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0007-SWP-000006355 * Paint Catechism for Paint Men i Ur a B. HECKEL tdJler Onvii Oils PttnU Stetttor Piiat wwftUirm* AiwiciiWw &*erty NUwwl Vmiak MulDetKmi' Sf?Wjy AieatiMt Bimm Palm Manftt* tam<f AwMUtiw af tto U, $. aari Natwul VniA MmActinn' Ai--aihan Mmbr AatHctf Jganqr far TiatlAy Matoftatt Mmlat AMftw Chamteal BotMrty, ate.. *te. * SIXTH EDITION ) ' m>Cotvttttitxl br C.B. HCCJCEU 0007-SWP-000006356 PREFACE TO SIXTH EDITION { This sixth edition fa** been nude necessary by the exhanstitm of the preceding edition. Advisor* ha* been taken of this opportunity fI for gtMral revision, brine the text into con formity with the Utdt developments in technology i Philip March 2,1S2S. i PREFACE TO FIFTH EDITION Thi* Fifth Edition ii timed in response to in sistent demand. The revision* involved, while i not extensive, aerve to keep the Catechism up to date. . Philadelphia, Jamary IS, 1922. t p r e f a c e t o f o u r t h e d it io n The Gnat World War ion ended, ha* brought many advance* in the practice end tedmologoy of the pain industry. The me of progress and re- teards on certam specialties of paint manufacture, Decenary to the conduct of the war, ha* beet) perhapa five times the rate of inch pragma ht \ normal timet. Tent and, in aome eaict, hundred* of theutmd* of gallon* of specially designed and < specified paint* have been applied to ships-of-war, cantonment building*, ordinance equipment, aero planes, vefudes for transportation, etc, etc. The rendu of them gigantic experiment* are being observed with the keenest interest The tale of nearly a miDioo copie* of thi* "Cateeham." since iu firm edition, involve* the necessity of comtant revinret. The cordial reception accorded previous edi tions. warrant* ronrinued atttntjen to detail in it*PuhrSepTa^nTtioFne. bruaty S, IMP. Thank* are due for the preaent revision to Juaa E. Hvefayl PREFACE TO THIRD EDITION i During the put ten yesr* the paint industry hat i advanced mote than in the preceding half cen tury. Condition* change from day to day. For 4 example, the Ihhopoue indtutry, which in thi* t country is not yet a quarter of a century old, ha* i .2 . . become one of the most important connected with iiSJw* tt*a* **> put being over KW.00U tons. Other products, introduced within a few yean, are full of promise, and the tecli-' floiSP " daily become more definite. Tola Catechum," from it* fint issue, hat met with a gratifying reception, and the continued demand involve* the obligation of keeping it abreast of development in the industry. With util obligation in mind, the pretent re vision ha* been undertaken. It i* hoped tint it may meet with the approval accorded to iu pred ecessors. Phil*, Pa, February 1, 1917. PREFACE TO SECOND EDITION The first edition of thi* little compilation met wth a reception that proved it* acceptability. The first issue of twenty thousand comes was ex hausted almost before it was off the press, and rapidly succeeding reprints have been taken, un til the total number of the first edition amounts to 259,000 copies. As order* art still being re ceived, it has become necessary to replenish the supply. Four yean have elapsed since the booklet was written, and is the meanwhile the saint industry has rapidly advanced. New materials have been made available, new method* of using old mate rials have been discovered and field tests have given us more definite information regarding the comparative value of paint combination*. Among dm new technical discoveries is die rev olutionary work on corrosion and the resultant theory of inhibition developed by Cushman. Walker, Gardner and others, whose suveattgations have profoundly aflected the practice of manu facturer* in this field. - Among the new materials tentatively or defi nitely in use is seta bean oil; and among the old material* for which new or more definite uses have been found, ate Ihhopone, menhaden oil and benzole. 3 kV.t i 0007-SWP-000006357 It ha* itemed desirable that these technical ad vances should be included in a new edition of the "Paint Catechism.1* These additions, therefore, and some desirable modifications in the remaining- text, constitute the present resition- It is hoped that this new and rerued edition will prove as acceptable as the old edition more coold not be expected. Phils, Pa, October 1, 1911. INTRODUCTION TO MUST EDITION The compiler of the following questions and answers claims no originality in subject or rnbitantt. It has seemed desirable that sellers of paint should hare available, in compact and eonvmicM form, the technical knowledge of their specialty which has been aeemrailttmr during the past half century. This "Paint Catechism* is. therefore, a compendium of such information, gathered from many sources, and condensed for qaJdc reference. Where actual quotation has been made, the au thority ij given; but those definitions for which no authority is cited, while in no case original except as to language, must be credited to the writings of paint chemists and technical authori ties in general. It is hoped that the booklet may wove a real convenience for those for whose use it is intended. 4 THE PAINT CATECHISM 1- What It paint? "Any liquid or semi-liquid substance applied to any metallic; wooden or othtr surface to protect it from corrosion or decay, or to give color or gloss, or all of these qualities, to it*--(Pood More properly speaking, paint is a mixture of opaque or semi-optque substances (pigments) with liquids, capable of application to surfaces by means of a brush or a spraying machine, or by dipping, and of forming an adherent protective or decorative coating thereon, t What la till purpuas of paint? To protect of to beautify surfaces, or to perform both offices. Paint it also valuable as a sanitary agem. 3. What it homo paint? Konst paint is paint designed to preserve and to beautify die someet of materials used m the construction of buildings- 4. What la the beat hone paint? That paint which most completely fulfills the offices named. 5. What am the matarUla mad la mamtfactaring house paiata? Pigments, drying oils, rohtile oils or "thsuners," driers or "Japans* and varnishes. 8- Bow may tbaao pigments bo divided? Into white bases, inert remforem* pigments. natural earth colors, chemical colors, lake colors. etc. T. Nam* tho white hoist. Zinc oxide, basic carbonate white lead (or cor roded white lead), basic sulphate white lead (or sublimed white lead), leaded lines and Itehopone; titanium oxide; together with certain men or re inforcing pigments (described herein under their proper titles). Other white pigments are at pres ent under investigation. { , i I f ; i j : \ . < I I [ '; ; ! ; * -"WpCVMTJE-qN. . a*-.* . r-. V ervw W 0007-SWP-00000352 ) 8. Wkit i* Zinc Otiiml . Zinc oxide is x combination of one atom of metallic zinc with one atom of orygen, It it pro duced bp two methods, one lomwa is the French and the other as the American process. In the French proems, the vapor of metallic line (nr "spdttr) is burned in a enrrent of air and the . product of combustion, line oxide, is collected in closed chambers. In the American process, ; ores of line mixed with finely powdered anthra cite ate volatilized in a doted furnace, hieing ; perforated irate bars, and the resultant tme oxide, after bein( blown through * series of coot ' ing dues, is collected in fabric bags. ' 9. What are tha characteristics of sine . oxide? ; In texture it is the finest of all white pigments . and in color the whitest, A pound of dry .line : oxide occupies about 50.77 cubic inches, while a pound of corroded white lead, in the same con dition occupies only 14.69 cubic inches. In eon sequence of its extreme fineness It requires more oil than any other white pigment to fit it for use with a brush. Era one hundred pounds of rioc oxide paint ready for use there are about 46 lbs. ` of oil and, 54 lb*, of pigment, while the propor tions in a corroded white lead paint of similar consistency are about 75 lbs. of pigment to 34 lbs. of oiL Zinc oxide is unaffected in color by any gases present in the atmosphere, has no ef fect upon any pigment with which it may be mixed, and is nun-poisonous. ' 10. What am Uadod Zbea? Oxides of sine produced from ores of (me which contain in association a certain proportion of lead sulphide ores. In the process of manu` facture the lead sulphide is transformed into basic lead sulphate (sublimed .white lead) and inti' mately united with the tine oxides. These pig- menu are made with definite percentages of basic ' lead sulphate, ranging from about fire to about ! thirty-five per cent, according to the purposes for which they are to be used. The recognised grades contain respectively under five per cent; tec per cent; twenty per cent; and thirty-five per cent, of basic lead sulphate. Other types of leaded sine are produced in which the lead supplied is not basic, : ! 