Document rDmON84DaK9MdRqopgDBdw9a

The Painter. Vol. IV. APRIL, 1885. No. 4- COLOR. Whether it be die result of an aesthetic craze, of a closer study of nature, or a recognition of the expressive power of color, there is an encouraging degree of interest manifested in the study of it at the present time. The public eye views color effects more critically than it has hitherto been accustomed to. The desire seems to tend toward tones which are subdued, restful, pleasing; nothing garish, nothing harsh, is sure to meet with favor. Much fine work is done, too much, perhaps, in a spirit of rivalry among those who possess wealth and delight in display, and few thoughtful minds can reflect upon this dis position without feelings of regret. But the artists whose services are brought into requisition by this rivalry are thoroughly in earnest, conscientious, honest; the work of their hands may be in no sense depreciated by the conditions under which they labor. Those who behold their work are delighted, elevated, instructed, led on a few steps in the pathway of artistic refinement. Thus is the beauty of the ages in form and color reproduced in measures attuned to the time and place; thusdoes Art teach her children. We learn by means of these better con ditions how the colors are related the one to the other; how one adds to or detracts fiom its neighbor; how differing conditions of light and surroundings affect favorably or unfavorably die appearance of decoradon; how thejudicious use of a little bright color among dull or subdued shades heigh tens the effect; and how the introduction of a similar quantity of discordant color as effectually detracts from ib So much depends upon the delicacy of feeling and the natural gift of the artist in discerning color values and relationships that it is difficult to establish precedents by which all of the questions which arise in the use of color can he satisfactorily answered. LawB of harmony and contrast there are. which are theoretically asjprecise as could be desired, but the quality of pigments and the lack of uniformity in conditions render necessary the exercise of a discrim inating judgment wherever color is used. A brief synopsis of various color effects is given below, which abounds in wholesome suggestions for all who use color: The color of a substance is that color of the prismatic spectrum which it reflects to ur eyes. A substance appears blue because it reflects blue rays only and absorbs all others. White reflects and black absorbs all rays. The natural eye is so constructed that it is not satisfied with inharmonious coloring. Harmony is an arrangement of colors in agreeable contrast. The harmony of color is analogous to the harmony of music, but the analogy is not generally well understood. Harmony is only secured when the three primary colors, blue, red and yellow are present in proper proportions, either alone or in combinations. Primary colors cannot be formed by the admixture of any other colors, while all other colors result from the admixture of these three. Colors formed by the admixture of two primaries are called secondary, those form ed by the admixture of two secondaries are called tertiary. Red and green combine to yield harmony, because green is formed by uniting blue and yellow. Blue and orange combine to yield har mony, because orange is formed by uniting red and yellow. Yellow and purple produce harmony, because purple is formed by uniting red and blue. Colors in perfect purity produce-exact harmonies in the proportions of eight parts of bhie, five of red and three of yellow. N46259 0007-SWP-000158376 IB M GRAINING AND GRAINING TOOLS. The law of harmonious combinations for instance, blue and purple are both in may be expressed as follows: jured when placed side by side. fXIMAXY COLOBfi. Bine, i Red, 5 V t)luwr RICUBPilBV COLORS. Ptirftls. is Careen. 11 OftflgR, t TVRTIARY COLORS, Olive, 94 Ituilet,!! Citnno,j<f Complementary colors in juxtaposition mutually enrich each other, receiving a double modification first as to depth, the light appearing lighter, the dark darker and To illustrate harmony by rule: second as to hue, each being tinged with Red, 1III1.1 Bluinb crimson hamoDLtesJ YtUnw. III. the complementary color of the other. 11 jwitb jollow green, l 111111. When a light color is juxtaposed to a The bluish crimson is formed by all the dark one the light color appears lighter and I red (3), and two parts of the blue. The the dark one darker than it really is. yellow green is formed by all the yellow Dark gray on white appears much darker (3), and the remaining six parts of blue, than it really is. thus we have used the lawful proportions, When red and green arc juxtaposed the eight blue, live red, and three yellow. red will appear redder and the green The areas occupied by different colors greener than otherwise, because they, too, may vary with corresponding variation in contain the three primaries and are com intensity. For instance, blue (8), and plementary. orange (3), form perfect harmony when When blue or bluish black are juxtaposed both are of prismatic intensity, and we to jet black the first is slightly improved still have perfect harmony when the orange while tlie jet black appears rusty from the is reduced to one half its strength with orange tint created by the eye. the other white or black provided sixteen parts are two primaries, red and yellow, forming now used with the eight of blue. the orange. Colors are inherent and transient; the If we look upon red, green is formed in former any colored substance, the latter the eye, and if we look upon yellow, pur decomposed rays of light. ple (blue and red) is formed, the induced Pigments are imperfect representations of colors affecting those in juxta]>ositiuii. color, therefore absolutely harmonious com By any artificial light (as gaa), blue binations can never be produced with becomes darker, red brighter, and yellow paints. lighter than it is. When colors are juxtaposed (placed side Gray increases the brilliancy of alt by side), they are influenced and do not primary colors when in juxtaposition with appear what they really are. them. Cobalt, raw umber and white pro VVhatever primary color is not in view duce a good gray. will be created in the eye and this induced Blue is a cold, receding color. Red is color will be cast upon whatever is near. a warm, exciting (but stationary) color. Colors which perfectly harmonize im Yellow is an advancing color. prove one another, and are thus comple Colors may be combined to produce the mentary. idea of gladness, sadness, purity, richness, Inharmonious combinations are by jux poverty, etc., analogous to the sounds of taposition renderedstill more inharmon ious; music. GRAINING AND GRAINING TOOLS. -if Thu severe criticism to which the prac But there are still important uses for grain tice of graining with oil or water colors in ing where dark colors are desired, or where imitation of natural woods has been sub for some good reason it is impracticable to jected by Mr. Ruskin and others, on use the natural woods. account of its being a more or less imper To be an expert grainer, one must he fect rcsemblcncc to the really beautiful familiar with the various woods which he work of nature, may have done something will have occasion to copy, skilled in to diminish the popularity of graining, and draughtsmanship, and master of the tools 5 may be said to be fairly well sustained by used in this branch Df the business. The I the arguments deduced in support of it. necessity for mixing the colors has been 0007-SWP-000158377 GRAINING AND GRAINING TOOLS. 75 removed by the enterprise of paint makers, so that it is now possible to procure almost any color desired ready for use. The methods of graining according to the old process are performed with com mon brushes, and as soon as the ground coats are dry the process called over-graining is commenced. This is executed by a variety of tools, consisting of broad, flat and chin brushes, used either spread, turn ing the hand or edgewise--hair pencils of veins, knots, etc., are then touched and re touched until the desired effect is produced, the work being subsequently varnished. It should be borne in mind that graining is one of the difficult phases of painting, and in its demands upon the skill of the grainer ranks above plain painting, and that no person can become an expert graincr who servilely follows written instruc tions. He must think for himself, must closely study nature, and must have clear FI(I. I. various sizes, combs and rubbers, which being, as occasion requires, dipped into turpentine or water, are passed quickly and lightly over the paint, so as to leave the streaky grains, curls and knots intended to remain, untouched, according to the skill and fancy of the grainer, when it is imme diately wiped off with a rag, which cakes up the uppeT coat of the paint when dis solved by the turpentine or water, leaving the graining as required, and exhibiting the around between; the various lines, eyes. ideas of the effects produced by light and shadow. It would be well for him to form a small collection of specimens of woods or veneers, small pieces are as good as any, perhaps, and glue them on common boards, and French polish or oil rub them. These will be in convenient form for study and reference, and will doubtless be worth many times what they cost. The ground color used should be of the general color of the wood to be imitated, but lighter, and, when dry, should, be 76 GRAINING AND GRAINING TOOLS. covered with a coat of transparent color, of the proper hue and full depth, prepared either with turpentine or water color. OAK. The groundwork for oak is yellow ochre and white lead, or Venetian red, yellow ochre and white lead, according to the shade desired. The graining color is a mixture of turpentine, linseed oil, patent dryers, and raw or burnt umber with black, according as the oak is to be light or dark. the work is then to be "cisscd in" with whiting and water. The process of fusing is done by passing over the work with a sponge moistened with beer or water and rubbed with whiting. The graining color is to be Vandyke brown mixed with water; it is then to be rubbed in with a tool and mottler. When the color is quite dry take a sponge dipped in beer, and damp the whole well with it, and when this is dry commence the over-graining. The color for this process is Vandyke brown and FIO. II.---- GRAINING HEART PIECE WITH PLATES, The work is to be well rubbed in, level and clear; then, with a gutta pcrcha comb, pass over the parts required to be veined; then with a Steel comb repeat the process with a wavy motion. Next wrap a piece of soft rag over the thumb, or over a piece of horn (called a "thumb piece") shaped like the end of the handle of a spoon, and wipe out the light markings, taking care that no dark edges are left where the color is wiped away, a result which is' achieved by moving the doth over the thumb or thumb piece after each stroke. The over-graining may now be drop black mixed with beer. With a light tint of this mixture, just enough to show, and a hog's-hair over-grainer sketch the general design of the grain, and soften. When dry, with the same tools, the overgrainer, being divided by a comb, and with a darker shade of the same color, work up die graining to the required design, soften ing continually during the work. After this, a good effect can be produced by dabbing the work with a damp piece ol coarse sponge, and then softening upwards KNOTTHR, BLENDES. FIG. III. FINE COMM. commenced by well damping the work with a sponge dipped in fuller's earth or whiting and water. The color to be then used is Vandyke brown mixed with water, and applied with a broad hog's hair oveigrainer, to be drawn straight down the figured work. On the stiles, etc., of doors a mottler may be used in order to darken certain parts, the whole being well softened and subsequently varnished. WALNUT. The ground for walnut is mixed of Venetian red, yellow ochre, and a small quantity of burnt umber with white lead; or in the direction taken by the grain. In fine work this must be varnished, and, when dry, the whole should be washed over with Vandyke brown or burnt sienna 0007-SWP GRAINING AND GRAINING TOOLS. 77 and water; it is then to be mottled and ell softened; after this, another coat of varnish is to be applied. OTHER WOODS. Ash.--This wood somewhat resembles oak m grain, though it is, perhaps, some what finer and inclines more to a reddish biown. The imitation of its grain is effect ed in much the same way as oak, with such variation in the colors used as may be required. Rosewood.--This wood is sometimes im. itated by the gtainers in this country, but not so often as the other varieties. It is imitated sometimes for burial cases, but it so elegant and varied in form and color that it is deemed best to offer a few sug gestions concerning graining in imitation of %era I;J Shewing ibc mulcr- The jibuv tu Finished CiuKch tir tfetMBgrcquircJ. he iitcd. Femit etc*. MG, V.