost as it ibility of the paint that you, as the >rd to use any but its available. This ant factor that we what we mean by On the left a surface painled with machine-made paint; on the right one painted with lead and oil paint made by the slick-mixed method. Both paints were applied at the same time and under the same conditions, and were exposed for the same period to the action of the elements uuh d d uv or 1 I | 1111 r | int upon paint-too often.' '...... It will be noted that twelve gallons of the machine-made paint covered the house with two coats of paint that lasted four years, and it was still in a receptive condition to assimi late more paint. On the other hand, it required seventeen gallons of hand-made lead-and-oil paint to cover a like house, and it was neces sary to repaint within the third year 74 Se p t e mb e r , 1922 COUNTRY LI FE Ttye bld JosepfiStebbins house at Deerfield, Mass., Is a monument to the preservative, power of ,paint in order to apply the new paint on the old paint while it was still in a receptive condition for re painting. It required seven days longer to apply the hand-made mixture due to the fact that more brushing was necessary to obtain an even surface throughout. The whole secret of this difference is in the paint making. T; makes' tro, difference whether it.be Professional Painter or Mi-.-Average Paint User/ A good paint cannot be made by hand th*r <l i i[ <s u. v I i.<l i rviee, to the gbdH p me m dc v trh m u li n< r. The reputable manufacfur^rftrayiied years ago that in manufacturing a good paint it was and always would be necessary to keep well in mind what is expected of paint, tile first essential being determined as its ability to weather-proof the surface to which it is ap plied. Paint must be so constructed that it will cover the surface completely and keep out mois ture. It must also have density or hiding power, uniformity and even covering, spreading capacity, ease of application, drying ability within a reasonable time, and durability. The paint maker, through painstaking effort, has determined that all materials necessary in the composition of paint have weaknesses, and has come to the belief chat afperfecc rpaint p ia ibli* In f.Kt, 11 ts will c'tablishid rlt.it. if an:* imUsiriuimli bnnlci nr oil tuiiU b*. touml/^it vvouli tuiir i littlt- \ iu l ort of pi'imim wciv 11J l ) loru {lit* g,tv\ ih ih 'l i it r hiding power'aif&'tht/ desife'tl^oloriidtFect. It is safe to state that a layer of dried linseed oil (linoxyn) is probably more resistant to atmos pheric influences chemically (not mechanical wear) than any known paint, yet it is not water proof. It is claimed upon good authority that a gallon of linseed oil spread upon 100 square feet of surface will outwear a gallon of the best paint made spread upon the same area of a similar surface--but it will be noted that it will require about three times as many coatings of the oil to use up a gallon as it will of the paint to use it up. Thus it is apparent that pigments ipust be carefully selected; not only do they supply the necessary covering or hiding properties, and the desired color effect, but also they must thicken the paint and reinforce the paint film. Swbbins house. ^.Jdiou^h more Itetrig destroyed by the elements until it was necessary to place a small stone on top of the original Oil in the paint is tnemnaer that grips the wood and holds the selected pigments on. It follows, therefore, that when the binder is dissipated, the pigment powders or chalks off. For this reason great care must be given to the selection of the oil used. In the well-organized paint factory the chemist determines the value of each batch of oil received. It should be absolutely pure and of certain designated grade. In other \ called pure linseed oil does not neces that it is a good linseed oil for use in of paint. ' One manufacturer of a very high- says that a praiseworthy linseed oil ytllovv color--brilliant, limpid, dryin a rich lustre, and having a pleasant n A fair linseed oil "is a yellowish oil w hue--clear, drying fairly, not very pie taste but somewhat bitter." An ui linseed oil "is of a greenish or darl certain taste, cloudy, and drying po> The linseed oil in a good paint sno certain given amount of oxygen by is an established fact that it contir in oxygen over a period of three 01 after it is dry, ana probably does si life of the paint, At this point wre want to empha that the pigments and oils other thi which enter into the making of paii crease or decrease the life of the hns< scientific paintmakers' exact knowl ments and oils has been the means or increasing the life of the linseed and is the definite reason why a propi made, well-balanced linseed oil paini live longed than a hand-made paint. Other liquids should be used in of a good linseed oil paint, especial!; is made for use on wood surfaces, turpentine, or a good turpentin added in correct amounts, aids the p ing out farther over the surface, it sible to obtain an even thickness of out. Turpentine also aids in carr seed oil into the pores of the woo< of new wood) and through prev paint in its use on a previously pa We mentioned that a good tu stitute might be used, but we advi indiscriminate buying of turpentir because it is vitally necessary to 1 that are safe. There are many 0 that are not at all safe to use. Genuine turpentine can be easil good paint stores and should be i COUNTRY LIFE 75 The old Joseph Stclibins house at Deerfield, Mass., is a monument to the preservative power of paint o apply the new paint on the old paint as still in a receptive condition for re- It required seven days longer to hand-made mixture due to the fact that hing was necessary to obtain an even roughout. !(>le secret of this difference is in the ring. I f. makes no difference whether essiona! Painter or (Vlr. Average Paint good paint cannot be made by hand >ares in value and service to the good ewith machinery- The reputable manrealized years ago that in manufacturing nt it was and always would be necessary ell in mind what is expected of paint, ssential being determined as its ability :r-proof the surface to which it is aptint must be so constructed that it will surface completely and keep out moismust also have density or hiding power, y and even covering, spreading capacity, application, drying ability within a s time, and durability, int maker, through painstaking effort, mined that all materials necessary in osition of paint have weaknesses, and to the belief that a perfect paint is im- In fact, it is well established that if an :ible binder or oil could be found, it itter little what sort of pigments were ong as they gave the necessary hiding d the desired color effect, fe to state that a layer of dried linseed m) is probably more resistant to atmosifluences chemically (not mechanical :n any known paint, yet it is not water t is claimed upon good authority that a linseed oil spread upon ioo square feet : will outwear a gallon of the best paint ead upon the same area of a similar but it will be noted that it will require ree times as many coatings of the oil a gallon as it will of the paint to use it is it is apparent that pigments must be selected; not only do they supply the covering or hiding properties, and the olor effect, but also they must thicken : and reinforce the paint film. Detail of doorway of the Stebbins house. Although more titan 150 years old. every piece of the architectural detail is preserved perfectly. Yet the stone used as a step has been gradually destroyed by the elements until it was necessary to place a small stone on top of the original Linseed oil is the life of the paint. Oil in the paint is the binder that grips the wood and holds the selected pigments on. It. follows, therefore, that when the binder is dissipated, the pigment powders or chalks off. For this reason great care must be given to the selection of the oil used. In the well-organized paint factory the chemist determines the value of each batch of oil received. It should be absolutely pure and of certain designated grade. In other words, a so- called pure linseed oil does not necessarily mean that it is a good linseed oil for use in the making of paint. *: One manufacturer of a very high-grade paint says that a praiseworthy linseed oil "is^gjppjaile^ yellow color--brilliant, limpid, dr^lng':weltr.'jfcithrt a rich lustre, and'having a pleasant nutty'-baste.^ A fair linseed oil "is a yellowish oil with a brown hue--clear, drying fairly, not very pleasant to the taste but somewhat bitter," An unsatisfactory linseed oil "is of a greenish or dark color--un certain taste, cloudy, and drying poorly." The linseed oil in a good paint should absorb a certain given amount of oxygen by weight. It is an established fact that it continues to take in oxygen over a period of three or four weeks after it is dry, and probably does so during the life of the paint. At this point we want to emphasize the fact that the pigments and oils other than linseed oil which enter into the making of paint, either in crease or decrease the life of the Imseed oil. The scientific paintmakers' exact knowledge of pig ments and oils has been the means of extending or increasing the life of the linseed oil in paint, and is the definite reason why a properly machine- made, well-balanced linseed oil paint will wear or live longer than a hand-made paint. Other liquids should be used in the making of a good linseed oil paint, especially if the paint is made for use on wood surfaces. For instance, turpentine, or a good turpentine substitute, added in correct amounts, aids the paint in brush ing out farther over the surface, making it pos sible to obtain an even thickness of film through out. Turpentine also aids in carrying the lin seed oil into the pores of the wood (in the case of new wood) and through previous coats of paint in its use on a previously painted surface. We mentioned that a good turpentine sub stitute might be used, but we advise against the indiscriminate buying of turpentine substitutes, because it is vitally necessary to use only those that are safe. There are many on the market that are not at all safe to use. Genuine turpentine can be easily found at all good paint stores and should be used whenever 76 COUNTRY LIFE Se p t e mb e r , thinner ts required. Turpentine does not retard the natural drying of linseed oil. In fact, it rather has a tendency to quicken the drying of an oil paint film, but it does not quicken the drying of this film at the expense of the life of the linseed oil. We want to make a point of this character istic, since we find that the addition of some of the so-called thinners or turpentine substitutes will retard the drying of the paint, and in some cases even prevent the paint from drying hard enough to give good service. The manufacturer has found it advisable to add a carefully made drier to some oil paints in order that the film of paint will dry free of dust within a reasonable period. In other words, the manufacturer, in order to obtain some shades of linseed oil paint, finds it is necessary to use pigments which have a tendency to retard the normal drying period of linseed oil; and whenever