1 i I 11. What are tha Characteristics of Leaded Zincs? In fineness they are similar to other line oxides, in whiteness slightly inferior. Their opacity and "body" are measurably greater on account of tiie contained lead sulphate. AH western sine ores contain some lead. - ! 12. What fa tha affect of a amaO percentage of Zinc sulphate in paint? : "Nearly all lines contain a small percentage of sine sulphate. Much unnecessary trouble has been ' caused by the criticism against zinc sulphate. Where a paint contains moisture or where water is added in a very small amount to a heavy paint in order to prevent it from settling and not more than one per cent, of actual water (sot inter of hydration) is contained in the paint, sine sulphate forms an excellent drier, particularly where it is desirahle to make shades which contain lamp black. The outcry against zinc sulphate is unwarranted because as much as five per cent is used ' m making a patent drier. The amount of zinc sulphate, however, in non of the dry sine pig- merits, decreases with age. * In the en- amel paints, the presence of rioc sulphate is not a detriment and m floor paints it might be considered as a slight advantage, for it aids in the drying and hardening."--Toch. j \ ; I . J ! ; [ 1 ' ! ; ; , 13. What la basic carbonate or corroded white lead? It is a compound of metallic lead with carbonic acid gas (carbon dioxide), oxygen and the ele ments of water. It is usually described as a combination of hydrated lead oxide with lead carbonate, in the proportion of about two parts 7 0007 ~ SWP-000006359 of the latter to one pert of the former, though these proportions vat?. Corroded white lead of the thntetittUy correct composition is very opaque and dense; and though not to white as sine oxide, is unite white. An excess of either chemical con stituent impairs its good qualities or its color. It is prepared in this country by three processes, known as the "old Dutch" or "stack" process, the cylinder or "quick" process and an American modi fication of the Dahl process (Matheson). . 14. What la old Dutch process Whit* Load? The process generally known by thst name is an English modification of the original Dutch process. The process as used in this country is in outline as follows ; Metallic lead is inched and cast into perforated disks, called buckles, about six inches in diameter, which are placed in pots containing. in wells, about one pint of dilute 3% acetic acid (vinegar). These are placed in rooms holding several layers, or tiers. 600 to 1000 pots each. The pots ire cov ered with boards and layers of tan-bark, placed between each tier. The rooms, technically oiled "stacka" are kept closed. During a period of about 120 days the heat and the carhnnic acid gas generated by fermentation of the tan. together with the acid vapors, enmhine to transform the lead more or less completely into a white, flaky substance (basic lead carbonate). This, after it is crushed, screened, floated, ground in water and dried, forms the white lead of commerce, and Is either sold in the dry state to paint and color manufacturers, or mound in linseed oil and sold for general painting purposes. White lead thus produced is a compound of lead hydroxide and lead carbonate. It is somewhat variable in composition. Thus, in four analyses reported by Prof. Hurst, the proportion of carbo nate ranged from 63.35 per cent, to 7215 per cent: and that of the hydroxide from 25.1991 to 36.14; and that of the moisture, from 0142 to 8 nothing. Prof. Church gives the ideal propor tions as 70 per cent of the carbonate to 30 per cent of the hydrate, fifteen different American brands of pure old Dutch Process White Lead analyzed by Dr. S. P. Sadtier varied from 6070 to 81.90 lead carbonate and 17.03 to 38.60 lead hydroxide. The samples analyzed were enmmewiii leads extracted and dried. Church report* as high as eleven per cent of normal lead acetate in European flake white. The color is also somewhat variable. White lead combines readily with linseed oil, works easily odder the brushsadincreases the drying properties qf linseed oiL 1 ' . : j j j { j I ! 15. What i* Cylinder or "Quick Process" While Lead? In this process the melted lead it blown into fins granules by means of a jet of air or super- heated steam. This powdered lead is charged into large, slowly revolving wooden cybnders or drums, moistened with dilute acetic acid and subjected during several days to the action of air and puri fied carbonic acid derived from coke The subsequent procedure resembles closely the methods of the old Dutch process. The white lead produced is generally finer, whiter and more unifonn than Dutch process white lead. Chemically it resembles the latter . very closely, and it essentially the same, hist owing to its greater subdivision, requires more oil to prepare it for use. ` . i 1 I ' I 16. What it Dahl or Msthanon Process White Lead7 In the modified Dahl (Matheson) process the metallic lead is first reduced to a fluffy or feathcry rmriitirm by pouting tha molten metal into water. It it then placed m stationary wnln and by the action of dilute acetic acid, air and steam. convened into a basic acetate of lead. The passage of a stream of carbonic add gal through this solution predpittte* the lead in tije form of the : I j ! I j 9 0007-SWP-000006360 basic carbonate (white Jead). Washing, drying and grinding follow, as is other processes. The lead produced in thin manner is exceptionally white, fine and uniiorm, and the particles are amorphous and not crystalline, aa in other pre cipitation processes. Owing to ils fineness it re quires more oil to grind than other leads, exceed ing "quick process'' Jead in this respect as the latter exceeds "stack" lead. The obscuring power of precipitated leads is generally lower than that of corroded leads. . - 17. What are the characteristics of Basie Carbonate White bead 7 "ft is scarcely necessary to point out that, as white lead is made by many processes, it must necessarily vary in composition;, indeed, the white leads yielded by tile same process do not always hare the same composition."--/farm White lead is one of the most opaque of white pigments, a fact due largely to the small proportion of liquid required to reduce it to painting con sistency; its spreading power, however,* is corre spondingly reduced. The lead hydrate contained in it may unite, under certain conditions, with the adds of linseed oil to form a lead soap, which, while improving it* brushing qualities, reduces its durability, ft changes into the black lead sulphide on exposure to hydrogen sulphide gas. but further oxidation yields lead sulphate, which is, again, white. While a most useful and valuable pigment on account of its opatity and working qualities, it is subject to somewhat rapid disintegration. The durability of a good white lead paint may be trom three to five years, but in the meanwhile the paint will have disintegrated on the surface and began to wear off in the form of a fine pow der ("chalking") or to come away in mutate flakes ("scaling"). Another technical defect of white lead, as gen erally used, is that it is sold in the form of a very thick paste, containing only about ten per cent, of nil. The purchaser adds the necessary liquids to fit it for use, stirring the mixture with a paddle. 10 Uniform consistency is not obtainable in this way. and the paint produced it inferior in that respect to that produced by means of mechanical mixers. 