-----FKATHER WORK. it 'The ground is prepared with Ver miiion, lake and flake white, mixed into a rosy tint, partaking more of pink than scarlet. When die ground is quite dry and smooth, take Vandyke brown, nearly opaque, and with a small tool spread the color in various directions over the ground, then with another dry tool beat the color, whilst wet, against the grain--i. r., in the opposite direction to that in which it was laid on. Before the color is dry take a piece of moist chamois, spread oveT the thumb or thumb piece, and with great VIC. VI.--HfXGAREAN ASH. freedom take out the lighter veins; have ready the darkest tint of Vandyke brown, and with a sable pencil give free and strong touches under the parts taken out with the chamois, and other parts where required; blend off the whole with a badger softener, and varnish when dry. Another Rosewood.--The ground to be substantially the same as the one above given. The graining color is formed of Vandyke brown and rose pink, ground very fine in beer; this is laid on with a common tool, but not too thickly; then taking a common quill, draw the feather in various directions over the wet color, giving the hand a tremulous motion in parts where it is desired to give a wavy appear ance to the grain; then take out the small bright lights with the chamois or cloth, and afterwards blend the whole with the softener. When this is dry, which will be in a few minutes, give very dark touches under the light parts with Vandyke brown and rose pink nearly opaque. The whole is 10 he well varnished when dry. Still Another Rosewood. --The ground is chrome yellow, vermilion and white lead. The graining color is composed of ivory black, with burnt sienna ground very fine, the whole being well softened after laying on, When dry, over-grain in a curly fig ure with a small graining brush and ivory black; shade up the knots with a camel's hair brush, and finallyglaze with rose pink. These examples will give an idea of the method of graining in imitation of the more common woods. The list might be en larged, but the processes of manipulation are much the same in the case of other woods, the grainer being able usually to vary both the color and manipulation to Fit!. VII,--FRENCH WAI.NUT. suit the requirements of the case in hand. Among mechanical inventions for the use of grainers, some of the more recent are tools consisting of stencil plates made of metal of different patterns, for different woods, and for different features, like knots and heart pieces, of the same woods. Through the courtesy of Mr. J. J, Callow, of Cleveland, O., the patentee iff perhaps the best device of this kind, we are able to present a few illustrations of work done by his process. The advantages claimed for them are that they facilitate the work, and the tools are so easy to use that persons of moderate skill can do creditable work with them. In Fig. I is shown the manner of using 0007-SWP-000158380 7* MINERAL COLORS. the plates while graining a door side. Nothing but plain, clean combing is need ed on die stiling, except on the lode or knob rail; more than this is said to overdo the work and spoil the good effect of the job. Among other appliances are the graining and marbling rollers. TheBe consist of cylinders fixed in frames, by means of which the pattern engraved on the roller is repeated. They are no doubt efficient in certain classes of work, but are said to be less durable than plates. MINERAL COLORS--II. [Translated for The PaiNTKk from the German of I. G. Genrele, liy Percy Neymann, Ph. D.] JPufverizing.--When the material, after apparatus for pulverizing most all grades of floating and drying adheres together so material are the so-called rolling or tumbling that it cannot be broken by pressure of the barrels--barrels which revolve around their fleshy part of the finger, but can be broken axis. The barrels are half filled with balls by pressure of the thumb nail and reduced of some hard material;, the remaining half to powder, fine pulverizing, redudng to an is filled with the material to he pulverized. impalpable powder, is often of great ad By revolving, this is intermingled with the vantage and much increases the value of balls, which by being constantly made to the product., A product not pulverized rise and fall and turn, pulverize the mate can be easily employed for distemper or rial. In order to have die ball take effect water color, but not for oil color or paint. in this manner the motion of the barrel When the pigment has not been floated it mast not be rapid enough to give the balls requires pulverizing in all cases. Floating a centrifugal motion, m which case they should hence not be resorted to when the would Temain in one spot and do no work. material again `` cakes " after the operation. No matter what the diameter of the barrel The methods and apparatus employed in may be, the rapidity of motion on the cir pulverizing ate manifold, and are adapted cumference must not be greater than i. 31 to the quantity to be pulverized, to the 1.3 meters per second. It is of advantage hardness of the material, to the available when the velocity can be regulated. If motive power and the capital required. the hardness and chemical condition of the On a small scale the operation is con pigment permit it the barrels can be made ducted in a mortar, and the ground mate of wood and held together by hoops, ir rial passed `through a hair sieve.' The the material is not harder than sulphur the same method-is applicable on a somewhat balls may be iron musket balls or of the larger scale by an arrangement consisting same, size in brass. On account of the of a larger mortar and a more advantageous abrasion, it is better to line the interior of utilization of the power. A block of sand the barrels with sheet iron, zinc, brass or stone is hewn out kettle shaped. The copper. For earth colors sheet iron is upper edge should reach to about the mid generally sufficient. For other colors sheet dle of the chesL The diameter may be copper lining and brass balls are preferable. 1 6o to 66 centi meters. The pestle consists When gypsum (sulphate of lime) or of a ball of hardwood with a long handle barytes (sulphate of barium) axe to be pul which is held by means of a ring fastened verized it is necessary to have the lining of to the wall. The handle when pnoved the barrels and the balls of still harder violently acts as a sort of lever, and great material than that mentioned above. For force is communicated to the ball which this reason hard mineral colors are rarely pulverizes the material. When sandstone pulverized in the above manner, and only blocks cannot be had an iron or copper barrels lined with a very hud porcelain kettle will suffice, which can be hung in a and balls of the same material are em frame to give it more stability. If the ployed. They pulverize burnt quartz, burnt material is not hard and will bear crumbling flint, eta Whatever material tumbling bar by pressure of the thumb nail one man can rels arc made of, they require the follow pulverize several hundred weight per day. ing arrangement to adapt them to practi For pulverizing on a large scale there are cal use: numerous arrangements. A very good 1. An opening on the circumference 0007-SWP-000158381 MINERAL COLORS. through which the material can be intro duced. The opening can be square, and should measure about r8 to 24 centi-meters, 2. This opening must be closed by a - blind or door fastened by bolts so that the cylinders are kept well closed. 3. As it becomes necessary to empty the contents of the barrel through the same opening, a wire screen must be provided which will allow the fine material to drop ; out, but retain the balls. 4. The barrel should revolve in a box capable of taking up the ground product It is best to have the entire apparatus enclosed in a tight wood box so as to catch all dust. In order to clean the barrels perfectly they are allowed to revolve a number of times after the door has been opened. 5. Thebarrets are best revolved by means of pulleys fastened directly to the axis. There should he a loose pulley over which the belt can be shifted when it is necessary to stop the barrels. 6. It is best not to have the shaft pass through the center of the barrel but to set the latter in a frame work and allow the ends of the shaft to test in this. When, however, the material is very heavy, or the barrels very large, the shaft should pass through the barrels, otherwise it will be very difficult to make the apparatus hold together. 7. The battels should not have a great length. It is far better to increase the diameter; with it the action of the balk becomes more effective, but the tax on the motive power is also increased. The harder the material the greater must be the diameter of the cylinder. A diameter of one meter or a little less is applicable to most all cases. When the material is harder than sulphur it must be (educed to the size of peas before it is placed in the barrels, in order to enable it to get between the balls. The pieces of material are best reduced to a suitable size by undergoing a stamping or crushing operation, which is most easily accomplished by means of a mill such as is used for crushing cotton seed or linseed, tunned chaser nulls. A material not particularly hard is rapid ly reduced to a fine powder by the barrel process, and when the operation is con ducted long enough, sifting may be dis pensed with, and a product is obtained which can barely be marie as good by any other process. With very hand material it is better not to prolong the operation and resort to sifting. The residues are again put into the tumbling barrels. An apparatus constructed entirely of iron upon the same principle as the tum bling barrels is sometimes employed when but one grade and kind of color is manu factured. The cost of an iron ball mill of this kind is about six times that of an ordinary tumbling barreL Another good arrangement for performing this operation is the grinding null. When an earth color is abundant and readily disposed of, mills such as used for grinding grain are employed. Their con struction is known to most everyone. 'These mills are more particularly used for pulverizing gypsum and barytes ^ both, however, require previous crushing, by means of a stamp or stamp mill, or chaser mill. The grinding stones for gypsum can be made of a very quaraose sandstone or granite, while those intended for grinding barytes are preferably made of cast steel with a corrugated surface. The grinding appliances herein discussed are provided with, a sifting arrangement which produces several grades of fineness of material. The refuse, or that which does not pass through the meshes is again transferred to the grinder. The sieves are best made of brass wire gauze of various sizes. The gauze is wound around a cylindrical framework so as to form cylin drical sieves which are kept in rotary motion by proper mechanical devices. The sieves are enclosed in a box which collects the siftings while the residues pass out of the end of the cylinder and are carried back to the mill. To facilitate the production of different grades of fineness the sieves are arranged so that the first meter of the frame work is covered with the finest gauze or bolting cloth, the second meter with the next coarser number, and so on. The frame work has an inclined position. Care must be exercised not to have this inclina tion too great, otherwise some of the fine material will fail to fall through its proper sieve. The velocity of rotation must also not be too great to prevent centrifugal action on the coarser particles which do not fall through the meshes. It is very advantageous to give the sieves a shaking motion besides the rotary motion. Formerly the so-called wet mills were used for grinding gypsum and barytes. t i 0007-SWP-000158382 So WJJAT CAUSES PAINT TO BLISTER AND PEEL. The coarse powder was ground with water The motive power acting upon the gearing and the fine powder produced was then is transferred to the vertical axis, and by floated off. The coarse material was again the friction and their weight the chasers are ground. made to revolve around the horizontal axis. Dry mills are also employed for grinding The chasers are frequently made to stand other earth products which are used for the still and not revolve around their own axis, preparation of fillers. These must also be while the plate is then made to revolve. the finest powder so that simple mixing This arrangement is not so effective, but with oil or varnish perfects them for use at the material can easily be shoveled out once. after the operation is perfected. Bone black and ivory black when in The most troublesome part of the proi tended for use as a pigment are also fre cess is the emptying of the mills, and it quently ground on these mills. requires considerable skill to da this with it In smaller factories the chaser mills do out stopping the entire machine. Iron' the pulverizing. When the stones or bed plates are best, because they are more chasers are of sufficient diameter they easily cleansed, owing to their smooth, crash the hardest materials and often pro non-porous surface. When the material to duce a powder in part which is sifted out be crashed is very hard and the object is at once. When the material "dusts" to prepare a product to be treated further easily the grinding is effected very slowly. more by grinding, the