pigments of this nature are used, the necessary amount of dryer is added to counteract the action ' of the pigment. As a rule no additional drier need be added by the user. have-: Weil applies to the pigment portion of the paints. Each and every pigment lacks pr is below in some one or ^more of the ^iialitiesiof the idezfl pigment, but.it n and progressive attack upon tfcfe hn&eed ojhand other,If the chemicaFactivity of* each particle be supported by close contact of the other lead particles, then there occurs an undesirable chemical action of the mass. The addition of a proper amount of rein forcing inert pigments is a great aid in separating the lead particles, and is of decided assistance in lessening the chemical activity. It may further be said that no one pigment is complete in itself, and the manufacturer, with his exact knowledge of how to make the virtues of one offset the deficiencies of the other, can se cure balance in the relation of pigments to the paint mixture. Fot',instan.ce; lead>j>igments are soft,.but hide-the surface well. The.?inc pigr meats ,%ie, the surface wpli.' By/the' addition of zinc and inert materials it is Illustration of painted surface in complete disintegration. The surface was allowed to remain too long before repainting was done, and it was no longer in n receptive condition to assimi late more paint possible tqohtam ail the required.charact necessary in a well-built pigment body. The most important basic pigments u the manufacturer in making a good whit are, in their order of importance, whit zinc oxide, sublimated white lead, and lith< this last named pigment being used chiefii entirely, in paints made for interior use onl The principal reinforcing pigments c pigments are barytes, silex, asbestine, an clay. Most of our attention should be given white pigments because they not only d< the white paint but at the same time controlling factors in the pigment coml of the tints and light colors of most C paints. The balancing of the pigment the making of the paint might be bettei stood by comparing it to the alloy of mi is well understood that pure gold is to> metal for commercial use. It must be re or made hard by making an alloy of g< copper. It is also well understood t amount of copper added to pure got mines its carat value. All good paints are made on the alloy ; It is true that the high-grade paints : upon a lead base, but there should be direct proportion of zinc and other re pigments, all so united that the strengt ingredient serves to offset the weaknei others. The result is that the pigmen well-balanced machine-made paints ha if any, chemical action on the oil, bi serve to protect and prolong its life, gradual wear and leaving an excellen for repainting. Some of the pigments used in the mai of a high-grade paint group themselvt tides that are quite large, as seen un< croscope. Other pigments group then particles that are quite small, and thes groups are not of the same shape or physically. If it were possible to lay ments side by side and they could be An old Southern Colonial mansion built about 1760 which proper painting would have preserved in as good condition as the Stebbins house at Deerfield. Mass. r COUNTRY LIFE Se p t e mb e r , 1922 required. Turpentine does not retard al drying of linseed oil. In fact, it a tendency to quicken the drying of an iim, but it does not quicken the drying 1 at the expense of the life of the linseed vant to make a point of this characterj we find that the addition of some of led thinners or turpentine substitutes l the drying of the paint, and in some 1 prevent the paint from drying hard give good service. anufacturer has found it advisable to refully made drier to some oil paints lat the film of paint will dry free of dust reasonable period. In other words, 'acturer, in order to obtain some shades oil paint, finds it is necessary to use which have a tendency to retard the ying period of linseed oil; and whenever of this nature are used, the necessary r dryer is added to counteract the action rment. As a rule no additional drier dded by the user. i before that all materials used in paint aknesses. This statement especially > the pigment portion of the paints. every pigment lacks or is below par ne or more of the qualities of the ideal but it may possess one or more other qualities in a marked degree. One st important basic white pigments used lanufacturer in making a good white vhite lead. The defect of white lead, is its alkaline nature, causing gradual ressive attack upon the linseed oil and .terials of the paint coating. If the activity of each particle be supported :ontact of the other lead particles, then irs an undesirable chemical action of the he addition of a proper amount of rein ert pigments is a great aid in separating articles, and is of decided assistance in the chemical activity, further be said that no one pigment is in itself, and the manufacturer, with his exact knowledge of how to make the virtues of one offset the deficiencies of the other, can se cure balance in the relation of pigments to the paint mixture. For instance, lead pigments are soft, but hide the surface well. The zinc pig ments are hard but do not hide the surface well. By the addition of zinc and inert materials it is ne^ necessat^ in^sWeu-^uitt pigment ooefty. The mist imporrmr hi ic p*mcnt~ used h t.i m iviiuruKi in Milkin' 1 <>ud vluu. punt iu, ut titur ordtr of impoituut, \%luu It id, 21m. 0\idt, sublun lied whm. |e id, md lull >| h >111, tills lasfndmed ^>njiient bttng'used chitlie, if not ti.rutlv m p lints in de for mtint r uw. onh pigments clay1.- Most of our attention should be given to these white pigments because they not only dominate the white paint but at the same time are the controlling factors in the pigment combination of the tints and light colors of most desirable paints. The balancing of the pigment body in -the making of the paint might be better under stood by comparing it to the alloy of metal. '-Tt - is well^understeckl that ipure a# metal for commercial use; It or made hard makingan: coppqr. It is also well unders6od that the amount of gopper; added to deter mines its -cSfatwaMfe. Ml good paint art m uic on the alU } j)i mu; h It is tiue tint thu htgh-griile panics are made upon a lead *b.isc, but c Iu t i*. should he added * dm.ee proportion of zinc and othet runlotcing pigments, .ill so uiurul tint the suengrh of one.|: mgredunt scln's ro nil sit the weakness of tile others. The result is that the pigments in the well-balanced machine-made paints have little, if any, chemical action on the oil, but rather serve to protect and prolong its life, insuring gradual wear and leaving an excellent surface for repainting. Some of the pigments used in the manufacture of a high-grade paint group themselves in par ticles that are quite large, as seen under a mi croscope. Other pigments group themselves in particles that are quite small, and these particle Illustration of painted surface in complete disintegration. The surface was allowed to remain too king before repainting was done, and it was no longer in a receptive condition to assimi late more paint groups are not of the same shape or character physically. If it were possible to lay these pig ments side by side and they could be examined An old Southern Colonial mansion built about 1760 which proper painting would have preserved in as good condition as the Stebbins house at Deerfield, Mass. 78 COUNTRY LIFE Se p t e mb An ancient Maryland farmhouse whose warped and decaying siding is eioquent of neglect to paint and to keep painting through a powerful lens it would be seen that voids existed--in other words, that spaces were not closed in a thin layer of these pigments. VV^teJead^gcoijm^ttifoseBSklgj, that are not-'unlike in appearance to popped corn-'fsee illustration). Oxide of zinc groups-itself in^palti^i^ihat' are not u'nlike In appearance to riav$ beans. A second illustration shows, placed together, the popped com with navy beans used to close the voids. We fiftd, however* examinationy^tbat voids still eMst. We will say that th'e inettpigments, such as batytes. and' -sitex-, would gather themsdkes -in 'pigiiiien# par ticles that- would ; e4s.ely. resemble in appearance-frains of ricfe. The third illustration shows that by addition of rice to the popped corn and navy --^l and peeling paint. Conditions of this sort rYbe avoided by care in applying the priming coat beans it has been possible to close all voids aqcLt ` i# ,toaint grains It has also been possible to his white lead is either received level up the thickness of the pigment layer. lanufacturer already ground in oil or he The same principle is applied in the making proceeds to grind the lead in oil before it is mulled of paints, and it explains why, from a strictly together with other pigments. He adds to the physical standpoint, different characters of . base lead the other pigments and the necessary pigments should be used in the making of good oils which are required in the first mixing or mull paint. ing of these pigment particles together. When T TNIFORMITY of product is obtained by the proper understanding of each ingredient used and the best manner of incorporating these into one mass, coupled with the thorough in this mixture has been thoroughly mulled together, it is lowered to another mixer (usually on the floor below) and is here further mixed and ground through a series of grinding stones, until the pig ment' particles are thoroughly broken up into corporation of the ingr di nt lr pjmrful iriind units as small as is practically possible. To ing and mixing machir \ fn other woitK, tin. illustrate this point, let us suppose that we have luJi gr idc p unr is xu a being nude *l>\ tin a given amount (in weight) of lead shot that updiiblc nwnulKtdKra in rhc'iuhnitnnon of is about the size of a small pea. A given weight in hill t stint J 01U -anil piKnnts combined of this shot, spread on a surface side by side, does Voirh an ts.ict Iwimwlcd *i of p.tinr nukiiu^ not cover nearly so large an area as the same tugi cliri with can* used .t an stip of tin pr- quantity (in weight) of shot of very much smaller size would cover. This thorough grinding words, is the reason why thi made paint will spread farther and at the same the surface so much bettei the hand-made lead-and-oi A further advantage of thi: grinding is that the finel pigment particles become t surrounded by oil. It will be remembered tl the most exacting requirem of a good paint is its abil completely the surface of to which it is applied. F grinding is one of the essent sary to accomplish this. Mixing, double grinding, mixing, plus an exact kne proper pigments, oils, and equals a high quality paintity of paint which assures the user. The reputable manufacture! made a special effort, through national a and direct sales literature, to prove that ular product was a pure paint by virtue that its principal pigment content was white lead combined with a vehicle or linseed. A little later he carefully adi necessity for adding a varying quanti oxide to harden the paint film, thus inci life of the paint. As time went on, clu physicists, through painstaking effort an' proved that by the addition f inert p very limited quantities (considered in i the total pigment content of lead and life of the paint film or coating could t last much longer, to have a better a throughout the period of wear, ,,and to surface in a better condition to reo when repainting became necessary. After all these years it surely must b the average paint user to understand the conscientious paint manufacture COUNTRY LIFE s .f t .m..., |> An ancient Maryland farmhouse whose warped and decaying siding is eloquent of neglect to paint and to keep painting powerful lens it would be voids existed--in other it spaces were not closed layer of these pigments. 