18. What is Pulp Ground White Lead 7 As explained in connection with the manu facturing process, white lead in its final stage, before drying; is floated io water and allowed to settle, When the excess water has been decanted from the settling tanks, the residue is inmwn as pulp lead. If this paste be intimately mixed with linseed oil, the oil will gradually displace the water, which can then be djawn off. Pulp ground white lead is pulp white lead which has been mechanically mixed with oil, without previous drying; the mechanical process facilitating the displacement of the. water by the oiL The com pleteness of this displacement depends upon thr duration of the process. 19, What fa Sublimed or Basie Sulphate Whit. Lead 7 "This product is so named because it is ob tained by a sublimation or `fume* process from lead sulphide (gaknite or 'galena') ores by a process analogous to that used to produce Amer ican sine oxide and the leaded tines. The product is obtained directly, without grinding, ai a very fine, impalpable white powder. Cbensictllr, it it differ ent from ordinary white lend, being .apparently a basic sulphate and * * has approximately the following constitution i Lead sulphate ................................ 77% Lead oxide ........................................ 11% Zinc oxide........................................... 8% "It exceeds in the fineness of the particles the ordinary grades of white lead, and is at least equal to them in whiteness, body, covering power and wearing qualities. It differs from ordinsnwhite leads in being nun-poisonous, and resist* the blackening action of the sulphur compounds of sewer gas and of fuel gas to a much neater de gree."--Ladd, 11 e|^JW,^TWJrfrt*SVIW!CWts 0007-SWP-000006361 "The lead sulphate and lead oxide art chem ically combined m sublimed white lead, terming the true baric sulphate (approximately Fits Si O#), Thil chemical combstation of the sulphate ami oxide into the basic compound explains the high degree oi opacity which this pigment patients. Its physical structure is entirely different irons the ordinary lead sulphate, which has no pigment value, because it is crystalline and transparent m oil. The line oxide present is caused by the pres ence of a small amount of sine sulphate (spha lerite) in the ore used in its mamiiacture."-- IItights. 20. What are the characteristics of Basie Sulphate Whits Uldt "Like all pigments produced by sublimation process, sublimed lead possesses in its ultimate pari.cici a iiaeaas tar superior to that oi pigments utnerwise produced. On account of the extreme fineness of its particles it does not settle out of liquid mixtures. Being an oxysulphste, it resists the discoloring action of hydrogen sulphide and other harmful gases in the atmosphere longer than does any other lead pigment It it uniform in composition, non-poisonous, and has no destructive effect on the paint vehicle. Expert paint manufac turers early mognired these characteristics and the paint manufacturing industry consumes prac tically the entire production." When used alone ii "chalks" rather more Ireety than corroded white lead. 21, What Is Sublimed Bina Lead? A sublimation product closely allied to sublimed white lead, the process of manufacture being simi lar, of somewhat different composition and color. A characteristic analysis follows; Per cent. Lead sulphate .................................... 52.92 Lead oxide ....................................... J7.4B Carbon......... ....................... 2JS Zinc oxide ....................................... 2tnd Lead sulphite................................1 to 12 . WE** ** the characteristics of Sub limed Blue LaadT Being a "inme" product, its spreading power j oil is high (more than twice that of red lead), its lead concent is as high aj in other lead pigments, it remains well in suspension and brushes well, having better tooth than most lead pigments, it is practically "inert" to linseed oil and is not al iened by atmospheric gases. The official tests place it high among the class of rust-inhibitors, 23. What ia Uthopone? Uthopone is essentially- a combination of ct>- prccipitated cine sulphide and barium sulphate (Wane Sxt or "permanent white"). It is pro duced by the simultaneous reaction on one another of solutions of zinc sulphate and barium sulphide, the two chemicals in solution bring in the correct chemical combining proportions. The two sub stitution products bring formed and precipitated simultaneously, the union is very intimate. Tbe process is . completed by dropping suddenly in cold water while hot, which is known as "quench ing." The product is washed, dried, finely ground, pud bolted through silk cloth, Tbe pigment is very fine, white and amorphous, and if properly made ha* excellent body and most valuable prop erties as a pigment Ordinary lithopane has the peculiar property of darkening is sunlight and recovering its color in the dark; and on exterior exposure it ''chalks" very freely. Tbit photo genic property, or sensitiveness to light has now, however, been practically eliminated in the stand - ard grades. It finds extensive tue in the muu- facture of 'flat," washable wall finishes, in ensmel paints and in linoleum and shade-cloth manufac ture. "When the material first appeared we examined it and it seemed to be the thing are were hunting for, something that was free from objections to white lead and tine white, * * * Experiments with it seem to indicate that it has covering power, body, working qualities and chemical inertness." --DnJity. 13 Si' 0007-SWF-000006362 2L What ora ths characteristics of Litho' pone? ; FtDHMi, whiteness, body and opacity. "Aj an interior white, a first coat white, a ready-mixed flat paint for a surface, or ai a pigment in the . fighter shade* for floor points, Iithopone cannot . be excelled for its body durability, hardness, fine ness of stain, and ease of application. * The paint chemists should be permitted to decide when ! its value is the fro*test- As a marine paint, - either as a first coat or for making neutral Whites . where other whites would be necessary, it ia fotmd to outlast both zinc oxide and lead carbonate."-- Tech. ' ' It is the chief pigment component of most flat * wall paints, and is coming extensively into use in : exterior house paints. : 23. What are Titanium Pigments? ' The effective base of these pigments is titanium oxide, usually produced in the electric furnace . from rutile or other titanium-bearing minerals. . As the electric energy required for extraction make the pure oxide rather expensive, it ia eommostly mixed with precipitated barium sulpliate ' (blanc fixe). In this form it is a very dense . white pigment, highly inert and resistant to most chemical reagents. It is used commonly in entn- bination with zinc oxide for much the same pur* ' poses as Iithopone. The American product is marketed under the trade-name "Ttanox." 26. What fa an "inert or reinforcing pig ment?" . . An men pigment, properly speaking, is a chem ically stable, solid substance used as a component oi paint--one which neither acts upon nor is . acted upon by any other constituent. In this sense , bmp black, graphite, carbon black, lead sulphate, smalts, etc, are inert pigments. Commonly, how ever. the term is applied to certain white or calor- _ less substances added to white or colored paints for various technical purposes: especially to form < (he solid base on which staining colors are to be ` precipitated fas in the chemical lakes), to de- 1 crease the preponderance of chemically active pif* meau m the paint film (a* where barrtca or u added to basic carbonate white lead), to limit the excessive spreading power of a paint and thus to increase the thickness of the paint film, .*? Py* * "tooth" (as where crystalKne barytes or silica is added to while paint bases). The word "inert" has come to be used in ennneeflen with these pigments, because, speaking gen erally and in a broad sense, they hare the advan tage of being chemically stable or "inert" and not affecting color nor destroying the life of the vehicle. "A more practical definition of the inert reinforcing pigments would be to state that they comprise a class of materials, each one of whichpossesses all of the valuable qualities of the true pigments with ooe or more exceptions: as for in stance^ an inert pigment may possess covering fewer, proper performance ia the vehicle, abso lute chemical stability or inertness, the main tenance of tone while rtdudng the strength of color, and yet while being deficient in great obscuring power or opacity a* compared with white lead, for instance, this one drawback of inferior opacity will be more than offset by the peculiar qualities and advantages to the resulting paint wmch are entirely lacking in white lead and cannot be procured tbereform. Therefore, the manufacturer can obtain til the necessary obscuring power by proper proportion of true pigmmts and gain the peculiar and equally impartant advantages from the use in addition of sack a reinforcing pigment."