chasers should have A mill of this kind consists of a round a large diameter, but should he compara stone or iron bed plate. The chasers are tively narrow. The object of this is to made of the same material as the plate. have the greatest possible weight on die The plate is provided with a flange or edge smallest possible area of the surface of the so as to form a son of flat dish. There is bed plate. For a material easily crushed a vertical axis set up on the center of the the chasers are prepared much wider. It plate which is rotated by means of suitable is not necessary to have the chasers equally gearing at the other end. This axis has a distant from the horizontal axis and is often horizontal axis attached to it at either end better to vary this distance so as not to of which one of the chasers is fastened. have both chasers follow the same track. To be iinntintiart,; WHAT CAUSES PAINT TO BI.ISTER AND PEEK The subject of blistering of paint has, from time to time, engrossed the attention of practical men; but so far aa we can fol low it in the literature pertaining to the building trade, its cause has never been clearly laid down, and hence it is a detail enshrouded in mystery. W. S. seems to dwell mostly, in his ex planations on blistering paints, on steam raised in damp wood. Also an English painter, according to the Painieri-Journal, lately reiterates the same theory, and gives sundry reasons how water will get into wood through paint, but is oblivious that the channels which lead water into wood are open to let it out again. He lays great stress on boiled oil holding water in sus pense to cause blistering, which is merely a conjecture. Water boils at 21a0 F., and linseed oil at 6oo F.j consequently no water can possibly remain after boiling, and a drop of water put into boiling oil would cause an explosion too dangerous 10 be encountered. It will be Bhown herewith that boiled oil, though in general use, is unfit for durable painting, that it is the cause of most of the troubles that painters have to contend with, and that raw linseed oil seasoned by age is the only vehicle to bind pigments for dura ble painting; but how to procure it is an other trouble to overcome, as all our American raw linseed oil has been heated by the manufacturers, to qualify it for quick drying and an early market, thereby im pairing its quality. After linseed oil has been boiled, it becomes a poor vaniish; it remains soft andpliable when used in paint, giving way to air pressure from the wood in hot weather, forming blisters. Turpen tine causes no blistering; it evaporates upon being exposed, and leaves the paint 0007-SWP-000158383 WHAT CAUSES PAINT TO MUSTEK AND PEEL. Si in a porous condition for the gas in the peratures, lie partly dormant until the wood to escape; but all painters agree that thermometer hovers at 90 F. in the shade, blistering is caused by gas, and on investi when, they develop into gas, forming blis gation we find two main sources from which ters in air tight paint, or escape unnoticed gas is generated to blister paint--one from in porous paint This is the reason why the wood, the other from the ingredients of coal tar paint is so liable to blister in hot the paint, 'the first named source of gas weather; an elastic, soft, coal tar covering is started in hot weather by expansion of holds part of its volatile oil confined until . air confined in painted wood, which presses heated to generate gas; a few drops only against the paint and raises blisters when ' of such oil is sufficient to spoil the best the paint is too soft to resist. Tough, well painted work, and, worse, when it has cemented paint resists the pressure and been applied in priming, it settles into the keeps the air back. These blisters mostly pores of the wood, needing often from subside as soon as the air cools and returns two to three repetitions of scraping and to the pores, but subsequently peel off. repainting before the evil is overcome. W. S, and others assert that damp in Now, inasmuch as soft drying paint is unfit painted wood turns into steam when ex to answer the purpose, it is equally as bad posed to sun heat, forming blisters, which when paint too hard or brittle has been cannot be possible when we know that used, that does not expand and contract in water does not take a gaseous form (steam) harmony with the painted snide, causing at less than aiz F. They have very the paint to crack and peel off, which is likely been deluded by the known way of always the case when either oil or varnish distilling water with the aid of sunshine has been too sparingly and turpentine too without concentrating the rays of the sun, freely used. Intense cold favors the action, based upon the solubility of water in air, when all paints become brittle--a feet viz.: Ait holds more water in solution (or much to be seen on low priced vehicles in suspension) in a warmer than in a cooler winter time. Damp in wood will also degree of temperature; by means of a hasten it, as stated in blistering, the wood simple apparatus sun heated water, when sap undermining the paint. the air saturated with water is conducted To avoid peeling and blistering, the into a cooler, to give up its water again. paint should be mixed with raw linseed oil Hut water has an influence towards hasten in such proportions that it neither becomes ing to blisterpaint; it holds (he unhardened too brittle no too soft when dry, Priming wood-sup in solution, forming a slight sol paint with nearly all oil and hardly any vent of the oil, thereby loosening the paint pigment isthe foundation of many evils in from the wood, favoring blistering and painting; it leaves too much free oil in the peeling. There is a certain kind of blister paint, forming a soft undercoat. For which appears in certain spots or places durable painting, paint should be mixed only, and nowhere else, puzzling many with as little of a base pigment as can painters! The explanation of this is the possibly be spread with a brush, giving a same as before--soft paint at these spots, thin coat and forming a chemical combina caused by accident or by sluggish workmen tion called soap. To avoid an excess of having saturated the wood with coal oil, oil, the following coats need turpentine to wax, tar, grease or any other paint soften insure the same proportion of oil and pig ing material before the wood was painted, ment. As proof of this, prime a piece of which reacts on paint to give way to air wood and a piece of iron with the same pressure, forming blisters. paint; when the wood takes up part of the The second cause of paint blistering oil from the paint and leaves die rest in from the ingredients of the paint happens proportion to harden well, where at the between any layer of paint or varnish on same time the paint on iron remains soft rood, iron, stone or any other substance. To be more lucid, it need be explained; Its origin is the gaseous formation of vola linseed oil boiled has lost its oleic acid tile oils during the heated season, of which glycerine ether, which form with the bases the lighter coal oils play the most conspic of pigments the insoluble soap, as well as uous part; they being less valuable than all its albumen, which in boiling is thrown out. Other volatile oils, are used in low priced It coagulates at ifloQ F. heat; each is japan driers and varnishes. These volatile needed to better withstand the action of oils take a gaseous form at different tem wind and weather, preventing the dust ! 0007-SWP-000158384 WHAT CAUSES PAINT TO BLISTER AND PEEL. from attaching itself to a painted surface, a channel for ammonia in damp weather to dissolve and wash off the paint. In later years linseed oil has been extracted from linseed meal by the aid of naphtha and percolation, product of a very clear, quick drying oil, but lacking in its binding qual ity, no doubt caused by the naphtha dis solving the fatty matter only, leaving the glycerine and albumen in the meal. All pigments of paint group according to their affinity to raw linseed oil, into three classes. First, those that form chemical combinations, called soap. This kind is the most durable, is used for priming pur poses, and consists of lead, zinc ana iron bases, of which red lead takes up the most oil; next, white lead, the pure carbonate Dutch-process-made, following with zinc white and iron carbonates, as iron ore paint, Turkey umber, yellow ochre; also faintly the chromates of lead--chrome green and chrome yellow--finishing with the poorest of all, modern white lead, made by the wet or vinegar process. The second class being neutrals, have no chem ical affinity to linseed oil; they need a large quantity of drier to harden the paint, and include all blacks, vermilion, Prussian, Paris and Chinese blue, also terra di sienna, Vandyke brown, Paris green, verdigris, ultramarine, genuine carmine and madder lake. The last seven are, on account of their transparency, better adapted for var nish mixtures--glazing. The third class of pigments act destructively to linseed oil; they have an acid hose {mostly tin salt, hydrochloride of tin, and redwood dye), form with the gelatinous matter of the oil a jelly that will neither work well under the brush nor harden sufficiently, and can be used in varnish for glazing only; they arc not permanent in color, and among the most troublesome are the lower grades of so-called carmines, madder lakes, rose pinks, etc., which contain more or less aciduous dyes, forming a soft paint with linseed oil that once dry on a job can be twisted or peeled off like the skin of a ripe peach. All these combinations of paint have to be closely observed by the painter to insure his success. Twenty-five years ago a house needed to be painted outside but once in from fivc to seven years; it looked well all the time, as no dust settled in the paint to make it un sightly. Painters then used the Dutchprocess-made white lead, as a base and raw linseed oil, a fat acid, which formed the insoluble soap. They also put turpentine in the following coats, to keep up the pro portions of oil and pigment All held ont well against wind and weather. Now they use the wet-prccess-made while lead, neu tralized by vinegar, with oil neutralized by boiling, from the first to the last cost, and --fail in making their work permanent. W. 3,, in the Building News, relates an unaccountable mysterious blistering in a leaky house, where the rainwater came from above on a painted wood wall, blis tering the paint in streaks and filled at the lower ends with water, which, no doubt, was caused by the water soaking the wood at the upper ends where there was no paint, and following it down through the libers, pushed and peeled off the soft, inadhesive paint. Green, sappy and resin ous wood is unfit for durable painting, and to avoid blistering and peeling, wood should be well seasoned and primed with all rawlinseed oil, some drier, to insure a moder ately slow drying, and as much of a base pigment as the painter can possibly spread {much drier takes up too much oil acid, needed for the pigment base to combine with), which insures a tough paint that never fails to stand against blistering or peeling, as well as wind, weather and ammonia. The coach, car and house painter can materially improve his painting where his needs lie by first oiling the wood with raw oil, then smoothing the surface down with lump pumice stone, washing it with a mixture of japan drier, or, better yet, gold sizing and turpentine. The explanation is: The raw oil penetrates the wood and raises the wood fibers on the surface to be rubbed down with pumice stone, insuring the best surface for the following painting, To harden the oil in the wood it receives a coat of japan drier, which follows into the pores and there forms a tough, resinous matter, resisting any air pressure that might arise from within, and at the same time reacts on the first coat of lead as a drier. This mode insures the smoothest and toughest foundation fox the following painting, and may be exposed to the hottest July sun without fear of either blistering or peeling.--Scientific American Svffitment. 