1 groups itself in particles ot unlike in appearance to m (see illustration). Oxide )ups itself in particles that dike in appearance to navy second illustration shows, gether, the popped corn i beans used to dose the re find, however, upon dose on, that voids still exist, ly that the inert pigments, barytes and silex, would emselves in pigment par: would closely resemble in :e grains of rice. The third n shows that by addition the popped corn and navy, has been possible to dose and to have a perfect covering of the pon which chis combination of grains spread. It has also been possible to he thickness of the pigment layer, me principle is applied in the making , and it explains why, from a strictly standpoint, different characters of should be used in the making of good 'RMITY of product is obtained by the er understanding of each ingredient the best manner of incorporating these mass, coupled with the thorough in3n of the ingredients by powerful grindnixing machinery. In other words, the e paint, as now being made by the ; manufacturers is the culmination of selected oils and pigments, combined exact knowledge of paint-making, with care used at every step of the pro- Crackcd and peeling paint. Conditions of this sort can be avoided by care in applying the priming coat The paint manufacturer who is building paint with a conscience begins with the white lead ground in oil. This white lead is either received by the manufacturer already ground in oil or he proceeds to grind the lead in oil before it is mulled together with other pigments. He adds to the base lead the other pigments and the necessary oils which are required in the first mixing or mull ing of these pigment particles together. When this mixture has been thoroughly mulled together, it is lowered to another mixer (usually on the floor below) and is here further mixed and ground through a series of grinding stones, until the pig ment particles are thoroughly broken up into units as small as is practically possible. To illustrate this point, let us suppose that we have a given amount (in weight) of lead shot that is about the size of a small pea. A given weight of this shot, spread on a surface side by side, does not cover nearly so large an area as the same quantity (in weight) of shot of very much smaller size would cover. This rhoruuuh giiiulj| rjs, i tin rtrth jn v in 1 madv^pajtMt*Vilhi _ --_ farther and'at the 'sam'6`time Hide the surface so much better than will the hand-made lead-and-ofl mixture. A further advantage of this thorough grinding is that the finely divided pigment particles become thoroughly surrounded by oil. It will be remembered that one of the most exacting requirements made of a good paint is its ability to seal completely the surface of the article to which it is applied. Fineness of grinding is one of the essentials neces sary to accomplish this. Mixing, double grinding, plus more mixing, plus an exact knowledge of proper pigments, oils, and thinners, equals a high quality paint--the qual- ity of paIint which assures service to the The reputabl m imf * mii* c foi J* i spin il iIfi ft, clirAie h n itiuniil uhtriisinj mri dm lit* r bis partic - til xr product'*, s ipuie painL bv virtu* uFriurfciu. th it iio pnnup.il pV'nunt uniwm irbwi it a IiiI' lead uni ! iiu I \ ith a \t ml*. 01 oil of pure little later fie carefully admitted the necessity for adding a varying quantity of zinc oxide to harden the paint film, thus increasing the life of the paint. As time went on, chemists and physicists, through painstaking effort and research, proved that by the addition f inert pigments in very limited quantities (considered in relation to the total pigment content of lead and zinc) the life of the paint film or coating could be made to last much longer, to have a better appearance throughout the period of wear, .and to leave the surface in a better condition to receive paint when repainting became necessary. Aiu i all the e \cus it aim I niUSl h*. hull fur* th< i\eriL* pjufr 1 ro un.Lr*>taihl ju c wli i the. , conscientious .. paint..m^iiufa.tt.ji^eT^-ha.s so.4? 82 COUNTRY LIFE Se p t e MB I pillllllllllllllilllllllllllllllllllllllB 4Cruises to the o 5 Continent^ pine at any time require that the priming coat be given at weeks to dry, and a longer time would be better before the s< is applied. In fact, it is often better to allow these woods to st weather for several weeks before applying the priming coat. The season of the year affects the consistency that paint sh< | the right sort of painting, Paint that is right for warm weath wrong for cold, and an absorbent surface needs a different paint 1 required by a hard surface. In this respect judgment must be as there can be no absolute rule given. Reliable machine-mat made to meet average conditions, and in large measure it wil much time and trouble in having it right and ready for use. "THE BEST IN TRAVEL" Rio Centennial Cruise (Including West Indies) 45 Days from New York to New York. Sail ing Feb. 3,1923 on the new oilbomin& S. S. "Reliance". A record-breaking Cruise per mitting visits to glorious South American cities and including Panama. West Indies end the Brazilian Centennial Exposition. An unique opportunity for pleasure travel or a combined outing, and business trip. Rates $750 upwards--New York to New York. Booklet on request /~\NE of the first essentials to good painting is the use of a pr for the work being done. Your dealer can aid you in the s this brush. It is also very important that each coat of paint, and esp< priming coat, be well brushed out over the surface--and in. f in the case of its use on new wood. There is' always existi surface of anything to be painted a thin layer of air, and thi removed by firmly brushing the paint on to it. If this Is this thin film of air will come up and through the paint film, z causing minute holes to exist in the film- For new work not less than three coats of paint should The recommendations for the use of each coat--that is the first coat on new wood, the seconcT or intermediate coat, and th* exposed coat--will be found in the color card of the manufaett paint you are using. The most important coat is the priming for this it will generally be found that the paint will need some As a rule, if the lumber you are painting is rather sappy, the a Mediterranean Cruise 65 Days on the S. S. "Rotterdam" one of the steadiest liners afloat--particularly noted for superb cuisine and excellent arrangements for debarkation. In the latter it surpasses any other ship chartered for a Mediterranean Cruise. The comprehensive itinerary in cludes those placeswhich are famous for their beauty or renowned in history. Rates $625 upwards, New York to New York. Sailing February 10,1923. Booklet on request 2 Cruises Round-the-World 125 Days of fascinating travel diversified with the gaieties ofship life and the picturesque de^ifehts ofthe world's most allurinfe lands. Sailing, Jan. 9 and 16,1923 on the two new, oilEwminfc linersS.S. "Resolute''and"Voiendam"--the only ships in 1922-23, (chartered for Round-the-World Cruises) built and equipped especially for both temperate and tropical waters. A pre-eminently generous schedule carefullyplannedtoassureinclusion of everything worthwhile and to afford ac commodations for all Cruise members when ashore. Rates $1050 upwards--NewYork to New York. Illustrated Booklet upon request Raymond &Whitcomb Co. Park Street near Beacon, Boston New York Philadelphia Chicago LosAnfeeles Boston Paris London a small amount of turpentine--say a pint to' a gallon of prep; --in addition to some linseed oil would be advisable. If the not sappy, but is rather dry and soft, the addition of linseed be made to the first coat. The amount could be anywhere fro to a half gallon of oil to the gallon of well-made paint. The second coat as a rule should have a very slight amou pfcntine added to it, and unless the wood which is being pain) soft, the further addition of linseed oil to the paint as it is foi can will not be necessary. The condition of the surface as it e the first or priming coat has been applied will determine in iarg what is best to do in this regard. This might be said, howe1 first or priming coat has a tendency to gloss, even slightly, adt will not be required. If it penetrated the wood and is absoh flat when thoroughly dry and hard, the addition of oil as well ; tine in the second coat might be advisable. The third or last coat as a rule should be applied as it is foi can. And let me again repeat that great care should be taken > coat to brush out each bcushful of paint as far as it will go and a good appearance on the surface. On old work, as a rule, two coats of a well-made paint satisfactory. It is first necessary to remove all blistered or pee the surface to be painted should be thoroughly gone over w brush or a hand scraper, removing all the loose paint possibl old paint coating is inclined to be powdery, it is advisable to ac a quart of good linseed oil to the gallon of paint for the first coa times a greater amount of oil added to the first coat would be be If the surface to be painted is hard and brittle, the opposii dery, the addition of from a half pint to a pint of turpent average well-made paint would be safe. j/vi the second instalment of this illids, which will appear in the October the author will discuss in detail painting both indoors and out.