--Jrrry. . 27. Which are tha inert pigaanta in com mon aae? Barium sulphate fharytes. blanc fixe, perma nent white) silica (silex, silidous earth), magnestem silicate (asbestos, asbestine, talc), alumina (ehitsa day, precipitated alumina, feldspar, kaolin alvmdna hydrate), calcium sulphate (gyptum. terra alba, burnt gypsum or anhydrate), calcium carbonate (white mineral primer, Baris white, whiting, etc., etc.), If i i 1 I t 0007-SWP-000006363 28. What js Bazina Sulphate, Baryta, Blue fix* or PtfUMt White? Barium sulphate comes into .paint manufacture under several forms dependent upon the method of preparation. Chrmiralty, It is a compound of an atom of the metal hinum with one molecule of sulphuric add, the former replacing the two atoms of hydrogen normally existing in the latter. It it found as a natural product m many pant of the world, and it a usual accompaniment of lead and sine ores. The principal sources of sup ply in this country are in Uittouri, Arkansas. Ten nessee, North Carolina and Virginia. The process of preparation, consists essentially in grinding, removing impurities in an acid bath, and thorough washing. The finer grades are fur ther separated by water Boating. Precipitated barium sulphate, commonly known as blanc fixe or "permanent white" is produced by precipitation of a soluble salt of barium from so lution by means of a soluble sulphate. Tbe'barium sulphate is thrown down at an impalpable amor phous powder. The method is similar to that for lithopone, except that the substitution product here remains In solution. In the preparation of several of the more per manent hikes, barium sulphate is thus, precipitated simultaneously with the "striking" of the color, the union of base and "Stainer" being thus made more intimate and framing what is known as a lake color. 29. What are the characteristics of Barium Sulphate? Its chief characteristic is extreme chemical sta bility. It does not react with any other material used in paint miking, and remains absolutely unaffected by the elements or by any gases dr vapors found in the atmosphere It is. in the full meaning of the term, inert. It is also prac tically colorless when mixed with oil hence has no modifying effect upon colors mixed with it. It is, therefore, an excellent medium for diluting highly colored pigments without modifying their 16 inne; for diluting chemically active pigments and thus prolonging the life of the oil in a paint film: for modifying the ipreading power of many finely divided ptgmmts, and for increasing the thick ness of the individual paint film. It has beat long used for admixture with lead and sine in white paints, and this addition, if moderate hi percentage, is held by practically all competent authorities to increase the durability of such paints. 30. What fa Silica (or SHur>? It is an oxide of the "metalloid" silicon, con sisting of one atom of the latter with two atoms of oxygen in the molecule of silioou dioxide nr "silica" It is rrry abundant in the earth's sur face ami exists in many forms, of which Quartz, rock crystal amethyst, Quartz-sand and flint are the most familiar. For use m paint manufacture ft is prepared in several ways. By one'method the transparent enurtz rock it first disintegrated hr heating and dropping into cold water, followed by grinding and hotting or water floating. In another fine Quartz sand is similarly treated. Stilt another source of supply is the microscopic skeletons of diatoms found in the dry beds of geologic oceans. This grade is known as riliocm* earth, and re quires only cleansing and bolting to fit for use. 31. What are the characteristics af 81lies 7 Hardness, inertness, eoioriessness and "tooth.' dues to the sharp jagged form of particles. In oil it has even less color than barytes. It it used for practically the same purpose as the latter, and very widely aa the mineral base of paste wood filler], for which purpose it is generally held to be unequaled. In paints, it it held by some manu facturers to be superior to other inert pigments because of what is termed its "tooth," meaning the firmness with which. it taka hold on a wood surface or adheres to other coats of paint 0007-SWP-00000S3 64 32. What U MagnaaJnm Silicate T A complex combination of tiiide acid with the metal magnesium and water of hydration, combi nation or crystallization. Serpentine, asbestos, jade, and chrysolite are tome of the forms under which it appears in nature There forma are of great variety and shad* into one another, both in chemieal competition and physical properties. The forms tried m paints are generally modifications of talc and asbestos. For inch use it ij purified and giound to impalpable finmrti. . S3. What net the characteristic! of Magnaaium Silicate! Inertness, fineness, unetuosity. lightness of grav ity and a sort of physical "fluthness," which tend* admirably to keep ft in suspension. In its prop erties as an inert pigment it resembles those al ready considered, but physically it is very different It is modi softer, makes a very smooth paint and is held by those who use it, to prevent "settling in the can" to a greater extent titan the other pigments of this class. The hair-like structure of the asbestiform varieties is also held to be mechan ically advantageous. It is of especial importance in the prodnoten of fire retardant shingle paints. 34, What is Alumina? An oxide of the metal aluminum, consisting of two atoms of the latter combined with three atoms of oxygen. In this form it ocean in nature as corundum, emery, ruby, sapphire, etc. Ahttn, which is a sulphate of aluminum, under certain conditions precipitates a trihydrate of aluminum, which is a powerful absorbent of organic dyes. This fact ia taken advantage of in dyeing fabrics and the preparation of several of the lakes. The ailicatc oi aluminum--China clay, kaolin and feldspar--is usually, thongb incorrectly, called .'"alumina'' and hence ia described here under this heading. These substances are complex hydrated silicates of aluminum (kaolin or China day being feldspar which has undergone decomposition by sge-long action of the elements, known as meta morphosis). The former is taken from the earth, washed and floated to prepare for use. I IS 35. Wfiat art the cbaraeteriatici of Alumi num Silicate! Inertness, practical absence of color--though in this the days are inferior to barytes and silica, while feldspar is about the iirm impdpebln fine ness' in the case of kaolin, appreciable "tooth" in the case of feldspar. Otherwise the material is comparable to the silicate of magnesium in its properties. ` An important eastern railway mmpany has for yean specified China day a* a component of its station paints. 36. What la Calcium Salphate! The hydrated sulphate of the metal caldum. consisting of one atom of the latter combined with one molecule of the sulphuric add radial and two molecules of water of crystallisation. When a part of this water is driven off hr high bat the substance becomes "piaster of Paris," which again hardens on absorbing water. A similar phenom enon is fsmiUar in Portland reniistl Caldron sul phate in its native form is known a gypsum-- when transparent, as selenite. When completely, dehydrated by cilcrom, this property is destroyed. For use in paint* it <* cutfaUr crowd, so as to avoid driving off the water of uyitalliaation, and bolted. . 37. What am the charaetarletia of r.Hn Sulphate! Inertness, medium softness, cnlorlesaneas. and ease of manipulation. It ia soluble in 500 parts of water: that is, ooe pound will be dissolved by about 63 gallons of water, and this proputy im pairs its value. If the hydration he complete gypsum is fairly efftdent and for some purposes would appear to be preferable. Or. Dudley, of the Pennsylvania R_ R, gave it full preference. 