0007-SWP-000158385 WAIXft AMP CEILINGS. The wise old saw tells us that "walls have ears;" if they had tongues as well, ire should be deafened by the outcry of their protest against the Esthetic decora- . tion (desecration) that is plastered and daubed and piled upon them to the utter 1 destruction of comfort, good taste, grace, . beauty and refinement. We have our house built--it may be in Queen Anne style, with its pseudo-classic prettinesses, pettinesses and vulgarities; or castellated-Gothtc, with a draw-bridge over be gutter, a man in paper armor with a penny trumpet to sound the approach of visitors and signal the fall of the portcullis when necessary, and some poor old palmer, with scallop-shell on shoulder, pottering round the curb-stone, telling his beads; or it may have the grace, the beauty, the sym metry of the Italian-Gothic Renaissance, or imitate a Greek temple or Egyptian tomb, or he Df the dry goods-box. or Saratogatrunk pattern, large, square, with holes pierced in it for windows, and compart ments for lunch-box, night-dress, dinnertoilet, etc., or perhaps it is in the Frontstep style,'so prevalent in Chicago, where the grand, high, monumental structure of the front steps is the chief feature, and the house is atlded as an after-thought. But whatever be the style of the house, when it is finished there are the walk and ceilings staring down upon us in dumb, hard whiteness, and demanding with ag gressive iteration: "What will you do with ns?" In the answer to this question lies the whole art of decoration, "Chacun a son gout" was' a good rule for the immortal old woman who kissed her cow; it is a good rule, also, with reservation, for the decoration of walls and ceilings. The gist of the French proverb lies in that one word, "guilt" (taste) in which the French people are preeminent Go with your own, individual taste to an artist dec orator, and advise with him as to material, as to combinations of color, as to the thousand-and-one things that go-to make an elegant home, and the result cannot fail to be satisfactory. Use your own taste, arid outgrow its results, and try again, and you will have endless satisfaction. We west once on a time to a gentleman's house to see one of Turner's paintings; it was the only painting in the house, and the gentle man explained this apparent singularity and incongruity in a very elegantly ap pointed home, by saying: "Inis is the first picture of my third collection; 1 have outgrown two collections and sent them to auction." His taste had grown with the use of it, increased knowledge had changed and modified it, and yet it had given him perpetual satisfaction. He had enjoyed his collections until he outgrew them, then he had put them aside and made others by the light of a wider knowledge. Tinting is not to be despised, it makes the house cheerful, and gives a good back ground for pictures and furniture. Soft rose-gray walls, with rose tinted ceiling, make a pleasant combination. When Whistler painted his rooms in white and bright yellow, the canons of taste were violated, and an outcry of dissent went up through the whole art world, but he held his ground, and so conquered the canons, and to-day when he decorates in warm gray and flesh color, his knowledge and good taste are conceded on all sides. From kalsomirang we come to papering, and here a wide field opens before us. Wall paper gives you more for your money than any other form of decoration, and its great beauty cannot be denied. At the cost of a few dollars your walls and ceilings are changed from a dull waste of grim whiteness to fields of soft color and har monious form. The paper designers draw their inspiration from all things in earth and heaven, the stars, the snow-flakes, the crystals, the vines and flowers, landscape and architecture, the blue expanses of air, the Eerie] depths of space, the glories of cloud and sunset, as well as the wide stretches, of mountain heath and green meadow, they catch form and color from them all, and, fused in the ores of genius, they come forth like refined gold to beau tify the walls and ceilings of our homes. Design has made an immense stride forward, in this direction. It is not many years since the colors and patterns of cheap papers were hideous, and the more impor tant rooms of a house were covered with the heavy velvet and flock papers, dark green, deep maroon, dull crimson; they acted like a pall upon the spirits, like the 84 WALLS AND CEILINGS. cloud of ashes that fell from Vesuvius on serial effects, and especially he strongly Herculaneum and Pompeii; the green accentuates light and shadow. This is, in poisoned us with its arsenic; we groped in fact, the sort of painting usually seen in the darkness of the maroon; moths cor pictures, in which each object stands not rupted them, and we all breathed freer against a mural background, but detached when they were scraped off our walls and and apart, with the air all around it, the -I flung away. Then it was that the house picture represents a series of planes con keeper rejoiced in a blue room, a crimson verging and vanishing toward the horizon. room, a red room, the paper giving the This is obviously unsuited to mural decora key note, and everything else, even to the tion, in which objects are represented oa soap in the soap dish, following alter, hut one plane. we have changed all that, all tastes can Decorative art allows every scope for now be suited excepting bad taste. You beauty of form and of color, but dispenses can, if you choose, paper your room jn with atrial effects, and to a great degree pale olive green tints with a sunflower in with shadows. The wall behind the paint the comer, a frieze of peacock feathers, an ing is understood to be there; there is no Easter lily preaching aesthetics from its attempt at deception in any way. The pulpit of the book case, with a brass warm outlines are all most carefully drawn, and ing pan suspended over the mantel, and are accentuated by a decided line of color the sofa cushion turned lining up, because of some warm, dark tint all around each its silk and flowers do not `'compose"1 well, object. Chiaroscuro would be as much or you can choose flowers galore, and out of place os perspective, carried to any vines rich as the grape, or delicate as the marked point; though in all drawing, how cypress or the passion vine. You can have ever flat, a knowledge of the laws of per -S your paper embossed in pale cream tints spective must be useful. Flowers (of with golden star or flower, with frieze of course single ones are preferable) should delicate tea roses, or you can have, on be drawn with great attention to structural dull gold ground, damask and plush, and form, but should be treated in a conven cloth-of-gold in all their vivid splendor. If tional manner, i. with a certain amount you are cultivated to that artistic point that of stiffness and regularity, not rambling you "do not wish nature in art" then you about as the plant from which they are can select from all conventional forms. copied may hare elected to do. In short, Or if you are still in the barbarism of decorative art, though it refers to nature, nature, you can have flowers that seem to does not copy exactly all that it finds there, breathe perfume, and leaves that the wind but selects what is best adapted to its pur seems to lift And just here comes in that pose. This regularity, with the absence of great battle, fought through all time, strong lights and shadows, and with the between the supporters of the conventional few colors employed (at least at one time), and the advocates for the natural. 1 ` Dec may seem calculated to render art that is orative art must not be pictorial,'' cries one severely decorative also somewhat monot side, and "Why not, forsooth?" answers onous and uninteresting, but this will not the other, and proceeds to draw up its line be found to be the case in practice. Variety of battle, headed by the greatest wall and is not always charming, it is quite capable ceiling decorators die world has known. of jarring. No one would admire a sen Here is the battle cry, the proclamation of tencesupposed tobe English, but interlarded the conventionalizes, and it is a good and with French and Italian, and with, perhaps, strong one, entirely convincing until you a word or two of German thrown in. hear the other side. 1 take the statement There is a repose, very grateful to the of their principles from a little book pub nerves in this conventional art, and in these lished in London, called " How to Deco few Bubdy contrasted colors, and restful rate." Most people know that there are quiet in art is a very high quality and is iwo very distinct manners of painting ; especially needed and prized in these days these are usually called decorative and of bustle and scurry. natural. Natural art refers to that manner One hears a great deal about " flatness" of painting when the artist takes ever] thing in decorative art, but that does not mean direct from nature; he hies to copy what distortion; the absence of strong light and he sees as correctly as he can, and calls in shadow, and of perspective, and the broad the aid of perspective, foreshortening and edging lines, will make objects flat enough 0007-SWP-000158387 WALLS AND CEILINGS. *5 i. without squeezed-out drawing, tt will be I1 Men that though in some respects deco^ relive art may seem simpler than natural irt, it yet demands most careful and correct draughtsmanship, there being no vapors or J dark shadows to hide careless drawing; any mistakes are distinctly visible- ft will ii| be admitted also to be much more suited j towail decoration than its sister art. There | need be no rivalry between the two, their aims are so very distinct; there is also no " reason for despising decorative art, or .looking on it as merely a handicraft. It may not hold out the great prizes to its students that pictorial art is able to do; it has no galleries or academies in these days, but many a city in Italy can show its great ness, and its antiquity is beyond dispute. The thoughts and lives of men, and the histories of the world have been written in decorative art characters from the earliest ages; this has been the unspoken tongue of every nation, conveying ideas, as it docs, from the eye to the mind; as a child un li derstands pictures licfore he understands spoken words. Decorative art is no child's play, invented in these latter days to beguile a few weary "aesthetes;" it is incorporated with, and it has given outward form to some of the greatest events in the world's history ; it shows how from all ages the love of beauty has struggled to express itself, and the very art itself, in some countries--in Egypt, for instance--was a religion. All may worship at this .temple now, though all cannot he priests; but on each one who approaches ait reverently, knowing her to he some thing more than the amusement of a few idle hours, she will freely bestow delights that never weary, showing subtlest forms of beauty in unexpected places, giving to her followers eyes to see and hearts to under stand. Thus far the proclamation of the army of conventionalism: but the hosts of the opposing army, the army of nature, form their tine of battle and charge with over whelming power. All art, they say, is one, and all art is decorative art. You call a wall without decoration a "dead wall," but frame a picture and hang it thereon, and it ceases to be a dead wall through the life of the decoration placed there, the picture becomes a wall decoration. The simplest tinting strikes the key note of wall and ceiling decoration, and from that we pass up through the richness of oil colors, the iris tints of glass, the prettiness and comfort of paper hangings, the shine of tile, the shimmer of silk, the sheen of satin, the glow of velvet, the magnificence of stamped and gilded leather, the gorgeous ness of cloth-of-gold, the glitter of silver tissue, the splendor of polished marble, and the wonders of Persian, Arabic and Turk ish design, up to the last and final note in this grand gamut, to the work of those great masters, who used all their cunning of eye and hand, all their skill and knowl edge, all the inspiration of their genius, to beautify the wails and ceilings of churches, palaces and homes, and who have left these mural decorations, these glorious pictures, these divine and immortal works for the wonder and admiration of all centuries to come. Not one great decorator has ever conventionalized. They have always fol lowed nature us humble disciples and imitators. If wc look at the grand age of mural decoration we shall find that pictorial treatm ent was the rule. The three supreme wall decorators were the Greek Phidias, who sculptured the frieze of the Parthenon; Michael Angelo, who awed the world with his 11 Last Judgment," and Raphael, whose "Transfiguration" is considered the great est picture of the world. Michael Angelo was called a giant, Kaphael an angel, and Phidias a god. This is the range of wall and ceiling deooration, from the brush of the kalsominer to the chisel of a god, in purpose a unit, in variety of treatment infinite, Beside the immortal tliTee, there are other grand leaders to marshal the hosts of the opposing army. crowd of brilliant men, mostof them wall decorators, gathered around Cosmo de Medici, the two I.ippi were there, and the two I'iselli, there were Massaceio, Binozzo and Chirlandajo. Ml Florence caught the spirit of the Medici and the genius of Donatello, Brunelleschi and Ghiberti lighted Italy and shone throughout the worid. Giotto's frescoes decorated the walls of the Gunpo Santo, and 1 .eonardo da Vinci painted his master piece, the "Last Supper," on the walls of the convent of Santa Marie delle Grazic, at Milan. Ferrigino frescoed the Vatican for Pope Sextus v, and all these pictorial wail decorations are left for our admiration and imitation. Do they not teach us to do our beat? If it be conventionalized work, then let us conventionalize, but if the artist power he upon us then let us use it in that higher work of which the great | 0007-SWP-000158388 tw . I I Sfi DISEASES ATTENDANT UPON PAINTING. masters have set us the example. It takes taste and reeling id put into a ceiling die flush of sunset, or the gray distance of twilight with the stars gleaming through; but let not the man who can do only this, sneer at the master who can make that ceiling an open gate to heaven, through which we see the ranks of angels and the great white throne. There was a time when we tound Moor ish rooms in a Moorish house, and Persian rooms in a Persian house, and Gothic rooms in a Gothic house, and Queen Anne and Colonial towns in Queen Anne and Colonial houses, and classic rooms in Greek houses, but now that our houses unite all styles of architecture, to go through them is like a journey 'round die world. We step from Japan to the Al hambra, from Persiato Egypt, from Queen Anne to the first empire, and rush all the way down the centuries as we go from our vestibule to our dining room. It is amusing, this living in museums, and we can only say again, Ckacun a son go&i There are men in Chicago far richer than were the Medici, either Cosmo or Lorenzo, and yet Cosmo de Medici formed Italian taste, and Lorenzo (called "the Magnifi cent") made Florence die an school of the world. Why not some Lorenzo the Mag nificent here, who will be great enough to use his money for great purposes, and make Chicago famous by using his "rascal counters'' for noble ends; to encourage artists, to bring into the city's coarseness the beauty and refinement of a great school of decoration?