~Th e E COUNTRY LIFE Se p t e mb e r , 1922; Cruises to the : 5 Continent pine at any time require that the priming coat be given at least three weeks to dry, and a longer time would be better before the second coat is applied. In fact, it is often better to allow these woods to stand in the weather for several weeks before applying the priming coat. The season of the year affects the consistency that paint should be for the right sort of painting. Paint that is right for warm weather may be wrong for cold, and an absorbent surface needs a different paint from that required by a hard surface. In this respect judgment must be exercised,' as there can be no absolute rule given. Reliable machine-made paint is made to meet average conditions, and in large measure it will save you much time and trouble in having it right and ready for use. "THE BEST IN TRAVEL" Rio Centennial Cruise (Including West Indies) 45 Days from New York to New York. Sail ing Feb. 3,1923 on the new oilburning S. S. "Reliance". A record-breaking Cruise per mitting visits to fclorioos South American cities and including Panama, West Indies and the Brazilian Centennial Exposition. An unique opportunity for pleasure travel or a combined outing and business trip. Rates $750 upwards--New York to New York. Booklet on request of the first essentials to good painting is the use of a proper brush ^ for the work being done. Your dealer can aid you in the selection of this brush. It is also very important that each coat of paint, and especially the priming coat, be well brushed out over the surface--and in fact into it in the case of its use on new wood. There is always existing on the surface of anything to be painted a thin layer of air, and this must be. removed by firmly brushing the paint on to it. If this is not done, this thin film of air will come up and through the paint film, as it dries, causing minute holes to exist in the film. For new work not less than three coats of paint should be used. The recommendations for'theue;of each coat--that is the first or priming coat on new wood, the secon^^br intermediate coat, and the third or exposed coat--will be found in the color card of the manufacturer whose paint you are using. The most important coat is the priming coat, and for this it will generally be found that the paint will need some thinning. As a rule, if the lumber you are painting is rather sappy, the addition of Mediterranean Cruise 65 Days on the S. S. "Rotterdam" one of the steadiest liners afloat--particularly noted for superb cuisine and excellent arrangements for debarkation. In the latter it surpasses any other shipchartered for a Mediterranean Cruise. The comprehensive itinerary in cludes those places which are famous fortheir beauty or renowned in history. Rates $625 upwards, New York to New York. Sailing February 10, 1923. Booklet on request 2 Cruises Round-the-World 125 Days offascinating travel diversified with the gaieties ofship Life and the picturesque delights of the world's most alluring lands. Sailing Jan. 9 and 16,1923 on the two new, oilburninfc liners S.S. "Resolute*' and"Volendam"--the only ships in 1922-23, (chartered for Round-the-World Cruises) built and equipped especially for both temperate and tropical waters. A pre-eminently generous schedule carefullyplannedto assureinclusion of everything worthwhile and to afford ac commodations for alt Cruise members when ashore. Rates $1050 upwards--New York to New York. Illustrated Booklet upon request laymond &.Whitcomb Co. Park Street near Beacon, Boston >w York Philadelphia Chicago Los Angeles Boston Paris London Showing blistering caused by heat. The heat may be from without or from within, but the result is the same a small amount of turpentine--say a pint to' a gallon of prepared paint --in addition to some linseed oil would be advisable. If the lumber is not sappy, but is rather dry and soft, the addition of linseed oil should be made to the first coat. T he amount could be anywhere from a quart to a half gallon of oil to the gallon of well-made paint. The second coat as a rule should have a very slight amount of tur pentine added to it, and. unless the wood which is being painted is very soft, the further addition of linseed oil to the paint as it is found in the can will not be necessary. The condition of the surface as it exists after the first or priming coat has been applied will determine in large measure what is best to do in this regard. This might be said, however: if the first or priming coat has a tendency to gloss, even slightly, additional oil will not be required. Jf it penetrated the wood and is absolutely dead fiat when thoroughly dry and hard, the addition of oil as well as turpen tine in the second coat might be advisable. The third or last coat as a rule should be applied as it is found in the can. And let me again repeat that great care should be taken with every coat to brush out each brushful of paint as far as it will go and still leave a good appearance on the surface. On old work, as a rule, two coats of a well-made paint will prove satisfactory. It is first necessary to remove all blistered or peeling paint; the surface to be painted should be thoroughly gone over with a wire brush or a hand scraper, removing all the loose paint possible. If the old paint coating is inclined to be powdery, it is advisable to add at least a quart of good linseed oil to the gallon of paint for the first coat. Often times a greater amount of oil added to the fu-st coat would be better. If the surface to be painted is hard and brittle, the opposite of pow dery, the addition of from a half pint to a pint of turpentine to the: average well-made paint would be safe. [In the second instalment of this article, which will appear in the October number, T EorroRS.lthe author will discuss in detail painting both indoors and out.-- h e COUNTRY (* * s October, 1922 LIFE * | is | It S,'. M PslINT for EVERY PLACE and PURPOSE By R. S. -MADDOCK Color Illustrations by QHARLES KAISER^ TART II HE first essential to satisfactory body is dry, it can then be painted, Tresults in painting is a receptive surface--that is one that is warm and dry, and entirely free of moisture, dust, or grease. Wood is com hurried method involves some ri paint peeling, but for the most part factory results are had if care is use a proper paint selected for the posed of water extractives like pitch or There are specially made coatinj tannin, lingo-cellulose, and mineral mat pruning and finishing coats on co ter. The first two of these constituents and cement which can be had from are enemies to paint and repellent of it. Paint so made that it will shield the largest manufacturers. The r tion paint can he used, however, i wood thoroughly cannot be expected to desired. adhere to lumber or to any surface full Note that before any paint is a of moisture, or covered with dew or care should be taken to remove al frost. particles of sand. This is best ; Steel, iron, or tin must be free from plished by brushing the surface dov scale, grease, and moisture, and fairly warm to receive paint well. All should a stiff broom, wire brush, or steel s The manufacturersof high-grade be painted with a specially made paint, used in accordance with the directions of An illustration of checking and peeling. This column shows a painted surface completely disintegrated, the repainting of which will be much more costly than if it had been undertaken sooner stains have perfected a splendid t for bricks, concrete, stucco, and the manufacturer. Tin should be painted sawed shingles--a material which on both sides before using, with a well-ground metallic dry, closely resembles whitewash in appearan paint. has the decided advantage over whitewash how> Galvanized iron needs special treatment because of setting very hard on the surface, giving a gc its greasy nature. It should first be washed with good strong--preferably hot--vinegar and allowed to pearance over a period of years. The best stains contain, among other oils, a percentage of dry or be left exposed to the weather for a long oil, it being an aid in maintaining the life of th period before painting. The first coat should be a specially made galvanized iron primer, now being furnished for the purpose by all first-class manufac THERE are more failures of paint because ing than from any other cause. The pain turers. The succeeding coats can be done in the reg loose from the wood or from the old paint ui ular way, with paint made for either wood or metal. Showing what is termed a ropy leaving the surface bare. Peeling will occur : Stone, artificial stone, or brick may condition of a painted surface or small spots, but rarely over th' absorb a great quantity of water within a surface. An excess ofmoisture in th few hours, and care should be taken that which must come to the surface, is t these surfaces are not painted shortly after cause of this trouble, but an exces it has rained, nor during a season of the in the wood--that is, wood not j year in which much moisture is present in the atmosphere. A highly magnified cross section of several layers of paint representing years of painting, showing the unequal stress--the hills and valleys--of a painted surface left in a ropy condition seasoned--may also be the cause. To lessen the t Concrete and cement of good paint should have eightmonths you should nevi to dry thoroughly and the surface uni by natural action trans are certain that i form its free lime into a In the case of pz harmless compound, un new house, the affecting paint. If it is should be dry b< imperative to paint at painting is starte once, a strong solution of some kinds of j zinc sulphate and water often well to let t should be liberally ing stand sever brushed over the surface -- or months, and allowed to dry. When the surface cement A rather extreme cage of cracking. When this condition exists it is necessary to remove the paint either by scraping or by burning and scraping combined matter--before to be sure that i 35 N39117.01 COUNTRY LIFE AINT for EVERY PLACE and PURPOSE <By R. S. VMADDOCK Color Illustrations by CHARLES K^AISETC TART II E first essential to satisfactory body is dry, it can then be painted. This suits in painting is a receptive hurried method involves some risk .of rface--that is one that is warm paint peeling, but for the most part satis id dry, and entirely free of dust, or grease. Wood is comvater extractives like pitch or factory results are had if care is used and a proper paint selected for the work. There are specially made coatings for go-cellulose, and mineral matfirst two of these constituents es to paint and repellent of so made that it will shield priming and finishing coats on concrete and cement which can be had from all of the largest manufacturers. The regula tion paint can be used, however, if it is oughly cannot be expected to desired. lumber or to any surface full Note that before any paint is applied, ire, or covered with dew or care should be taken to remove all loose particles of sand. This is best accom on, or tin must be free from plished by brushing the surface down with ase, and moisture, and fairly receive paint well. All should a stiff broom, wire brush, or steel scraper. The manufacturers of high-grade shingle 1 with a specially made paint, rcordance with the directions of acturer. Tin should be painted stains have perfected a splendid coating for bricks, concrete, stucco, and roughr sawed shingles--a material which, when dcs before using, with a well-ground metallic dry, closely resembles whitewash in appearance. It has the decided advantage over whitewash however, of ized iron needs special treatment because of r nature. It should first be washed with ng--preferably hot--vinegar and allowed to e left exposed to the weather for a long setting very hard on the surface, giving a good ap pearance over a period of years. The best shingle stains contain, among other oils, a percentage of linseed oil, it being an aid in maintaining the life of the color. fore painting. The first coat should be a made galvanized iron primer, now being npHFRT ait. mow. failuies of print hi uiisc of pul- for the purpose by all first-class manufac- A mg rhan fmm an\ nthti canst '1 hi1 paint < onu ! fhe succeeding coats can be done in the reg- looSefrom the wood or from the old paint under it, with