33. What fa Caldum Caihwata! A combination of the metal calcium with the carbonoic add radical in the proportion of one moleeule of the former to one of the latter. It is familiar in nature at marble, chalk < fmm which whiting is produced by grinding, washing and 10 ; ` 1 . I' "U 0007-SWP-00000G365 floating), Mexican onyx, crystalline calcite. etc. Kor me in paint it comes in tbe form of the finer grades of whiting, Paris white (both made from floated chalk), mineral primer (made by grinding and bolting a natural calcite or dolomite), etc. 39. What are the characteristics of Calcium Carbonate? Each of these forms of calcium carbonate has its own peculiarities. The finer qualities of chalk produced from ancient shell deposits, when finely washed and floated, produce a product known as "Paris white" or "bolted whiting," This is prac tically amorphous and is extremely fine, tends to hold pigments in suspension, neutralizes any free mineral acid in the oil or pigments, spreads well and is useful with heavy oxide pigments. Another type of calcium carbonate is wbite mineral primer. Inis has a definite structure, but is ground ex tremely fine and floated. Both of these forms of calcium carbonate are found useful in many types of paint where advantage is taken of their physical as well as their chemical characteristics. Thus any residue of sulphuric acid remaining in linseed oil from the refining process, any traces of mineral add remaining from bleaching barytes, and excess of sulphuric add in the iron oxides, can be most safely and effectually neutralized by an addition of caldum carbonate to the paint For this purpose the Pennsylvania R. R. spedfications require the addition of a small percentage of this ingredient It is worthy of note that the old-time putty, which was made of linseed oil and calcium car bonate alone, has been known to endure, wirlwut apparent deterioration, for half a century. 40. What are Natural Earth Color*? Colored compounds found as deposits in the earth and utilized as pigments, either in their natural state after grinding and purification, or after further treatment, such as oxidation by burning, calculation, etc. The principal varieties are the mineral browns (Prince's mineral), ochres, umbers, siennas, natural iron oxides, mineral black 20 and a few allied substances. Of these. Fritters mineral is a natural iron carbonate (Sidertte) which is changed to ferric oxide by funtacmg in a current of air; roar umber is a similar natural iron oxide containing manganese and burnt umber the same, changed by heat Rate -Tirana is an allied mineral and burnt sienna the same further oxidized by calcining. . Siennas and umbers are jimilar in composition and origin. Similar to these are tbe so-called "asides" pro duced by grinding the natural iron oxides (he matites) from various localities. They range in color from a warm brown to a brilliant scarlet, dependent upon the composition of the original mineral and the degree of oxidation. Simitar highly colored products' arc produced by driving off the sulphuric arid and water from sulphate of iron (green vitriol). Venetian red, an allied product is produced by precipitating the iron oxide from a green vitriol solution with lime water and afterward oxidizing in a furnace. The resultant product is a close combination <>i iron oxide with calcium sulphate. Venetian reds of similar character are also produced by grinding high-grade iron oxide with inert bases, such as calcium sulphate. Ochres are hydrated iron oxides permeating u clay base. They are produced by age-long perco lation of water through a body of iron ore iuio adjacent veins or beds of ciay. They differ widely in color, tone and composition. 41. What are Chemical Colors? Chemical colors are pigments produced by riiemical action of one substance (usually in solu tion) upon another, resulting in tbe precipitation of a colored compound. Following are the prin cipal chemical colors m common use: The various Prussian est cyanide blues (Chinese blue. Antwerp bine, ifSeri bltie, brense blue, etc.), made by precipitation of a solution of a soluble salt of iron (ferrous) hy a solution of potassium; or. more recently, sodium ferro-eyattide, and subsc- 21 0007-SWP-000006366 qtKDt oi the precipitate (which is a first wtsta in roV* and u known ai Everett'* aatt or "magma") to tht dark bJue ferri-cyanide condi tion. The chroma or chromate yetiene* are made by pttdphntiv a soluble lead nit with a aolnble chromate, the refohast product being a Wad ebro- mw >. The various shsdes (light, medium, deep, orange; =) *" produced iff precipitating with the chromate some modifying aubatance like Wad sulphate or barium tulpfaate or admixture of white lead, etc, or by uaiog in tome euet acetic acid and in other* nitric add to disiolve the lead mon oxide (litharge) used, There is also a very permanent ante chrome (u*ed in "tnhibiUre paints tor structural ittei) in which the lead base n replaced by tine Chrome or chromate greens art combination! oi a jpecially prepared Prussian blue with chrome yellow, usually precipitated together and modified in the darker neutral Shades by the type of chro mate used. These greens m their pure date are unsatisfactory as to permanence, dinusibjlity and color, hence it is practically the universal custom to precipitate on or grind with them some inert protective pigment--barium sulphate or silica pref erably--which diffuses and reduces the pigment without materially impairinf it* color or opacity. A high-grade of cmnmerdaUy pure green, there fore. usually contain* 75 per cent or over of barytes- These green* should merer be used with a white base containing lead carbonate, as the Prussian blue content may be bleached by it ui the can. Oxide of zinc, sublimed white lead, or -a leaded tine should he. used at the white base. Chromium oxide, the original "chrome green, is now but little used on account of its high cost Where great permanence is required, as on rail road signals, letter boxes, and the starboard light boxes of vessel* it is still used to a limited extent. Vbromaruu Not, cobalt blue, English or Chi nese swnmKm, red lead and orange mineral, may also in a certain sense, be termed tie micas colors, in dmt they are the products of chemical ttans- fornmoon. The tiro blues art produced by a spe- 22 rial method of fusing together the components of lapis laxuli (the original ultramarine), kaolin or China clay, sodium sulphate, sodium carbonate, sulphur, coal or charcoal, rosin, quarts and diato- maceous earth being among the materials used. Neither of these colors should be used with any other pigment or substance containing lead. White lead, chrome yellows, chrome greens and even oils containing lead driers are therefore debarred. Basse sulphate white lead (sublimed white lead) does not act to strongly at the carbonate in dis covering the bine, but is thought to act slightly. The preferable white base* for these colore are aloe oxide sublimed lead, "thaoox," or litbopene, with or without the addition of inert pigments. There are two true cobalt bluet, of which one la familiar u "small," s blue glass, colored by means of cobalt oxide. The other is a compound oxide of cobalt and alumina, ft is more familiar at an artstfs color than as a pigment for house paints. The grdeksihaer wrewiiour are sulphide Of mercury, prodoced either by sublimation or by a precipitation process. Their color is appar ently doe to the farm of the particles, and giadtuusdly changes, on exposure, to the natural brown or black of the oarmal sulphide of mercury. They hare ben largely replaced by tbe so-called Ameri can vermilions sod vermrUtmona; the later, being really fora of lake will be described onder that heading. American vermilion, sometimes designated as Chinese red, Persian tcarlet, scarlet chrome, etc,, ' was for many yean in great demand, owing to . its permanency, but as it loses its brilliancy by the breaking of its crystals when milled, it is now largely replaced by tbe aniline scarlets, which are classed among the fastest of she vermilionettes. In composition it is a basic chromate of lead, re quiring special treatment to develop its odor, (ft is an excellent "inhibitor" or retardent of corro sion on steel surface*-) Red lead and orange ndmsni. as welt as litharge, are oxides of lead. The first-named is prodoced by further oxidation of litharge at a low heat 23 / -A -w ,.