--Francis Lt Farm, in In land Architect and Builder. DISEASES ATTENDANT UPON PALNTINU. It is commonly known (hat painters are liable to particular diseases arising From the nature of their work and the materials they handle. This renders a correct understand ing of the physiological effects of the mate rials used, as well as great caution, neces sary in order to avoid serious consequences. The chief danger arises from ignorance of the symptoms of disease, and the want of proper precaution and due attention to diem in the beginning. The principal poisonous substances used in painting and varnishing are compounds of arsenic, mercury, verdigris and lead. The first mentioned, arsenic, is found in realgar and orpiment, which are therefore very objectionable substances in the paint ing catalogue. Mercury enters largely into the composition of amalgams used in lac quering. The dangerous properties of ver digris arc well known; and of lead poison ing we shall speak at some length. It must be remembered that mineral poisons are as readily taken into the system through the pores of the skin or by inhalation as by actually swallowing them, and that their effects, though less rapid, are equally fatal; so that care should be taken to handle them as little as possible, and to avoid leaning over any such mixture in the course of preparation unless under a current of air, As it will be impossible to avoid this con tact under all circumstances, it is well to be able to distinguish the primary symptoms of metallic poisoning. When arsenic has impregnated the sys tem, a burning end pricking sensation is felt, accompanied by thirst and sometimes vomiting; while the victim will experience a pain in die bowels without any conse quent purging. If these symptoms are no ticed after handling arsenic, small doses of finely powdered charcoal should be taken; the bowels should be kept open, and an emetic administered. The poisonous fumes from mercury pro duce like effects to those of arsenic, with the addition of salivation, foul breath, grip ing pains and severe purging. In this case the white of an egg dissolved in water is one of the best remedies; and a good emetic is prepared by dissolving one ounce of carbonate of magnesia in a pint of water, taking a wine-glass of the mixture every few minutes till the desired effect is produced The effects of poison by verdigris are cor rosion of the stomach and nausea--the best .remedy being brown sugar eaten in large quantities. The most common and the most danger ous disease among painters is that arising from breathing in file exhalations, and from handling the different preparations of white Lead This malady is commonly known as jointer's eolit. The first symptoms axe a pain at the pit of the stomach, gradually proceeding downward to the bowels and 0007-SWP-000158389 OLD CARS WITH NEW INSIDE FINISH. 87 increasing in severity. The victim will belch frequently, have a constant thirst, a quick pulse, and obstinate constipation of the bowels. At the hist appearance of any or all of these symptoms, a large dose of castor oil should be immediately taken and repeated until taxation is produced. If this does not operate, it should be alternated with some strong purgative, or, if neces sary, employ a clyster composed of three grains of opium in solution with ten ounces of senna. In case of spasms relief may be obtained by applying warm fomenta tions in flannel cloths to the lower parts of the stomach. The patient should Ire kept as quiet as possible; he should strictly ab stain from malt liquors or spirits of any kind; should cat no solid food, but confine himself tn light diet and copious draughts of diluent drinks. - There are few maladies which progress more rapidly than painters colic, and if the first symptoms are neglected, the certain consequences will be something terrible. The violence of the pain becomes so un bearable that the slightest touch is agony. The interior muscles of the abdomen be come twisted into knots, and the bowels so contracted as to hinder the application of a clyster. When this happens, and it be comes impossible to remove the costiveness, inflammation ensues, and almost cer tain death is the result. So quickly do these Successive stages follow upon each other, that it is of the utmost importance to note .the earliest indications of the ap proach of this disease, at which time only ; can the remedies we have prescribed lie used with any hope of relief. . The use of tobacco by chewing has been ! found to be a preventive against poisonous ! substances which produce spasmodic action. | It acts in such cases like opium, in suspend: ing the muscular action of the stomach, and | is not attended with the same danger as the ! last mentioned drug. So that, if the habit i be not indulged in to excess, tobacco-chew- ing may be safely recommended to painters l*s a check upon lead poisoning. On foe other hand, no greater error can be committed by any worker among lead than to indulge in fermented or spirituous liquors: alt acid and effervescing drinks are also injurious, having a strong affinity for the lead that may have been absorbed, and fbrmingeompounds that act injuriously upon the stomach, and yet it is quite common for a painter, when he feels a griping sensation, to have recourse to a glass of whisky for re lief, and by so doing only hasten and aggra vate the symptoms of the incipient disease. There is no more fatal mistake in the world than the vulgar notion that spirits taken in wardly are a safeguard against the effects of lead fumes or any other poisonous fumes; and many a good painter has been ruined physically and financially by ignorantly adopting the pernicious habit of a "morn ing dram." Painters, more than any other class of mechanics, should carefully avoid touching a glass of ardent spirits: for, in addition to the sickness and poverty it brings to others, to the painter or varnisher, it forebodes painful disease and a premature death. OLl> UAKS WITH .VEW INSIJJli FINISH. Some of the old passenger cars of the Lake Shore ft Michigan Southern road have been refinished in such a way as to make them as attractive and comfortable as new ones. Car No. is one of them, and is a good example of this style of re construction. The upper part or the roof has a cloth head-lining grained and painted to match in color the lining of the lower deck. Crimson and gold ornaments are used, relieved by shaded green leaves. The whole pattern is bright and effective, and gives the car a cheerful appearance both in the daytime and at night Leaf patterns are becoming very popular for head-lining decoration, and whether they are altogether conventional or natural, they are about as effective a design as has yet been used on natural-wood ground. The autumn-leaf patterns in this coach have the advantage of giving the designer an oppor tunity to use colors on a ground which is usually somewhat difficult to ornament The finish helow is of cherry, with maple panels over the windows and ash between them. The window finish or molding is peculiar. It consists of a fiat band with three hollow beads and broad chamfered edges. On this chamfer, and half an inch in from the edge, on paTts where there is no chamfer, there is a broad, black line, which gives a good relief to the ash, and makes the whole finish very effective. A cherry strip, 3 ^ inches wide, comes down in the center of the panel between the win dows, and has a square rosette at the top instead of being mitered into the horizon tal molding. The sections of the molding 1 i 0007-SWP-000158390 88 COLOR DECORATION FOR CARS. are all very simple. The panels over the windows are not spaced evenly, each one extending over a window and a half. This is done to accommodate the old-fashioned ventilators in the letter-board, which it was not thought best to remove. In the spaces between each pair of panels room is given for the ventilator. There are six of these on one side and seven on the other. The end ventilator in the raised roof over the door has a very lairly executed landscape painted.in oil. _ In the ends of the car, the black line, which is carried everywhere through the moldings, is emphasized and made somewhat heavier than in some other portions. This gives relief and boldness to the door and end framing. COLOR IJKOOKATION tOU CARS. It is probable that very few car-builders fully appreciate the difficulties encountered by painters and decorators in obtaining color harmonies on the inside of cars fin ished in natural woods, nor do they per ceive why striking and brilliant results are so rarely obtained on veneer head-linings. It is doubtful whether master car-painters themselves understand very clearly the rea son of their inability to do such work as they would like to do it The primary reason cannot, perhaps, be better defined than by saying that it exists in the eternal nature of things, and can not be set aside or disregarded. There are three--ond only three--pri mary colors, and these, when of equal in tensity, balance each other in certain defi nite proportions. According to Dr. Chris topher Dresser, who is very good authority in color analysis, the primaries, yellow, red and blue, bear the relation to each other of three, five and eight respectively, and if they are of similar intensity these numbers will represent square inches of surface re quired for hanuony, but if they are of dif ferent degrees of intensity the numbers may be considered as representing such difference. The strength and effectiveness with which yellow asserts itself is fully rec ognized in striping, and in many other de tails of decoration it appeals to be nearly as powerful as white. In combination, also, its power is equally felt, and unless it is judiciously used it may easily be made to destroy or very much impair the effect of other colors in contrast with it Red is a powerful color, and according to the above analysis it bears the relation of five to three as compared with the yel low, while blue-is as eight to three, equal spaces of pure blue having only threeeighths as much power as an equally pure yellow. The next thing to be considered is: that whatever is to be used as a groundwork must be a subordinate element in decora tion or coloring- It is needless to mention examples. The principle is too well estab lished to be disputed. When, therefore, we find that nearly all the natural woods used for head-linings are more or less yel low in color, and becomes deeper yellows by age, the difficulty of putting suitable colored ornaments upon them is evident. The yellow is almost invariably so decided as to overcome any color which may be placed upon it, unless the quantity of such color is increased out of all proportion. It would be easy, if the yellow were faint, to make the blue or the red tones sufficiently strong to overmaster it and thus obtain such a balance of color as might lie desired. Un fortunately, yellow in itself is the lightest of the primary colon, and when diluted with white, as may be said to be the case with nat ural woods, loses but very little of its power. There are two course's open for the dec- - orator. The first is one which has been but rarelytried, but its success warrants the hope that it may be used somewhat more exten sively than it has been. It is the staining of the wood, as maple, ash or oak, evenly so as to change the color from yellow to a grayish blue, pale red or an olive green. Any one of these tints is easily obtained without destroying the beauty of the wood pattern. With either of these for a back ground the artist finds little difficulty in working up fine results in color. The sec ond plan is one which has been very effect ively employed in a number of establish ments, and that is: not to attempt a scheme of color, but really to make what may be termed a harmonious combination of brown and wood colors with the wood itself--Na tional Car BvUdtr. 