paint made for either wood or metal, artificial stone, or brick may Showing what is termed a ropy condition of a painted surface leaving the surface bare. Peeling will occur in large or small spots, but rarely over the entire great quantity of water within a surface. An excess of moisture in the wood, and care should be taken that which must come to the surface, is the chief faces are not painted shortly after cause of this trouble, but an excess of sap ined, nor during a season of the in the wood--that is, wood not properly vhich much moisture is present nosphere. A highly magnified cross section of several layers of paint representing years of painting, showing the unequal stress--the hills and valleys--of a painted surface left in a ropy condition seasoned--may also be the cause. To lessen the tendency te and cement of good paint to peel, ve eight months you should never paint thoroughly and the surface unless you ai action trans- are certain that it is dry. free lime into a In the case of painting a compound, un new house, the plaster paint. If it is /e to paint at should be dry before the painting is started. With trong solution of some kinds of pine it is ihate and water often well to let the build be liberally ing stand several weeks over the surface owed to dry. e surface cement A rather extreme case of cracking. When this condition exists it is necessary to remove the paint either by scraping or by burning and scraping combined -- or months, for that matter--before painting, to be sure that the water 35" 36 .COUNTRY LIFE 0CTO B E) enough oil in the new paint applied to s satisfy the old paint. It will not hold to face with an insufficient amount of oil t a binder. Peeling occurs most on the south a sides of the house, where the sun has effect on the oil and pigment. To avoi< new work, special care must be taken priming coat that it may have a full at linseed oil to bind it well to the surface sure that this coat is given plenty of tim In old work, if the surface is hard add ti and a little raw linseed oil to your ready-ma if the surface is powdery, add oil and a littl tine. I remember one case where a he had been built man}*- years ago by an old tain continued to give much trouble in tl peeling. No matter how the paint was how much care was taken in its applu would begin to peel in six to eight month finally asked to make an examination to c the cause for this continued peeling. Thei to be no reasonable explanation, as then external conditions that would cause it, mission was asked to remove some of boards from the side of the house. Wher A dark-colored roof tends to lower the apparent height of a house--always an effect to be desired done, it was found that between the c and the interior wall sea grass had been or sap is all dried out. Hard yellow pine is full of resin* and if the the belief that it would give warmth in winter and cc bare wood is left to season in the air and sunshine, and if plenty of summer. Whenever there was a long period of dampne; turpentine is added to the priming coat of paint, peeling may gen grass would gather a great deal of moisture, and then erally be avoided. Never use yellow ochre in the priming coat. sun shone for a long period, it would draw the moisture This is a fertile cause of peeling. sea grass through the clapboards. The moisture comin Knots and any spots especially full of resin should be covered would force the paint loose, causing it to peel. The cu with a thin coat of white shellac. Remember that moisture may be condition was found by removing the sea grass. From present in the wood from rain that fell a day or two before painting. on paint adhered perfectly to the surface of those boards Dew and frost on the surface will require a good warm sunning be Blistering is caused principally by water in the wood fore it will be safe to apply paint. of grease on the surface to be painted. The same rules tl Brush the paint out well over the surface. Two good coats of the prevention of peeling can be applied. paint brushed out to a very thin layer are far better than one thick Cracking is due chiefly to unequal stress in the coat layer, for thick layers do not adhere well. applied: for instance, an elastic (full oil* priming) ur In repainting old work, be sure that the old paint is tight. Never covered with a less elastic (short oil secondary) over coat, wait until all the oil--which makes it cling to the wood--has been her the instructions given earlier about the thinning of tl* dissipated in the old paint film before repainting. Very often the second coats of paint. Never apply a coat of paint until old paint will let go after the new paint has been applied to it, ous coat has had plenty of rime to dry and become hard, simply because it has been very hungry for oil and there was not under coat, when rhe sun shines on ir, will move and te coat apart, causing it to crack. Spotting is usually due to the lack oi incorporation of all pigment particles ii linseed oil--which rarely occurs if ma< paints are used. The thorough grindin ing of the pigments with the oil assut rounding of all pigment particles wit ciently to prevent it. Flatting is sometimes called "spottir ever, flatting is chiefly due to porous p] wood which have too great absorption leaving the finished work without gl< other words, flat. It is just another sufficient oil in spots. Roping or a ropy surface is a cond should be carefully avoided when pai exterior and interior surfaces. It i when found on the interior; and while strictly true of the exterior, it is one of for paint failures. Every little ridge i film, when a ropy condition exists, hoi and soot or dirt. In other words, a roj of the surface does not permit the surf down when rained upon, as it should, free of external moisture quickly wY shines on it. Roping is rarely experienced in the u ground machine-made paint, as it is A house of simple direct lines looks best painted in one color, depend ing upon the painting of roof and blinds to break the monotony practice of the better manufacturers COUNTRY LIFE Oc t o b e r , 1922 enough oil in the new paint applied to supply or satisfy the old paint. It will not hold to the sur face with an insufficient amount of oil to act as a binder. Peeling occurs most on the south and west sides of the house, where the sun has greatest effect on the oil and pigment. To avoid this in new work, special care must be taken with the priming coat that it may have a full amount of linseed oil to bind it well to the surface; and he sure that this coat is given plenty of time to dry. In old work, if the surface is hard add turpentine and a little raw linseed oil to your ready-made paint ; if the surface is powdery, add oil and a little turpen tine. I remember one case where a house that had been built many years ago by an old sea cap tain continued to give much trouble in the way of peeling. No matter how the paint was made, or how much care was taken in its application, it would begin to peel in six to eight months. I was finally asked to make an examination to determine the cause for this continued peeling. There seemed to be no reasonable explanation, as there were no external conditions that would cause it, and per mission was asked to remove some of the clap boards from the side of the house. When this was A dark-colored roof tends to lower the apparent height of a house--always an effect to be desired done, it was found that between the clapboards and the interior wall sea grass had been placed in is all dried out. Hard yellow pine is full of resin, and if the the belief that it would give warmth in winter and coolness in 3od is left to season in the air and sunshine, and if plenty of summer. Whenever there was a long period of dampness the sea :ine is added to the priming coat of paint, peeling may gen- grass would gather a great deal of moisture, and then when the )e avoided. Never use yellow ochre in the priming coat, sun shone for a long period, it would draw the moisture from the a fertile cause of peeling. sea grass through the clapboards. The moisture coming through :s and any spots especially full of resin should be covered would force the paint loose, causing it to peel. The cure for this thin coat of white shellac. Remember that moisture may be condition was found by removing the sea grass. From that time in the wood from rain that fell a day or two before painting, on paint adhered perfectly to the surface of those boards. id frost on the surface will require a good warm sunning be- Blistering is caused principally by water in the wood, or spots will be safe to apply paint. of grease on the surface to be painted. The same rules that govern i the paint out well over the surface. Two good coats of the prevention of peeling can be applied. rushed out to a very thin layer are far better than one thick Cracking is due chiefly to unequal stress in the coats of paint ar thick layers do not adhere well. applied: for instance, an elastic (full oil- priming) under coat, painting old work, be sure that the old paint is tight. Never covered with a less elastic (short oil secondary) over coat. Remem til all the oil--which makes it cling to the wood--has been ber the instructions given earlier about the thinning of the first and ed in the old paint film before repainting. Very often the second coats of paint. Never apply a coat of paint until the previ rut will let go after the new paint has been applied to it, ous coat has had plenty of time to dry and become hard, as the soft because it has been very hungry for oil and there was not under coat, when the sun shines on it, will move and tear the top coat apart, causing it to crack. Spotting is usually due to the lack of thorough incorporation of all pigment particles in sufficient linseed oil--which rarely occurs if machine-made paints are used. The thorough grinding and mix ing of the pigments with the oil assures the sur rounding of all pigment particles with oil suffi ciently to prevent it. Flatting is sometimes called "spotting." How ever, flatting is chiefly due to porous places in the wood which have too great absorption of the oil, leaving the finished work without gloss -- or in other words, flat. It is just another case of in sufficient oil in spots. Roping or a ropy surface is a condition which should be carefully avoided when painting both exterior and interior surfaces. It is unsightly when found on the interior; and while this is not strictly true of the exterior, it is one of the causes for paint failures. Every little ridge in the paint film, when a ropy condition exists, holds moisture and soot or dirt. In other words, a ropy condition of the surface does not permit the surface to wash down when rained upon, as it should, and become free of external moisture quickly when the sun shines on it. Roping is rarely experienced in the use of a well- ground machine-made paint, as it is the general A house of simple direct lines looks best painted in one color, depend ing upon the painting of roof and Minds to break the monotony practice of the better manufacturers so to treat Oc t o b e r ., 1922 COUNTRY LIFT their linseed oil that it will flow out evenly after the paint has