- 0007 -SWP-0000063 67 in an open furnace. Orange mineral n usually produced by oxidation from the carbonate of lead instead of pig lead, and is'therefore amorphous in structure and not crystalline. This mates it much easier to hold in suspension, while its color is lighter and more brilliant. These lead oxides form a cement with linseed oil and tend to harden in the can. Freshly mixed, they form an excellent protective coating for metal surfaces, bat in time they produce "livery" paint. A fully oxidised red lead hat, however, been introduced which is free from this objection. The addition of certain sub stances in smalt percentages delays this action. Fine grinding impairs the color, 42. What art Late Color* 7 A late color or pigment late is a pigment pro duced by the combination of a dye with a mineral base. The varieties are exceedingly numerous. The number of such pigments among artists,' litho grapher!- and carriage colors it, however, much larger than among house painting materials, since many of the lakes are transparent or tranaslucent. Some of the lakes are formed by simultaneous precipitation of. the mineral base from solution with the coloring matter. The preferred base in such cases is usually either alumina or barium sulphate The "fora" rtdt {paranitranaUtw lakes) which have come into extensive use on account of their beauty, durability and body, are more brilliant and more permanent than quicksilvtr vermilion.' Neither class of reds can be used with a white lead hase without destroying die color. Alitamc and foAsirfm* re-dr ire preferred for some pur poses. 43. What ore the Carbon Blacks T The carbon blacks are practically pure carbon. They comprise lamp blue*, a specially prepared soot from oil tamps; sat btackr (commonly known as "carbon blacks ') from natural gas; and proph- 24 . . - - .t t w--' fMwwwvcw vnacuiiy by means of the electrical furnace. Barn-block, ivory black (a fine bone-black), drop block, pine block, t, also come in this cue- gory, These, being produced tty carbonizing krurnil or vegetable substances, contain propor tion* of inert mineral salts and are accordingly modified m tone. 44. Wist wa the characteristics of the Car- boa Blacks? - With the exception of those named in the last paragraph, they ere practically pure cartons. They are, therefore, chemically inert Lamp blacks and gas blacks are amorphous, the particles are ex tremely fine and their specific gravity ter; conse quently, they require a surprising preponderance ol liquid (a t, oil) to fit them for use. Their covering capacity in proportion to weight is enormous and their dombtltcy is * striking ex ample of the durability of inert pigments in gen eral when used in painting. Their tinting power is great. They are seldom used atone as pun color. It being deemed iccbueaity advisable to grind with than such a proportion of colorless inert pigment as will measurably increase the thickness of tint paint film without perceptibly impairing tea opacity. Lamp black lettering on old signs has been fre quently known to stand out in relief after the wood surrounding it has beat deeply worn away by the elements. Graphite, among the carbon pigments, stands apart, it* unctuous quality, familiar in stove-polish and load pmdls, distinguishing H. It comes in tiro forms - flake and amorphous. It is as dura ble as the other carbons, and like them, is fre quently ground with silica or other colorless, inert pigments. Its chief use is fit protective paints. The ramming carbon black* in used prin cipally a* tinting colors only. 25 0007-SWP-000006368 45. What arc the Drying Ofl7 Lmsrrd oil, poppy nd oil, out oil, tung or Chun wood oil, penila oil, lumbang. or kukui oil, sunflower seed oil and menhaden or "fiib" oil To these map b* added a lew more neb u hemp- iced oil, chit oil and Halrmwttia oil, some of which are now the object! of oonaiderable expert- mentatioa and interest. The first aimed it ocea- siooally toed in tndtatrial painti, the second two in artuti' color and aome special painta where extreme whiteness ia essential, the fourth finds exteoaitre use for certain tinea of varnish and for the manufacture of fiat interior and water reaming painta. The fifth and sixth have recently attracted much attention and give promise of important development. The seventh has been used m this country experimentally only. Men haden oil ia coming very tartenatvely into use for tpecial purposes and was used in appreciable pro portions in the hqmd portion of painta applied to cantonments during the war. To this list should be added certain setnidrying oils, such as corn oil, cotton seed oil and soya bom oil of which the late named has assumed considerable technical importance both for admix ture with' linseed oil and as a medium in which to grind paste tinting colors. ' 4 | . J . 46. What are the characteristics of a Dry ing OUT Drying oils have the peculiar property of absorbing oxygen end forming a tough elastic substance. They harden (with the exception of tung oil, which seems to "act'* simultaneously throughout, like cement) from the surface inward. Certain metallic oxides and salts when incorpo rated with these oils by heat or otherwise, by acting apparently as catalytic carriers of oxygen, hasten the drying process. On exposure the hardening progresses slowly until the material finally crumbles and disintegrates. The added metallic salts, etc, are known as "driers,'' the oil in which such driers lave been incorporated as "drying oils" and if incorporated by beat as "boiled ons," A strongly concentrated drying oil g * * J as thinned with a volatile oil (turpentine, benrine. etc.) is also known as "drier,'' and sometimes, especially if a gum or resin be added to it as a "jtpan drier." 47. Why are Drying Oil* used in Paint Manufacture? First to give to the paint the necessary fluidity; secondly, to insure tfjp uniform distribution of pigment on the surface; thirdly, to form a firmly adherent and coherent film of the proper character; and lastly, to produce in the paint the -desired 1astro. 48. Why fa Linseed Ofl usually preferred for this use? 1 First because it is most abundantly obtainable of all die drying oils, and on this account its use is very generally understood; secondly, because its cost is usually moderate in compuisoo with that of other (frying oiis; and, thirdly, because in our present state of knowledge the results obtained with it are more uniform than with other oils. 4S. Are the same preportiaai of "Dri*re used in mil Pointer - No. Some pigments donatives act as "driers" --such, in order of drying "strength," are red lead and the other lead oxides, lead carbonate, the iron oxide paints, oi which the umbers are the `'strongest,'' the chemical colors beginning with the chrome yellows. Most of the lakes, the blues, ime oxides, xinc-ksd, sublimed white lead, lithopone have very little drying power- the curbon blacks none. Ordinarily white lead has moderately strong drying properties, varying in this respect according to its chemical conititutioo. 50. For what purpose are Driers added to Paint or to the Linseed on used therein? For convenience alone. In moat rcumstances it is desirable that paint shall dry within a rea sonable time, to avoid exposure of die wet film to ram, etc, to prevent the adhesion of dost and insects, to amid dm danger of soiling of . 37 0007-SWP-000006369 person or clothes, to enable additional coats to be applied quickly, etc. 51. Do Drien improve tit* wearing qual ities of Paints? By no means. As the final destruction of the paint film is due to oxidation (which is merely a "slow" bunting}. Anything which hastens oxi dation shortens the life of toe paint. Therefore, the addition of "driers'' and the pro - portion of drying pigments in a paint should be carefully limited to the practical necessities above indicated. . 