0007-SWP-000158391 t THE PORTFOLIO. Picture* and Ornaments, Mork truthful thin poetic seems to be the charge ' tfait certain picture! are made hy the yard and fur* akhed in quantities to suit. Thiswas doubtless Intended u a playful exaggeration of the method of producing or reproducing pictures for die market. 1t\La well known that that the cheap "oil paint* tagl71 with which the market it flooded, those which sell with apparent readiness at some figure, those which are hideous in color, drawing, feature tad action, void of artistic worth, are merely me chanical productions. It is the brightness of the color, the subtility of the auctioneers tongue, or the lowprice that sells them. They are sold, and manafacturers and dealers thrive on the sale of them. It h thought by mine that people learn something of art by means of them; that, though imperfect, they lead to an appreciation of better work, and fend a measure of gratification lo tastes which can not appreciate higher qualities. But to our mind it seems like experimenting with the growth of ols* noxious weeds in order to learn gardening. There is more dfrcriimnaEian in the matter of food. The craving for art is store easily satisfied; rank weeds will sometimes answer for it, but not for food. Then, besides the mechanics who make pictures, there is a class nf 14artists" whose chief claim to recognition is based upon the ntamher of their pro ducts; not the quality. They can make so many landscapes, so many heads, and so many "studies'' of still life in such and such a time. And, no doubt, they can. * But what landscape!, what heads, what still life studies they are! A few months' work would fill a procl-atzed house. This, iko, may he one of Art's educational method*. Arithmetic is taught, lumbers abound; evidence of deftness of hand merely. The thought that lives unfading on canvas \y not there. Nature's inspired Interpreter does nnl dwell thore. It is not a source or valuable knowledge. None of the great artists worked in this way. Rapid in execu tion some of them have been in their happy moods. But the moments ofinspiration were usually reached after weeks and perhaps mnnlha of study and medi tation. The canvas was employed as a means of telling the world something it did not know go well before, or had cot seen so well expressed; not as a mere pastime. We favor the employment of good pictures, real works of art, for the adornment of homes. l*et there be few, if only they are good, rather than many without excellence. Walls had better he bare than covered with worthless pictures. Some excellent work of young artiste can be had for rea sonable prices, if the work of men of great reputa tion cannot be aiTurded, and the purchase of it will encourage a very deserving and promising pardon of society. Get appropriate pictures of this kind os they can be afforded, and let the choice and jx>- rition of them be matters of study. Pictures should be hung from a molding extend ing along the wall directly under the ceiling, or, if there be a wide frieze, (he molding may serve as a separator between it and the dado, by means of hooks wid wire pkturu-cord, m> lhai they will be on a level with the eyes of a person of ordinary size. These means of hanging are not arbitrary, of coin*?, but are as convenient and safe os any, and ilo not mar the Walls. Care should be exer cised In arranging number of pictures having frames or different csdor*, to have them harmonize and look well* If there be tasie or judgment, let it be exercised here; if money is spent to gratify a desire for something artistic and beautiful, be sure to get full value fur it. ' The collection of tvrthdic ornament* *f brie i- brac, etc., is largely a question of mathematics. Quaint objects, anil pleuty of them, is the desire of many* This, also, Is overdone, and the intrinsic worth of many of the specimens b slight; the taste develuperl hy this interest abnormal, ftric-k-brac ornaments, to deserve a conspicuous place in a room, should possess one or more of these attri butes of excellence; 1. Historical, representing an interesting phsse of art in an earlier period, a. Art istic, being In their design and execution conform able to the standards of artistic truth and beauty. 3. Social, calling to mind an earlier phase of so cial life and custom. 4. Personal, association with noted persons or personal frieneb and relatives All of these give value lo ornaments, and justify their use. They should be few, judiciously chosen, and tastefully arranged. A Practical Journal. Whocvku attempts to publish a practical jour nal, no matter how broad and comprehensive hlx Idea) may be, nor how earnest his endeavors to realize it, will find some persons who know what such a journal should he much teller than he him self knows. A doss, who apparently stand in con stant need of ideas, think that a technical journal should be filled with tricks and hints, which they con adopt as their own, carry out ia their work. 0007-SWP-000158392 90 THE PORTFOLIO. and get into cash at once, without the necessity of much mental effort. Another class is Interested in but one phase of the art or science of which a journal maybe an exponent, and perhaps one of the least important phases at that, and think it u going out of its province when it thu stirs up an other part oi the large field* Still another class, and happily the largest one, cao lease something from all the varied topics which may properly be discussed in die journal of chief interest to them. There are those in the industrial and professional world who are fitted by nature and cultivation to plan and execute work, to leach and guide lesser minds to perform the work involved in their plans. They stand as the foremost men in their profes sion, Styles, methods, e&ects Id all arts emanate from them. There is another class less favored by nature and circumstance, unfitted for invention, de signing, leadership, who yet do or may possess.me chanical skill -to do what others have planned. There is still another class of learners, of various degrees of natural ability, constantly being rein forced from the ranks of youth. To place the knowledge of the first dam within reach of the other two is one purpose of a technical journal* To impart information which has stood the tent of experiment makes a journal to the extent of such information a practical one. Many of its unproved suggestions may be practical. Methods largely, or so for as deduced proof is concerned, entirely, theo retical, may be found practical, for the theoretical precedes the practical and gives life to it; practice proves theory** claim to recognition. Hence such a journal must be measurably and judiciously theo retical. It represents an industry, and aims to promote that industry and elevate those identified with it It brings to the obscure workman the thought of his more privileged brother, and shows him how to do better work, and how to do it more easily, by inciting the mind to assist the hand, IIs duty is to stimulate thought, to excite inquiry and answer it, and help its reader* to a better understanding of their calling. Manufactured Palate. Iw commercial parlance we designate prepared pigmentm as either PimU or Colors. Colon in clude pigments ground in oil, japan, water, etc-, usually put up in small packager, most o| them being used far coloring other plgmenis in prepar ing them for the brash. The turn Faints is more general, and afi frequently used applies to all pig ments, but especially to those which an prepared for use, or |ho#e which, after tinting or thinning are ready for application. The improvements in the manufacture of paints for (be last half century have been a steady advance toward perfection. Firei, white lead was generally need as the base of good paint, and reached the consumer in the dry state, and was mixed with oil which was purchased raw, and boiled in a small kettle. The poisonous effects of the dust from the dry carbon generated a disease often fatal in its remits, though rarely known now, called painter's colic. Then came a season during which the sale of white pigments ground in oil in mass or paste form was general. About this time oxide of sine began to appear in the market; and as there was considerable prejudice among painters age Inst fine, it was looked upon as an adulterant for white lead, and the prejudice was founded upon this circum stance; 2*nc adulterated with baryta was made (o resemble white lead when groumtj and is |U true name was not sufficiently popular to sell It, the mixture was'branded while lead, most of it being placed upon the market in tin pails bearing fancy names and labels. So great was the sale of this class of paint during -the civil war that several manufacturers made huge fortunes, But such busi ness could not long be successful. The deception vu carried so for thnl revolution came* The lead corroded saw their opportunity, and one after the other put their goods on the market ground in oil strictly p*t*rt each package bearing * guarantee of purity. While strictly pure lead was rapidly supplying the place of "lead/1 an called, oxide of zinc ground in oO alone found a market, and was used for painting steamboats and for vari ous other purposes. Subsequently some of the large consumers found it belter adapted to some purposes than lead, and in some instances still better when combined with lead. But in the meantime, say from 1S67 to 1S70, prepared paints began to appear in the market sold by the gallon. The fist mixed paints offered were not of satisfac tory quality, and thia fact, together with the com mon prejudice against new and comparatively un known artIdes, brought all ready-for-use paints into disrepute. So desirable an improvement in an im portant industry in go-ahead America could not, however, be kept back by an Imperfect beginning, and the result has been lhat, while improvement in quality has been alow, the manufacture and sole of prepared paints, from good to inferior quality, has become an enormous industry, and its permanency established beyond question. In these, aa in other manufactured articles, the beat are the cheapest, and we Incline to the belief that improvements in paint-making will continue until the most reliable brands become more celebrated fat excellence than white lead has been. A properly prepared point 0007-SWP-000158393 PROGRESS OP DECORATIVE ART. 9* should be, and vre think is, equal, if not superior, to any which can be produced by baud. Some of the advantages in prt[Ared paints are: i. Economy of time and saving of waste by ruixiig Urge quantities by labor-saving machinery, i. Ueifom and positive proportions of materials, t producing uniform colors/duplicated by sample as noted by the consumer. By ibis method of mix ing fine grinding Mid thorough combining of malerials are secured, the paint covers better, produces a better surface, and under atmospheric influence changes uniformly, if at all. 3. The facilities pos sessed by large manufacturers for obtaining the best adapted coloring pigments, dryers, etc., and their superior knowledge of the chemical relations of pigments to each other, and with the vehicles used, enable them to make paints which are least liable to fade, spat, etc. Muter Hauic Painter*' Ai*oe|*t!Qn. An Eastern contemporary records the organisa tion of the Master Douse Painters* Association of the United States and Canada on the 151b of Janasry, 16S5. Various portions of the country were represented, and considerable interest was Raid in have been manifested in the proceeding*. 'ITie officer* chosen are: President--Titus Berger, of 1'iitsluirgh, Pa. Hoarding Secretory--F. P. Marlin, of Atchison, Kan, TwisvrtT--W. A. ELliou, of Boontonj N. j. Corresponding Secretary--A, A. Kelly, of Chester Valley, PaMessrs, Berger, oT Pennsylvania; Martin, of Kan* as; Beck, of New York, and Kelly, of Pennsyl vania, were appointed a committee to draft a Con stitution, etc. It wif: decided tn hold Lhe next meeting at Chicago, the third Wednesday in July neat (tri), The new society had not, at the time the an nouncement from which we took the above was printed, made an avowal of their object. We pretome, however, that it will be in a general sense such like that of associations in other industries. The question of prices will be a predominating one, that of information-- exchange of thought, encouraging reports of work successfully done, methods of working principles of decorative work, secondary, perhaps, but still important* Such or ganizations are encouraging in many ways: 1. They indicate the character, standing and growth of the Industry represented, 2. They afford oppor tunity for making acquaintance of persons and of ideas. 3. They open unusual possibilities for the improvement of lhe industry. 