been brushed out well over the sur face, In other words, one of the chief causes for a ropy surface is lack of proper grinding of the pigment particles with the oil. Mildew or a growth of fungus is sometimes found on the surface of a paint coating, a condition chiefly caused by dampness and insufficient sun light. Mildew, when it makes its appearance, can be wiped off of the surface with a cloth or can be brushed away with a stiff brush. As a rule, however, it will soon appear again. IT IS most difficult, if not quite impossible, to advise as to what colors are best adapted to exterior use, as each house has its own individu ality, location, size, shape, ornamentation,.arid its relation to other houses near by being the influenc ing factors in determining the color scheme. The primary question is always whether to paint a house light or dark? When considering this point and while studying the colors before you, remem ber that the difference in shade between a light and a dark color when brought together is in creased. When a light color is placed next to a dark color, the light color appears lighter than it is, and the dark color appears darker. When red A distinctly different effect is Riven where the blinds contrast instead of harmonize with the rool and green are placed side by side, the red appears redder than it actually is, and the green greener. These differences become greater when seen from a little distance. Study the coloring of the houses near by, as this will often explain why the colors ofyour house look so different from what was expected. Colors may be inharmonious because they are too bright and therefore too harsh: for example, red and orange, blue and green, yellow and crimson, are bad combinations. Harmony by gradual gradation of color is the most natural method to employ when painting the exterior. The simplest harmony-- the point to seek in house painting--is that of tones in one color. For instance, browns in shades from light to dark, buff in varying color for the lower story and dark for the upper stories-- of making the house seem wider. 6. Avoid the appearance of patchiness. Treat the house as Fduing any ornaments or useless bric-a-brac by the color portions of one idea should be in one color or tone. o j the case of a porch post or column, don't paint the base in one color and the shaft in another. From top to b column and should be treated as such. In fact, the w one idea and should be painted in one color. 7- Don't change the color of the painting every few years, painted the right color at the start, and it has proved harmonious part of the picture surrounding it, continue t throughout the years, whenever repainting is necessary. tints, green in light and dark tones, and other colors similarly used, give most satisfaction. JN THE painting of both walls and woodwork in th Color schemes in general shoutd not be too positive, too assertive. the house, conditions are radically different from Vivid colors are always offensive. Strong, dark colors with very bright met on the exterior which is exposed to the weather, colors as "trimmers" are to be avoided. Whites, grays, soft greens, on the interior is exposed neither to the extreme heat of and browns of various tones, will always harmonize with nature. sun nor to the action of rain and frost, as is the case w: As a rule, when a combination of building materials is used--as used outdoors. In fact, any paint will last for a much l plaster and shingle, or cement and clapboard--the color for each material should be the same when ever used. And these must harmonize with each other. Windows, doors, blinds, porches, and cornices may be considered as trimmings and treated as such. Doorways and entrances should have marked and dignified recognition in color schemes. * Do not use a color merely because it looks well on some house you have seen. Try it first in the environment where you purpose to use it. The tone of the color to be used depends upon the na ture of the light, and the light is influenced by surroundings--trees, shrubbery, shade. In fact, the same color of paint will look quite different in sunlight and in shade, in warm countries and in cold, in wood's and on the open plain. The following rules can be uniformly applied: i. A trimming color darker than the body color makes a house look smaller. 1. A trimming color lighter than the body color makes a house look larger. j. A plainly built house as a rule looks best, painted in one color, depending upon the.painting of roof, sash, and doors to break the monotony of a single color. 4. A large house may be painted in a dark color, while the small house generally should be painted in a light color with fighter trimmings or none at all. 5. Dividing the colors of the house--that is, using a light In selecting paints, a point to be remembered is that the difference jn shade betwe a light color and a dark one is accentuated when they are used jn juxtapositi KR, 192 2 COUNTRY LIFE 37 weed oil that it will flow out evenly after it has been brushed out well over the surn other words, one of the chief causes for surface is lack of proper grinding; of the ; particles with the oil. iw or a growth of fungus is sometimes found surface of a paint coating, a condition caused by dampness and insufficient sunMildew, when it makes its appearance, wiped off of the surface with a cloth or can shed away with a stiff brush. As a rule, :r, it will soon appear again. 5 most difficult, if not quite impossible, to use as to what colors are best adapted to r use, as each house has its own individu- ocation, size, shape, ornamentation, and its n to other houses near by being the influenc- tors in determining the color scheme. The y question is always whether to paint a light or dark? When considering this point bile studying the colors before you, remcm- at the difference in shade between a light dark color when brought together is in- d. When a light color is placed next to a color, the light color appears lighter than it 1 the dark color appears darken When red A distinctly different effect is given where the blinds contrast Instead of harmonize with the roof color reen are placed side by side, the red appears r than it actually is, and the green greener. These differences le greater when seen from a little distance. Study the coloring houses near by, as this will often explain why the colors ofyour look so different from what was expected. Colors may be monious because they are too bright and therefore too harsh: cample, red and orange, blue and green, yellow and crimson, ad combinations. rmony by gradual gradation of color is the most natural method nploy when painting the exterior. The simplest harmony-- joint to seek in house painting--is that of tones in one color, nstance, browns in shades from light to dark, buff in varying color for the lower story and dark for the upper stories--has the effect of making the house seem wider. 6. Avoid the appearance of patchiness. Treat the house as a unit, sub duing any ornaments or useless bric-a-brac by the color scheme. AD portions of one idea should be in one color or tone. Tor instance: in the case of a porch post or column, don't paint the base and the cap in one color and the shaft in another. From top to bottom it is a column and should be treated as such. In fact, the whole porch is one idea and should be painted in one color. 7. Don't change the color of the painting every few years. If a house is painted the right color at the start, and it has proved restful and a harmonious part of the picture surrounding it, continue the same color throughout the years, whenever repainting is necessary. , green in light and dark tones, and other colors similarly used, most satisfaction. dor schemes in general should not be too positive, too assertive. 1 colors are alwaysoffonsiv^. Strong, dark colors with very bright IN THE painting.oJ>oth walls stndL-woodinterior of the bouse, conditions are radically different from" 'those to be met on the exterior Which 1 ! ' re weather.# The surface s as "trimmers" are to be avoided. Whites, grays, soft greens, on the interior is exposed neither fo^tb^extreme Wfftr of summer browns of various tones, will always harmonize with nature. ? a rule, when a combination of building materials is used--as :er and shingle, or cement and clapboard--the r for each material should be the same when- used. And these must harmonize with each x. Windows, doors, blinds, porches, and lices may be considered as trimmings and ted as such. Doorways and entrances should e marked and dignified recognition in color jmes. )o not use a color merely because it looks well some house you have seen. Try it first in the ironment where you purpose to use it. The e of the color to be used depends upon the na- e of the light, and the light is influenced by roundings--trees, shrubbery, shade. In fact, : same color of paint will look quite different in flight and in shade, in warm countries and in d, in woods and on the open plain. The following rules can be uniformly applied: A trimming color darker than the body color makes a house look smaller. A trimming color lighter than the body color makes a house look larger. A plainly built house as a rule looks bej>t painted in one color, depending upon the painting of roof, sash, and doors to break the monotony of a single color. A large house may be painted in a dark color, while the small house generally should be painted in a fight color with fighter trimmings or none at all. . Dividing the colors of the house--that is, using a light In selecting paints, a point to be remembered is that the difference in shade between a light color and a dark one is accentuated when they are used in juxtaposition 38 COUNTRY LIFE OCTOBE on the interior than can be expected of it when used on surfaces outside. The 4tia;in>"prpos^ of p.um tor <.