52. la Tung or China Wood Oil used in Paint Mannfacttire? Not so modi as in varnish making; but it has some remarkable and valuable properties which are utilized in paint manufacture. In the form of a "flat" drying varnish it is extensively used in flat wail paints. It is also used very generally in modern varnishes and in making marine paints, to which it imparts valuable properties for resist ing the alternate action of air and salt water, the wearing and abrasive action of waves, etc. 53. What is Leabni or Kabul OH? A drying oil obtained from a tree (tbe candlenui--(aUvntcs mciuccstui) indigenous to Poly nesia and widely cultivated in Asia. Hawaii, the Philippines, etc. In Hawaii it is laiown as "kuku"; in the English trade as "candlenut." It grows well along our gulf coast, where it has heen lately introduced. It is related to the twig tree, and the oil resembles tung oil in some of its properties, though it does not polymerize to a firm jelly like the latter, on heating. It has a very good color, a fairly high iodine Bomber (162.0). It has been used to some extent in white lead light tinted enamels, for which use itholds prom ise of considerable importance. There are two varieties of lumbang most widely known, lumbang bato, and lumbang banucalag. The banucalag has an add number of about 9, and is the less adapted 28 for use In paints. The bato ha. an add value of t-2 and is ry Knular to hawed ott in many n its properties. II !l 54. Wint Is PiU OH? ___ . . A strongly drying oilfwo the *dsof tbe Prriila cultmsed extensively m Osina and Japan, where it is of considerable com _r_i^M-tjjta^i Sini^iiittmxncrreuUe& toxsis^rtiApndjowdiuneidni unmabtee*r high (approximately 200). "dte MO-12), does not seem t detract ttom ia vsuuc harden in the with S* fkTT^numTSr it STSen'Ud'.o ^ Sf TO&S promise. ^ i b& SS5-5 stf HZ States, where it it known to be capable ot pro duction over a wide area- 55. What is Hamp Std 00? jfa-ss-ssffss, tr& 1l !I ThTu^ dEurope a 4 And oral beiow former!* common 2--4 ** .ISbjLSUbfe of the cheaper subriitutes for linseert oil , 58. What is Fish Oil or Monhaden OD? is known as ymter hlmen 29 JUS# has an iodine *he 0007 -SWP-00 00063 70 "Winter Bleached" variety to run as high as I7g), and is almost free from odor. A derided "fishy" smell is an indication against the availability of a fish oil for paint. 57, la Flah or Menhaden Oil admissible fit Paint? "Paint made from fish oil can be applied to hot surface* and will not blister or peel as readily as that nude from linseed oil, atid for this parpose--ss a smoke-sack paint--it is very desirable. "A properly neutralised fish oil prevent! the hardening or setting of red lead in the package, and a paste made of this materia] can be traps* ported a great distance, and wilt last for many months in a fresh-and soft condition. "Menhaden oil should, of course; be used with a drier, and the best results are obtained with a tungate (China wood oil) drier."--Teek 5S. What are Semi-drying Oils?. Certain vegetable oils which, while possessing some of the characteristics of the drying oils, yet. on account of their constitution, do not completely harden. They are usually defined as vegetable oits whose iodine numbers fall between 90 and 140, those bdow 90 being dassed as non-drying oils and those above 140 as drying oils. Those com monly used are com oil. cottonseed oil and soya bean oil 59. What are tho nsa* of those Oils In Pafnt Manufacture? By special treatment their drying properties may be increased, and in this condition they are sometimes osed with linseed oil in connection with strongly-drying pigments. They are also, to some extent, used in the grinding of paste oaints. espe cially red lead, to prevent hardening in the pack age: and in the manufacture of puttv. a grade of cotton-seetl oil known as "potty oil" is com monly used to retard hardening and to avoid the excessive ultimate hardness attained when linseed oil atone is employed. The qualities of soya bean . oil are discussed separately. 30 I . . ' ; . ' . : . ' ) . : , ' so. What is Soya Baas Oil? Soya bean oil is an oil derived from several varieties of the soya, soy or toja plant, belonging to the tame family as the ordinary pea and beau. Within the past lew yean its cnlnvatson as an oil-producing plant fit the United Stales has tnade remarkable progress. The prioripal source ot seed for the oil used in industry is, however, still Manchuria. In its physical characteristic* it resembles the other semi-drying oil*. Its ncid number is very tow (generally about 2) and its iodine number is about 131, which ia both for a semi-drying oil ' j ! i 61.- Ia Soya Bean Oil admissible in Paint? Experiment thus far would indicate that the oil from the soya bean is, perhaps, the most satisfactory of the vegetable oils ordinarily used in conjunction with linseed oil. Extmjive field tests indicate that when properly treated in com bination with the drying oils, it is a valuable addition to the too nteecrt list of available paint liquids. . . 62. Arv Petroleum Oils ether than Bensine and Mineral Spirit aver asad ia Paints? In rare instances, except where they occur as an adulterant of linseed oil sold to painter* ana consumers. In some special paints for the protec tion of mcttl surfaces, heavy petroleum oils are used to a limited extent to retard the hardening of the paint film. As the linseed oil used in such a combmaxiou requires special treatment, these oils should never be used except under expert supervision by tin paint manufacturer. ' - : : 63. What an Volatile OOa or Thinnara? Certain liquids which form a homogeneous solu tion with oils, and on exposure to the air, evaporate rapidly and more or leu completely. They are turpottme, wood turpentine, heroine, mineral spirits, beaxoi alcohol, etc. Of these the first four named are practically the only ones used in paint Benzol, amyl acetate, methyl alcohol and a few similar products an toed hi specialties like varnish removers, bronzing liquids, etc . j . j ; ' , 31 : 0007-SWP-000006371 64. What are the characteristics of the ' Volttil* OIUI ; 66. What are the uses of Wood Turpentine m faint? Of the four used in paint, turfcntmt is de rived br distillation from the sap of pine trees, the residual product being rosin. Wood Surfeittine is distilled front pine wood waste, pine stomps and roots. Btumt is that distillate from crude petroleum which lias a gravity of from 55 to 72 degrees by the Baumi hydrometer; the lighter products are gasoline, (60-52* Bt), etc.; the Iwavier products, fuel, oils, burning oils, lubtieating oils. etc. The petroleums with an asphalt lase yield benzines of higher gravity and hence slower evaporation than the paraffine base oils of the Ohio valley, etc. They are known as "min eral spirits." Close regulation of fractional disfiliation produces similar `'spirits" from the latter Turpentine, benrine and hepiol have each a char.muriatic odor. All are solvents of oils, resins, etc.-- tirisc from asphaltic oils being superior in that rcs-peci. Of the three, turpentine generally evaporates most slowly, though some mineral spirits surpass it in this respect, Turpentine, in the retail and jobbing market, is frequently adulterated with heavier, non-volatile petroleum oils, but benrine is never so adulterated. Benrine on evaporating leaves no residue and has no effect on the paint him... Turpentine, being a slight oxidirer. is thought to have some drying action and is alsn believed I because white the benrine can alt he recovered from paint by distillation, the turpen- tine cannot) to leave something in the paint Aim. It so, it would seem that this residue must be somewhat of the nature of rosin. Exactly the same os those of gum turpentine. 