4. They may com bine a strength of brain and means; Which will prove most potent in its influence upon its particu lar braneh of labor, We trust that all these oppor tunities may he improved by the uew organization. There is one question which we will venture to bring to the notice of this new society, one which wilt frequently confront Its members ns individuals, if not collectively,end that is the relations between these muster workmen and their subordinates. There is not enough discrimination made in favor of good, sober, honest workmen. The low prices at which some work Is taken and the greed of tome contractors apparently begets an Indifference to skill and trustworthiness which ia our judgment i* seri ously detrimental to all concerned. We believe the appreciation of ;opk for good work is keen enough and tangible enough to warrant the exer cise of care iu the selection of workmen, and we believe (Hat only those of proved ability, or those who upon adequate examination evince a sufficient mastery of the work they desire lo undertake and the tools and materials used in its execution, should he ranked o$ qualified workmen, and j&id foU wages- A trial of civil service reform principles k being made by some employerswith some measure of suc cess, and it seems probable that some general rata may be formulated for all our industries whereby choke of workmen can be made with entire Justice to all concerned, and a rate of wage fixed against which there can be na reasonable cause to mur mur. We trust this question will hol be overlooked by the new association. PROGRESS OF DECORATIVE ART, A koom appropriated to the collection of Japan ese ornamental objects has its entire walls and woodwork, embellished with silhouettes with good effect. The sorbose of pine has a running border of tetpentlne figure, each alternate waving line holding one of the curious letters or numerals of the Japanese, and some conventional flower. The molding is of polished block, imitating ebony. The dado is a succession of oriental scenes In bold character, the figures most conspicuous being eighteen inches in length. This la finished with a beaded molding of black, above which the walls ore covered with figures four inches square and twelve inches opart/alternating in rows consisting 0007-SWP-000158394 I -='i ltll hr i j j \ j 92 PROGRESS OP DECORATIVE ART of various figure* of vegetable anti animal life. The border ox frieze is eight inches deep, and consiste of a conventionalized vine with birds and Iwttcrffics of curious form. The ground color of the walls is pale luff, the dado two shades deeper, and ihc fridc black with the design in creamy while. The door panels each contain scrolls and similar frame-work or supports for large figures, the ground* ing being in caffe au but. A rival to the Lincrnsta Walton has for some time been making its way Into favor under the rather odd title of Solid Relief. It is simply lpier machfe molded to imitate wood carving. It is susceptible to various style* of decoration, chiefly in bronze of different colors, and is said to produce very satisfactory results. It is considered more art istic than J.inertisia. The latter, although attractive ami useful as a decorative material, has a mechan ical precision in its manufacture, a similitude of sue anti form throughout a design, and a sharpness of outline which somewhat repels the look of the be* holder who seeks repose and artistic refinement in decoration. The Solid Relief possesses in greater measure the variety of form and finish which is more conformable to nature. A VKRY striking illustration of the force of Hutlake'* idea of substituting ruga and paint for car pets came to our notice a short time since. We called at the home of a friend who had recently changed his place of residence before he had be* come fully settled In his new home. Among other causes or delay in getting into that desirable condi tion waa (he necessity of purchasing new carpets to fit larger rooms than those the family had occupied. During the three or four days of waiting for the goodly work or the carpet dealer, a few small rugs were conventionally arranged about the fire-pieces, and the furniture of sitting-room and parlor dis posed in an indifferent manner on either sirle of the rooms, leaving a passage-way for Ihe busy house keepers.' The floor, except where covered with the rugs, was bare and unpointed, hut the effect of ihe contrast between floor and furniture was most strik ing and picturesque, and to our mind gave to the rug idea an artistic value which it did not before possess* Rugs are growing in favor, and will no dauht in rime largely supersede the use of Carpets. Aside from the usual number of blind prejudices which real improvements have always to contend with, there are but two objections to nigs which seem to us to have weight. One of these is the high price of good rugs, and the other is that carpet* ore wanner in winter. The fin* objection attache* to first cost only, a* the wearing quality rug* lx greatly superior to that of carpets. The other objection holds good only in rooms not properly heated, and even then partakes more of affectation than of candor. The positive superiority of rugs to carpets in point of clcaatine and of artistic beauty as well is more than an offset to these objections, And sensible ] topic are becoming aware of the fact. Taste seems lo drift strongly toward light colors for decoration 1hb season, though there are still those who are sufficiently defiant of capricious custom to select darker abatis. Shades of cream color, light yellows, light olives* and red* inclining to yellow ere among the more recent product* of the wall-paper manufacturer. There ore, of course, some designs which do not seem to grow old,thoe which are really artistic, and adopted to different apartments of a huttding' those which express the thought of the artist, and pleasingly suggest Na ture's work, such as the RngHsli floral designs, the admirable studies in color amt form Iwrought out by Mom* & Co., of tendon; the elegant copies of Moorish design from the Alhambra by Beck & Co., of New York, and the chaste produc tions of BartholoTBoe & Co., of New York. The dark colors are still retained in many of these, and they will always find admirers. Inas hitch os taste cannot always decree the location of a building, nor its size, nor its style, nor its surroundings, a decree requiring the use of light colors would seem somewhat presumptuous. There are places where they would not do so-well. But for wall decoration* in rooms constantly occu pied, and perhaps not highly favored with light, the light colon ore usually preferable. They im part to n room a more cheerful appearance, and make a more pleasing impression upon its occu pants. From. a survey of some of the cheap papers, it would seem that the designers were sometimes put to their wits1 ends to invent something which will "Uke." Artistic value Is nut always aimed at h is something which will meet the wants of an uncultivated taste and a lean wallet. Possibly a designer may nee an odd ornament on a street sign, nr in a show window, or some odd form in nature, and forthwith he M works it up," puls it on paper and It pleases a portion of the public. Quite fre quently these watchful designers do same really good work in cheap papers, good enough for almost any house. Then there ore cheap repro* im 0007-SWP-000158395 PROGRESS OF DECORATIVE ART 93 dtction* of ibcmorc costly papers; cheap, liecause .Ike designing, ihe art work in them, sumeLimw the dnef item of east in the original patterns! it not pi item of expense in their reproduction. These cheap papers,, whatever their quality, do a good work among the people, They gratify the tastes iftd the wants of those who have limited means, and they stimulate and enlarge these tastes, until they desire something better. While this is done,, and tastes are not vitiated, we may be hopeful, ' AM Eastern magazine announces that Moorish "tiling u in vogue at the present time. The tiles are made here, in Moorish patterns, and are good (Mutations, even to the Colon; which have long dis tinguished the glazed ware of thu North African Ifedcs. They do not seem to lc considered supe rior to nor as handsome ur tasteful as the tiling we have already, but they are novelties, and they TtfQUlCT among the architects and builder* de velops the foci that great expectations are at .present entertained concerning the spring crop of buildings. There is, a growing activity every'where precursive of a revival of Ibc building ^trader* just as we anticipated there would be, and ;ki the reason* we gave three months ago. There ;i* a huge amount of money at present locked up r that Btust eventually seek a safe investment in real ! estate, and plenty of money can be had now at ;Ty low rates of interest. Materials and labor | have reached their lowest limit. Sensilde people 1 are not slow to take advantage of this slate of ` things.--Building. painting, namely, golden olive in tone. Let the woodwork be palmed a deep antique oak color, so as to accord with the furniture. In twu decoration of iron bedsteads the point should not be allowed to shine. VendiAn red, chocolate and sage green will perhaps he the best colors to adopt for this purpose, THU AtchUtci comments on the present condi tion of labor la the United Stales, and draws the comfortable conclusion (hat English workmen are just as well off aa American workmen. *They are better dad\ they live quite as well, but more econ omically; they ore for more independent, are belter organized, have more holidays, and seem to be bet ter contented." This i* putting it rather strong, Still, there is truth in some of these conclusions, Msssus. Hrck A Co., of Kew York, are intro ducing new mica papers, which are said to he so brilliant in finish that they would be taken for gold papers. They have the additional advantage of being durable and very low in price. They ate brought out in a number of artirtio designs, and an: recommended us suitable far any mom- A Factory has been established in San Ktan* cisco to nuuiufucdtre mantel-piece*, tiles, etc., from the petrified wood found in the West. It is said to be susceptible of a finer jxdish than marble or even onyx. The supply is drawn from the line or the Atlantic A Pacific Railroad, Several other companies have len funned to olttain concessions of other Ionian* of there forests. ] With ypux dining-room furnished in mahogany, {let the paper be red in tone, if you want a bar; many, or green in tone, if yon desire a contrast, i With oak furniture you might have purple, brown, chocolate, maroon, or leather-colored dado, with appet portion of walls, or filling, a quiet green. With the room furnished in oak, the ceiling may he colored a deep sage green, divided into panels hy a flat nali maiding with reed edges; the cor nice a dark old oik tint, with cove (if any) deep dead crimson. Have a frieze feet deep of deep, tawny red* painted under the cornice on the luce of the wall, with an oak picture-rod three inches deep at the lower edge. The rest of the wall surface may be painted a rich gold olive, with damask or ruwnent stenciled on m deeper shades of the same color--or use a quiet self-colored paper of liniple pattern and flee frum gold. If you use paper k may be of the same color ns recommended for Nothing adds so much to the cost of building us indulgence in whims. To set out deliberately to do a "queer," "fanciful," or, as it is sometimes colled, "original" thing in building i* always lo incur unnecessary expense. If we look through the Ixtoks lhat contain picture:* of the architecture of all nges and nations, wc shall And that, without an exception, in the times all men of taste are agreed In catting the good timer, tire modes of < building have been sensible, founded on the need* of the cane, and that whatever may seem fanciful-- the whole of what we call pieturesque--vrhep il* charm has proved enduring, la the result of what wc rany call, in eveiy case, "accepting the situa tion." Nothing bos been done lu such instances for the sake of being picturesque. Good building, good ornament, never poses. In building, as a rule, every departure from the rectangular form is an added expense. One of the 94 PROGRESS OF DECORATIVE ART things impressed on the mind of n young *nnw who paper be used, it should be without ornaments. goes into an architect's office to study the profes sion is that, if cost is to he considered, which it sometimes is and sometimes is not, all excrescences and projections must be avoided. A rectangular The cornice may be painted a dark nisset-browm. For the walls have a JHcee two-feel-six or three feet deep, of rich, red cedar" color, with orna ment either lighter or darker than the ground (oo house is the cheapest. Bay windows^ jwrehes, gold). Finish below with golden olive paper with octagonal or circular, external ends to rooms--ail large flowing pattern (no gold). Place a Iwo-Jneh thee things cost money; and it is by multiplying walnut picture-rod between the frieae and ufilling," these features that the expenses of buildings are often made so great aa to deter people from under taking it, for the things seem so small in them3cLvc it is not suspected what drains they arc on the purse. If a good reason can not be given for any so-called ornamental feature in a house, if it can not be shown that something worth while is to be gained \iff making it, we may be reasonably sure that it Is a fancy which wilt coal, as the country people say, more than it cornea to. And, in the great number of cases, nothing, even in looks, is gained by indulging the fancy,-- The Stwtiv, THE newest arrangement for window curtains in parlor or reception-room is, first, a small curtain close to the window, of a stuff