\c<nm ust n 't rf to insjjxfcagainst^decay of tbe surface to which it'"'Is apaired. The primary reason for painting the interior is to give the surface character from the standpoint of coldf; and the main point in the selection of paint for interior work is to choose one which will cover well the article to be painted, and which contains colors that are more or less per- manent in value. It is hardly n manufacturings has b^er^ genets that the^ manufacturers* veryris^st .paints that could possibly be made for this purpose. Neither; maker ^tten^pts bcciusL the m ift&fabturfcr lias means^of doing it very much better. The average wall paints that are made m such a way that they are washable and at the same time will dry with a dull lustre or an entirely flat surface are made with a pigment base of lithophone and an oil vehicle so carefully prepared that it per mits the easy application of the paint to the wallaby the use of a large brush, and further allows the A color scheme which seems especially appropriate for the summer cottage and the seashore paint- to float or flow together after it is applied, and to dry hard. The surface, when dry and hard, does not gather oa a new wail as a foundation for fotur dirror grease, easily, and can be washed with a neutral soap and at oil paint. ^Select a color that is near the final color c water--if carefully done--without injury. your wall. When this coat is thoroughly dry and hard (' These flat oil paints are made up in a range of colors and tints that require at least a week, although two weeks allowed for will meet every reasonable need. The colors can be mixed better), apply a mixture of one third oil paint to two thi with white, and for this reason any degree of tint can be secured. flat oil paint, and apply this mixture to the surface, Most of the colors that are used in this class of flat wall paint are second coat of paint is thoroughly dry and hard (which w fast to light, and in large measure will prove fast to sunlight and at least four days --a week would be better) the final co wear well over a long period of years. paint can be applied as it is found in the can. If flat oil paints are used on your walls it is not necessary to re If time does not permit devoting the number of day: move the paint when repainting of the surface is desired. It is for drying in the above recommendation, you can apply as only necessary carefully to wash the walls down with a mixture of tion coat for new walls a good varnish size (not gloss o household ammonia and water, as strong as the hands will bear, with it a small amount of the flat wall paint. One qu and let the surface become thoroughly dry, when repainting can be flat wall paint to three quarts of the varnish size is about done. proportion. For this size a good varnish should be used thinned wi tine or imitation turpentine to such an extent that when < wall it will not be shiny. A small spot on the wall should before the entire wall is coated. This p be impressed upon those who are atte do their own work, because a gloss va surface prevents the proper adhesion coats of paint, and will cause much t chipping, peeling, and crazing in the p: surface. After the varnish size has become drj (which will require at least two days) i coat can be applied. This coat can be tl paint with a slight addition of boiled mixed in it. About a pint of oil to th flat wall paint is a good average, thoroug and incorporating it before applying tc When this coat is dry and hard (which \ about two days) the third or final co applied, using the paint as it is fou package. If permanence and thoroughly satis! suits are sought for interior wall paintin specificatibn offered above is the very be* give uniform satisfaction over a long years, as a rule. The second specificai vised only where* time is a factor in the of the paint. If cost is the greatest factor and it h to reduce the application time still fu In this type of house--a modified Dutch Colonial--the long sweep of the gambrel roof gives much the effect of a house painted in two colors possible to apply directly to the new wal flat oil paint which has had added to it COUNTRY LIFE Oc t o b e r , 1922 interior than can be expected of it when i surfaces outside. main purpose of paint for exterior use is re against decay of the surface to which it is . The primary reason for painting the is to give the surface character from the >int of color; and the main point in the nof paint for interior work is to choose one t: * vill'cover well the article to be painted and contains colors that are more or less per- : in value. hardly necessary to discuss the method of cturing paints for interior use, because it n generally recognized for many years past e manufacturers have been supplying the :st paints that could possibly be made for rpose. Neither the painter nor the home attempts to make paint for interior use, : the manufacturer has found ways and af doing it very much better, average wall paints that are made in such a it they are washable and at the same time with a dull lustre or an entirely flat sur- t made with a pigment base of lithophone oil vehicle so carefully prepared that it per- e easy application of the paint to the*wall by : of a large brush, and further allows the A color scheme which seems especially appropriate for* the summer cottage and the seashore o float or flow together after it is applied, dry hard. The surface, when dry and hard, does not gather best kind to use on a new wall as a foundation for future coats of grease, easily, and can be washed with a neutral soap and flat oil paint. Select a color that is near the final color desired for -if carefully done--without injury. your wall. When this coat is thoroughly dry and hard (which will s flat oil paints are made up in a range of colors and tints that require at least a week, although two weeks allowed for drying is eet every reasonable need. The colors can be mixed better), apply a mixture of one third oil paint to two thirds of the lite, and for this reason any degree of tint can be secured, flat oil paint, and apply this mixture to the surface. When the f the colors that are used in this class of flat wall paint are second coat of paint is thoroughly dry and hard (which will require light, and in large measure will prove fast to sunlight and at least four days --a week would be better) the final coat of wall ill over a long period of years. paint can be applied as it is found in the can. : oil paints are used on your walls it is not necessary to re- If time does not permit devoting the number of days required he paint when repainting of the surface is desired. It is for drying in the above recommendation, you can apply as a founda cessary carefully to wash the walls down with a mixture of tion coat for new walls a good varnish size (not gloss oil) mixing ild ammonia and water, as strong as the hands will bear, with it a small amount of the flat wall paint. One quart of the the surface become thoroughly dry, when repainting can be flat wall paint to three quarts of the varnish size is about the right proportion. new walls--walls that have never had any kind of finish For this size a good varnish should be used thinned with turpen 1--it is-best to apply first a coat of oil paint. In fact, the tine or imitation turpentine to such an extent that when dry on the aracter of paint used on the exterior of your building is the wall it will not be shiny. A small spot on the wall should be tested before the entire wall is coated. This point must be impressed upon those who are attempting to do their own work, because a gloss varnish wall surface prevents the proper adhesion of future coats of paint, and will cause much trouble by chipping, peeling, and crazing in the painted wall surface. After the varnish size has become dry and hard (which will require at least two days) the second coat can be applied. This coat can be the flat wall paint with a slight addition of boiled linseed oil mixed in it. About a pint of oil to the gallon of flat wall paint is a good average, thoroughly mixing and incorporating it before applying to the wall. When this coat is dry and hard (which will require about two days) the third or final coat can be applied, using the paint as it is found in the package. If permanence and thoroughly satisfactory re sults are sought for interior wall painting, the first specification offered above is the very best, and will give uniform satisfaction over a long period of years, as a rule. The second specification is ad vised only where'time is a factor in the application of the paint. If cost is the greatest factor and it is necessary to reduce the application time still further, it is possible to apply directly to the new wall a coat of In this type of house--a modified Dutch Colonial--the long sweep of the gambrel roof gives much the effect of a house painted in two colors fiat oil paint which has had added to it a quart of Oc t o b e r , 1922 COUNTRY LIFE The first cost of application is less than of a flat oil paint, but when considered in nection with the ultimate cost of painting repainting over a period of years to keep appearing well, the flat oil paints are much economical and more satisfactory from every of view. When painting a new wall with calcimii is first necessary to secure a uniform surfat applying to the wall a coat of glue size in the same manner described above, e that it should be a little stronger in glue, calcimine can then be applied to the wall rected on the package. The manner of app is much the same as with flat oil paint. A brush should be used--one that is not less six inches wide, with long-bristles, and still is preferable if used in hands that are s enough to handle the brush when full of liqui In using these flat paints the best met! to apply the paint in a semicircle to the wal then brush in straight movements across the laying it off in the opposite direction to the tion taken in applying. This suggestion f< plication can be better understood by referr: the illustration on page 41. . A better color scheme for the year-round home than the one shown at the top of the preceding page It is necessary to work fast in using flat 0 calcimine paints, applying the paint to th boiled linseed oil to tbc gallon. Apply this mixture to the wall and and laying each brushful off as quickly as possible. Do not allow at least two days for drying. When the surface is dry and hack over the surface after the area painted has been la hard, apply to it a very thin coat of glue size made with any good Keep moving across the ceiling from one wall to the otho ground hide stock glue, allowing the ground glue to soak up cold away from the surface already painted until the ceiling is water in a bucket until it becomes soft, and then scalding it with pleted. Then paint down each unit of the wall in the same boiling water. Use about half a pound of glue to three-quarters ner until your room is completed. of a bucket of water. The bucket mentioned for use is the ordinary Ogalvanized iron bucket used about the home. The glue, when cool, may be brushed evenly over the wall, and NE of the outstanding questions in the matter of ii painting is the relation of the ceiling color to the w it is better to have it too thin than too thick or stocky. It will has been found most practical, when using dark colors on th appear, when brushing the glue over the wall, that you are applying to take one part of the wall color to eight parts of whit nothing more nor less than water, but thin as it is, it will aid, when apply this mixture to the ceiling as the ceiling color. Wher dry, to stop the suction and will cause the wall to become more uni light colors on the wall, mix one part of the wall color wit form in holding up the second and final coat of paint. parts of white and apply this mixture to the ceiling. If the* This method, as is apparent,,calls for two coats of paint and one are followed, you will find that when artificial light is used a thin cofct of glue size between coats. It is not, however, recom or during dark periods, the wall color will hold true with the ai mended for genera! use, but is merely an economical expedient and light and carry much the same hue as it has with the dayligl is not considered safe from a practical point of view. It is never to The next best suggestion for ceiling color is to use a ver be recommended when permanent satisfaction is expected from the use of paint upon walls. used'with satisfaction upon both walls and woodw^Some of the better grades now manufac tured are in fact ground so carefully that they prove to be an excellent foundation for enamel when used on standing woodwork. However, all lithophone paints are not ground finely enough to be recommended for undercoatings on woodwork where enamel is to follow. Ti is un^tsi to use l pun white lirhophoni ptinc on v ills or voilworL wh<i< sttong sunlight will tmuh it. Some white litliophoncs dp not give Double, but it ha been found that mans* oF'ihun inn gMl Vhrre snnng sunlight louJus rhom? Especially is'this true where Hnorsture or damp ness is prevalent.in the atmosphere. CAT OTMTNE prints, tin so-called w.iti r paiigts, in whnh no oil or ppn^rsc lead'or /Inc pigment* 'no lmd atifl wdmh ait* ihiteforo much* (heipd than oil paints, last onlv tairl\ welhsOT i\ ilU and should never be used on sranding woody^iki *Thcy camivt be oiicccbsfulK washed, as water when applied will wash the calcimine from the wall. If a house is painted the right color at the beginning, and it has proved restful and a harmonious part of < vironment, it is best to continue the same color throughout the years whenever repainting is n 1922 COUNTRY LIFE 39 The first cost of application is less than that of a flat oil paint, but when considered in con nection with the ultimate cost of painting and repainting over a period of years to keep walls appearing well, the flat oil paints .arejn^h_mgje economical fiom e\rv pcfmt .......... . When painting a new wall with calcimine it is first necessary to secure a uniform surface by applying to the wall a coat of glue size made in the same manner described above, except that it should be a little stronger in glue. The calcimine can then be applied to the wall as di rected on the package. The manner of applying is much the same as with flat oil paint. A wide brush should be used--one that is not less than six inches wide, with long-bristles, and still wider is preferable if used in hands that are strong enough to handle the brush when full of liquid. In using these flat paints the best method is to apply the paint in a semicircle to the wall, and then brush in straight movements across the paint, laying it off in the opposite direction to the direc tion taken in applying. This suggestion for ap plication can be better understood by referring to the illustration on page 41. color scheme for the year-round home than the one shown at the top of the preceding page It is necessary to work fast in using flat oil and calcimine paints, applying the paint to the wall ed oil .to the gallon. Apply this mixture to the wall and and laying each brushful off as quickly as possible. Do not work ast two days for drying. When the surface is dry and back over the surface after the area painted has been laid off. r to it a very thin coat of glue size made with any good Keep moving across the ceiling from one wall to the other, and e stock glue, allowing the ground glue to soak up Cold away from the surface already painted until the ceiling is com bucket until it becomes soft, and then scalding it with pleted. Then paint down each unit of the wall in the same man :er. Use about half a pound of glue to three-quarters ner until your room is completed. of water. The bucket mentioned for use is the ordinary Oiron bucket used about the home. when cool, may be brushed evenly over the wall, and NE of the outstanding questions in the matter of interior painting is the relation of the ceiling color to the wall. It to have it too thin than too thick or stocky. It will has been found most practical, when using dark colors on the wall, en brushing the glue over the wall, that you are applying to take one part of the wall color to eight parts of white, and >re nor less than water, but thin as it is, it will aid, when apply this mixture to the ceiling as the ceiling color. When using p the suction and will cause the wall to become more uni- light colors on the wall, mix one part of the wall color with four Iding up the second and final coat of paint, parts of white and apply this mixture to the ceiling. If these rules thod, as is apparent,.calls for two coats of paint and one are followed, you will find that when artificial light is used at night Df glue size between coats. It is not, however, recom- or during dark periods, the wall color will hold true with the artificial r general use, but is merely an economical expedient and light and carry much the same hue as it has with the daylight. idered safe from a practical point of view. It is never to The next best suggestion for ceiling color is to use a very light nended when permanent satisfaction is rom the use of paint upon walls, lophone or flat oil paint is not satisfac- se on exteriors, as it will not wear. It 1 exclusively for interior use and can be satisfaction upon both walls and wood- me of the better grades now manufac- in fact ground so carefully that they be an excellent foundation for enamel d on standing woodwork. However, all e paints are not ground finely enough to mended for undercoatings on woodwork tmel is to follow. wise to use a pure white Uthophone paint or woodwork where strong sunlight will Some white lithophones do not give >ut it has been found that many of them y where strong sunlight touches them, y is this true where moisture or damp- -evalent in the atmosphere. UMINE paints, the so-called water paints, A'hich no oil or expensive lead or zinc s are used and which are therefore much than oil paints, last only fairly well on id should never be used on standing woodThey cannot be successfully washed, as hen applied will wash the calcimine from If a house is painted the right color at the beginning, and it has proved restful and a harmonious part of the en vironment, it best to continue the same color throughout the years whenever repainting i nw*p<arv Vivid colors and those offering 'h^emolwinK tonesofone color, as here 40 Oc t o b e r , 1922 COUNTRY LIFE tint of ivory or cream that is just a de gree or two off white. r'TvHE proper care of brushes is most X important. There are many ways suggested for their cleaning and preser vation, but die simplest and most prac tical are as follows: When the brush is in use and you are setting it away for the night expect ing to use it again the next day, it is advisable to place the brush in a pot of water or raw linseed oil, securing it to the pot in some manner so that the bristles do not touch the bottom of the container. A hole through the handle of the brush, with a wire placed from one side of the pot to the other, is one of the best means of accomplishing this. In the morning when you are ready to use the brush again, remove it from the water, and placing the ends of the bristles on a piece of cardboard or paper, scrape down from the ferrule to the tip of the brush with a fiat hoard or scraping knife, using all the pressure possible, scrap ing away both the water and the . paint that was left in the brush. Then wash the brush in benzine or turpentine, shake it out well-- in fact, beat it against a board if one is handy--until it is as dry as possible. 1 hen place your brush in the paint, work it around until it has accumulated a fairly uniform An old door on the Bonny Rigg Farm which shows the result or paint that has been applied and left in a ropy condition, in time becoming a very unsightly surface amount of color, and it is re; When you are through with th for the present and want to set for future use, scrape out as n the paint as possible in the mat scribed above. Then wash th< first in a little linseed oil in a po ing out the color as much as is ] and scraping the bristles, agai side of the pot to help free the the paint. Again scrape ther with a board or scraper, and th the brush in benzine. When thi? shake all of the benzine possibh the brush, and then wash it warm soap suds. When it h thoroughly washed, rinse many warm water, then again in This last washing in benzine will bristles from any soap suds that n Remained. The brush can then up to dry and will be in good c for the next job. It is good practice to work vase the bristles when putting a brus This will keep it in most excellent < over a long period of years, and pr drying out. If you do this, howevi he necessary, before you use it ag; Uiov'* flu- vav-hne v/iih hot v/ofkiug out v/iih Ik -h /h u - any //! Mill remain. An old church at the top of the Mohawk Trail with paint badly powdered so that it can be rubbed off on the fi-- In this siding can be noted paint peeling from the boards as the result of moisture back of the paint i r 1922 y or cream that is just a deoflf white. oper care of brushes is most ant. There are many ways or their cleaning and preser- the simplest and most pracfollows: le brush is in use and you it away for the night expectit again the next day, it is to place the brush in a pot ir raw linseed oil, securing it in some manner so that the not touch the bottom of the A hole through the handle of with a wire placed from one e pot to the other, is one of leans of accomplishing this, morning when you are ready brush again, remove it from and placing the ends of the a piece of cardboard or paper, vn from the ferrule to the tip of with a flat board or scraping tg all the pressure possible, scrapboth the water and the . paint that 1 the brush. Then wash the brush s or turpentine, shake it out well-- beat it against a board if one is ntil it is as dry as possible. Then r brush in the paint, work it around has accumulated a fairly uniform COUNTRY LIFE An old door on the Bonny Rigg Farm which shows the result of paint that has been applied and left in a ropy condition, in time becoming a very unsightly surface 41 amount of color, and it is ready for use. When you are through with the brush for the present and want to set it away for future use, scrape out*as much of the paint as possible in the manner de scribed above. Then wash the brush first in a little linseed oil in a pot, work ing out the color as much as is possible, and scraping the bristles against the side of the pot to help free them from the paint. Again scrape them down With a board or scraper, and then wash the brush in benzine. When this is done, shake all of the benzine possible out of the brush, and then wash it in good warm soap suds. When it has been thoroughly washed, rinse many times in warm water, then again in benzine. This last washing in benzine will free the bristles from any soap suds that may have remained. The brush can then be hung up to dry and will be in good condition for the next job. It is good practice to work vaseline into the bristles when putting a brush away. This will keep it in most excellent condition over a long period of years, and prevent its drying out. If you do this, however, it will he necessary, before you use it again to re move the vaseline with hot water, thoroughly working out with benzine any which may still remain. . Illustrating method of applying flat paints. The arrows indicate the direction of the stroke An old church at the top of the Mohawk Trail with paint badly powdered so that it can be rubbed ofT on the Angers In this sidingcan be noted paint peeling from the boards as the result of moisture back of the paint