called grenadine, which Is made with open-work linen threads. This comes both In striped and plain. The more stylish is ihe plain, made up with insertion of Guriy lace and edging to match. Two more curtains hang loosely outside of these, which may lie of the same stuff, of fine Madras, or entirely of the lace* The small curtains next the window are always tied back by handsome ribbons. Some people have still another set of curtains hung oa the outside of The method of polishing wood with charcoal, now much employed by French cabinet-makers, is thus described in a Paris technical journal: In the first process they only employ carefully-selected woods, of a close and compact grain; then cover all. These are made of any handsome kind of thicker materia], such as raw silk, turcomanx, or Persian stuff. These latter, however, are not abso lutely necessary, as are the other two pain--/17 AmsUfur* them with a coat of camphor dissolved in water (?) and olmoMt immediately afterward* with another coat composed chiefly of sulphate of iron and nutgall. The two compositions, iu blending, pene trate the wood, and give it ao indelible tinge, and at the same time render it impervious to the attacks of insects. When these two coats are sufficiently dry they rub the surface of the wood at first wiihavery hard brush of couch-grass {chiendent)t and then with charcoal substances as light and friable as posihlc; because, if a single hard grain remained in the charcoal, ibis alone would scratch the sur face, which they wish, on the contrary, to render perfectly smooth. The flat pits are rubbed with natural slick-charcoal; the indented portions and crevices with charcoal powder. Alternately with the charcoal, the workman also rubs his piece of furniture with flannel soaked in linseed oil and oil of turpentine. These pouncing!, repeated several times, cause the charcoal jiowdcr and the oil to penetrate into the wood, giving the article of fur niture a beautiful color and perfect polish, which has none of the flaws of ordinary varnish. Moot of our readers probably know something of the application of luminous paint to matchboxes* key-holes clock-dials, door-knobs, and name-plates, and have perhaps beard, with some incredulity, about the English railway-car painted on the inside with it, which Is said to have been so brighly illuminated that the pooctigcro could see lo read without other light; but within a short time the application of the paint- ho* been extended to certain portions of harness, fishing-tackle., firebncketR, lanterns, compasses, and engineers' tape*. The litter* in particular, ore said to have been adopted in the British army for use in laying out fortifications. If a party is detailed to throw up earthworks by night, the engineer officers go first to the spot, and with the luminous tapes measure off the ground, and lay down a shining line around the exact plan of the intended fortification. The working party follows, and finding the ground thus visibly marked out for them, the men amply dig their ditch, and throw up the earth into a breast work, on the lines formed by the tapes. No lan terns or other lights of any kind ace needed, and the entrenchments can lie planned and executed Tuk following scheme of color for the decora without indicating the movements of Use party to tion of a parlor having a handsome mantel, and the enemy. We have an idea that the aanufitO- with the woodwork in walnut, xs offered by an hirers of the paint could, If they wished, greatly Eastern paper: Have the ceilings tinted a rich extend their market by making the uses and price greenish old gold, or papoed the same tint. If of their product better known, among architects. 0007-SWP-i THE INTERCHANGE* 95 Jt ib said that they export large quantities for paint* ipg doors and doorhandles in countries troubled with frequent earthquakes, to satisfy the demand in ich places for some means of Indicating quickly the way of escape from the bod-rooms to the street, 1b cure ft shock should be felt at night; and, jn<lgipg from analogy, we should say that the fear of idling down the cellar stairs* which is much more -widely diffused among civilized nations than that jtof being crushed by an earthquake, might, if the {gwde of alleviating it by pointing the walls of the jjwurway with luminous \ensn were once pointed -OTt, prove the source of a demand at once exten sive and pennanenU--Asjtencaft Architect and Buitdj News. The organ of the sense of color is the first of jthe enumerated organs which seems to lie wanting jto the braie creation. The feat which horses and ftarkey-coclcs have of a burniug red color is an leatretne case, in which even the coarse nerves of 11 these animals are affected. In like moaner it is ;< sometimes lbttnd that individuals, and even whole I families, who have no such sense. The organ lies ! os the outside of the organ of Place, and appears, therefore, double. When it it found in an eminent degree, it raises the eyebrow into a pleasing arch, and gives a very agreeable, free and open expres sion to the forehead, and this, says Galf, is ihe characteristic physiognomy of painter*. Gall wsen* he has remarked this organ in till who have a tine settee and who possess a skill and delicate management of color a* artists. It is found also in those who are fond of gay and gundy colors, atid oftener in men than in women, and it is char acteristic of the Chinese countenance. It Is in general found more among Asiatics than Euro peans, and is seen but little in Englishmen.*-- 735r Phnnobgical Magazine, MJtssxs. Hkaly & Millet, of Chicago, have been awarded the contract for decorating lhe Ex position Building for the Operatic EcstUai. The extent ami character of this undertaking era be fully understood only liy those who will be privi leged, to witness what has been done in lm than four weeks. From comment* which have been mode upon il,we judge that this decorative work wilt bear unmistakable evidence of the talent and enterprise of the gentlemen who have il in charge. THE INTERCHANGE. Inquiries. Can you inform me where 1 era get a book on frescoing, one that has different Style* in color? Welland, o. ii. s. The Decorator and Furnisher, published monthly In New York, is probably oac of the beat authori ties on the subject, and gives lithographic illustra tions such os you inquire about. Mr. Wm. T, Com stock, 6 Astor Mice, New York, era inform you concerning books. The constant changes to which decorative designs are subject somewhat depreciate die value of books of illustrations, and the great expense of really good books prevents them from falling into the hands of many workmen. One good way to get good designs is to procure from dealers in wall-paper, etc., the lithographs issued by the large manufacturers and paste them \n a scrap-book* In a few years a very fine collection may this be gathered, which will be valuable tu its possessor. ] How can I mix a good wine color? 1 have j node several attempts, but can't quite get the ; dsired shade. W. y. &. Nashville, O, To produce a wine color on interior finish, first prime the work with Venetian red in oil; after this bos become thoroughly dry and hard, rab down with fine sandpaper and puny up. For the neat two coals make a color of vermilion and English rose-pink; mix this color entirely with turpentine and enough japan to act the color rad make it dry readily. Mix the vermilion first, then add enough rose-pink to bring it to the desired depth of color; pul on two coats of this, let it dry thoroughly, rad rub down with. hair. For the next coat use about one hsdf color and one-half good rubbing Yvnlsh. Let this dry, then apply one coal of varnish and rub down with pumice stone arid oil until the gloss is destroyed rad a perfectly smooth surface is secured. This process, if properly worked, and only fust-class materials used, cannot be improved upon. i. How is natural wood finished? a How is the filler made, or what is it composed of, and what kind of varnifth is used? 3. How is putty made, and what is it colored with to suit the wood? Conneaut, O. 5. llsurd woods are finished in the natural color by the use of wood filler*. These fillers were first sed in 1867 in finishing carriages, and have grown p6 THE INTERCHANGE. in favor since then. They arc ased extensively for interior bard-wood finish, for the interion of pas senger can, etc. They close the pores of thewood, hold the grain immovably in its place* and are so permanent in Ibcir effect that neither exposure to dampness or atmosphere changes the grain. The surface to be finished. should be as imuoth os pus* title, and all natt-boles or other depressions should be neatly plugged with a piece of wood of same color. Alt finger-marks, or other sailed spots, should be removed without wetting, and the wood left free from sandpaper dust, etc. It is not necessary, and in some cues would be harmful, to apply oil or any thing else to the wood before (he filler is put an. The filler may be used of various consistencies; depending somewhat on the nature of the work. When the filler used is well set, or hot a soft tack, wipe off oil surplus with clean cotton rags or soil pine shavings. Always rub across the grain of the wood, taking care to dean out all carvings, corners, etc.; wipe the lint and refuse filler off, leaving the surface perfectly dean and smooth. Sometimes, to insure against possible imperfections in drying, it is advisable to apply one thin coat of pure sbelUe, which, before varnishing, is nibbed down with No. oo sandpaper. The surface is then ready for varnishing. Varnish for this purpose should not contain toad or naphtha, and should be durable and admit of being rubbed down easily, without sweating, unless a gloss finish u desired, when, of course, a good flowing varnish Is necessary, for pane a filling is made by dissolving bleached lac n alcohol, Applying, rubbing down and varnishing, similarto the ether fillers, z. Themethod of mak ing wood fillers Is a secret of manufacturers. 3. Putty is made from raw linseed oil and whiling. This mixture con be colored as desired with umber, tttnna, chrome yellow, Venetian red, etc., to suit Ihe purpose. 1, Willyou please give me the best method for getting a smooth surface oa new carriage bodies? 2. How to fill ciacks in the varnish on carriage work? 3. The best way to ebonixe wood? Westport, Mas. A. S. 1. Prime with chin oil color, (he object being to get os much oil into the wood as possible; (ben apply another coat of rough stuff and rub down os before. Be sort this cost is nibbed pafectly smooth. Next apply three coots of fiat color of the desired shade, and rub the last coat down smooth with hair. Next give one cool onc-balf fiat color and oac-half rubbing varnish; rub this down with hair, and stripe with color mixed about the] same as tot coat. Never use oil In striping colon. When the striping is thoroughly dry, apply (wo CuaU of varnishj which completes the work* a. The proper way (o treat cracks in varnish on carriage work Is to remove the old varnish and rcvwnuh. 3. Ike most satisfactory way to stain wood in imitation of ebony is to give the wood two or three coats of good coach black mixed perfectly flat After enough black has been applied to make the work perfectly solid, and bos become thoroughly diy, rub down viy smooth, (hen apply (wo coats pt good ruhfafyg varnish. After this is dry, rub dawn with pumice atone and oil until Che glow U entirely removed, and the work perfectly smooth. CajT you give me some uwis an bronzing waUs and stenciling in different shades? J. & *. Belmont, Mass. We presume this inquirer has reference to Solid Relief or linerusta Walton. The letter is a sub stance presell into a variety of design* in relief for the purpose of wall decoration- Solid Relief U mode from papier roach*, and somewhat resem- bla the Lincriuta* Both when applied (o walls are in (ho *c*w" or unfinished state, attd on colored or bronzed afterwards. Where ii ia de sirable to produce a metallic effect, bronze over the entire decoration with one color of bronze, say the body color; then use lacquers made for (he pur pose OA the parts which are to be changed to an- other color, 'fliese lacquers can be procured in almost any clear color. They are transparent, and produce a very fine effect when used over bronxe. For stenciling In different colon, the ordinuy method is to have ac many steodl* in Ike pattern as there are to be colon. First, use one color for part of the pattern all around the room, then lake the next color with the part of the pattern required and stencil in the proper place, and go oa uadi the whole design is in place. Another method is te hare the whole design cut in one stencil, and use small rollers for applying the color. Use one color along the base of the design, another aloeg the top; another, or u many as desired. In die remain ing space; blend all together nicely, and it will produce a very fine effect without much labor. For instance; Use red for base, yellow far center, end blue for the upper part; put in the blue and red, then run in the yellow so that it will Up a little over the other colon*. Experiment a little and you will be able 10 produce veiy misbciwy effects. 0007-SWP-000158399 VVAU. DKCORATION--Pt.ATK IV.