1 ; 67- What is Benzol or Bensene? j Benzol is that distillate of light oil from coal j tar, having a boiling point of 82* C. (ISO* b.; i ft is a volatile liquid of characteristic odor, and best known for iu great solvent power ior gums and resins. The pure benzol is seldom used bv i the paint trade, but several grades are prepared . which are sufficiently refined for commercial use. . and could not be distinguished from the purer i grade as far as appearance, odor and action are concerned, but art distinguished by the rnngo of temperature within which they distill. > ; 66. What la Toluol or Toluene? - Toluol (methyl-benzol or tolnene) is that dl-- ! tillate of light oil from coal tar having a boiling . point of HI* C. (264* F.), It resembles benzol tit all it* properties* except*tbat it i not so volatile i on account of in higher boiling point* It alnu i produced in commercial grades suitable fur the I paint trade. { j 69. What fa Solvent Naphtha? . Solvent naphtha is that distillate of light oil ! from coal tar which boils principally between 130' S C (298* F.) and lfiO* C. (362* F.), It a)*i ' corresponds closely in its properties to benzol. and. ip fact, it is tometunes called 160* benzol. As iu boiling point ii higher than that of toluol. I - it is less volatile than either benzol or toluol, and for this reason is very widely used. SI. What i Wood Turpentine? Wood turpentine is the volatile distillate from pint wood waste--sawdust, stumps, pine leaves, etc. When properly refined, it is indistmgnishable in its properties, chemical or physical, from gum turpentine, having essentially the same composition. - | I [ i I 70. What are th* UMi of Bawzoi and similar products is Paint Manufacture? They are powerful solvents and have been brought before the paint trade largely in paint and varnish removers. They penetrate wood with great ease, and are used widely in oil stains on that account. They are also used frequently for the suae psttpoae si turpentine or petroleum ben- 32 33 . . : : i . j ' i 1 > ; i j 0007*SWP-000006372 one. at a volatile thinner. They have been The only exception to this it in "flat work." ior highly recommended at an additional vehicle in . which bourne is not so satisfactory. Wood- i the him coat on ntiaoua or "treaty" wood*, toeh turpentine varies greatly in quality, dependent at yellow pine and cypress, to facilitate the pene tration of the priming cat Tbia latter recom- tnendation waa find made by Henri, John De | upon the method of manufacture. The better grades which are properly refined are practically identical with sap-turpentipe. . ' 1 j war and Louis B. Titiel. j 74. What are VaraishvaT j Varnishes at used m paint manufacture are I 71. What la Crvoeot* OUT CreMote oil, attictly speaking, it that oil dis tilled from coal tar which it heavier than water. It ii frequently called "henry oil," or dead oil" of coal tar. Its greatest nee in til parts of the world ii at wood prescrvathm. Probably tbii fea ture first led to itt use in ihingle stamx, for which purpose it is best known la the paint trade. One of its chief drawbacks at first was the presence of a material which would settle out in cold weather, but more recently grades are available from which this sediment baa been resnoved by chasing and filtering before marketing, ! i . : : ' . sofafiont of resins or of fossil gums in drying oils; ot China wood oil varnishes prepared from tung oii, and esterixed rosin. Their principal application is in enamels, varnish paints, such as Moor and deck paints, and similar specialties. 75. What art the characteristics of Var- niabaa 7 ' They yield a firmer, smoother tad more lustrous coating than oil, tad an capable of being rubbed to a finer finish. Some "Japans," at already stated. have the chartrirr of a varnish. Some pigments. of which abac oxide b a conspicuous example. appear to form a tough elastic combination with I , I 1 I ! ; ; ; : - the gum retina, entirely different from the com- j 72. For what pufpaaaa an Volatile Oil* ' pound formed with lamed ail. This property is added to Paint: . utilised in the picperatiun of enamel paints. : For filer effect aiocte: To facilitate ' 74. Cam Vanish bo aaea--afully analysed? . the labor of spreading, to redact excessive propor tions of oil, to hasten the "setting" of file paint, to assist the penetration of the priming coat, to reduce the inn of under coats and thus improve the adhesion of subsequent coats and to destroy gloss so at m knee a dull finish. Thus far no satisfactory method has been devised. Certain ingredients eta he identified, tome 1 of them quaatittQveiy; bqf all methods thus far proposed have fallen short f completeness or . accuracy. The qualifies of varnish are most sacu- factorily estimated by means of physical tests. ' i j ; - 71 Baa Turpentine any advantage ewer Bends* for thraa purpose* 7 77. la viow of what has bases said, can tharu bo a "Standard" Vstasls far Paints? No. As any be inferred, it is possible with dii- . ; Such advantages as it may have are largely de ferent formulas to produce practically the tame I pendent on its lower rate of evaporation. This resultt; hoses any attempt to establish standard advantage is reduced or eliminattd m the case formulas merely tends to limit hmsfigxtioa and > of the mineral spirits, and with the rapid destruc ! tion of our pine forests fin cost of turpentine improvement; to throw the peiat mdattry into I tbe hands of a few pcodoccn of raw materials [ 5 promises eventually to be prohibitive for use in anything except the most expensive varnishes. and to stifle competition as well in quality as in : price. ! i 34 ! 35 ; ge 0007-SWP-000006373 78. U any standard possible for Paints? Yes; the standard of quality as determined by Todies. 79. What it a maooabi* standard of qual ity for Hotoa Paints7 It it baaed on accumulated experience with the ben grades of paints, and indicates the following as the requirements for a good paint under aver age conditions: L To cover upwards of 800 sq. ft, two coats per gallon. 2. To produce a suriace that is neither too hard nor too soft. 3. To lave an average lift of three to five years. 4. To be durable as to color. 5. To leave a surface suitable for repainting. SO. What ia meant by covering upward* of 300 square feet, two eoata? These specification* all refer to paints applied to wood. This specification means that each gallon of paint, to.be satisfactory, should cover properly with two coats npwards of 300 square feet of sur face. 81. What ia taunt by producing a surface that ia neither too hard nor too oott? A surface that is too hard is subject to abrasion, cracking and chipping off; a suriace that is too soft is subject to removal by rubbing or scraping. This characteristic in extreme cases amounts to permanent stickiness; ia another sense the phrase includes "chalking." which see. 82. What ia aunt by having an average life of thru to five year*? That, under average conditions of surface, cli mate and exposure, repainting shad not become necessary far surface protection more than once every four years. In exceptional or favorable cases this life of a good paint may extend to ten or 36 fiflttn years. Except for uncontrollable circum stances it should not fall below three years. Single pigment white paints, except in extraor dinary circumstances, will not last over three years. They frequently perish in less than half that time. 83. What ia meant by "durahi* as to color"? That within the period fixed as the average durability of the paint, there thali be no marked change in the original color of the paint beneath any surface deposit of soot, dost, etc. "Pure" paints, for example, may eat only darken on exposure to the gases of the atmosphere, but may have a bleaching or discoloring action upon many pigments in daily use, such as Prussian and Ultramarine blues, English and American ver milions and para reds. etc. By proper combina tion these defects may be eliminated, while the durability of the coating is enhanced. 84. What in meant by "leaving a turface caftaMo for rvpaiating"? That when repainting becomes necessary the remainder of the old paint will present a pravtieally unbroken surface anti permit of firm ad hesion by the new coating. BS. How does Paint disappear from a sur face? It may clialk, perl, scale. Sake or wear away. 88. What is chalking? Chalking is that quality (most characteristic of tiic whim leads and litbopone) which some paints have of disintegrating, falling into powder and dusting or washing from the surface, irre spective of normal wear and tear. It is most commonly due to progressive oxidation of the component oiL The paint on a "chalking" surface will rub off on the clothing. Such paint has been included in a foregoing definition as "too soft." % 37 XT 0007~SWP-000006374 87. Wbat is peelfctT Peeling indicates an imperfect attachment of the paint him to the surface The term sufficiently describe* the condition. An; paint may peel if applied to a damp, greasy or resinous aprfact PeeJmg may also he caused by interior artificial beat, driving moisture outwards under the paint film, by capillar; moisture rising into wood in contact with the earth, etc. Pore linseed oil paints are liable to this defect 88. What are uealiag and flaking? The premature detachment of paint in small scales or inter flakes. A brittle paint, in the cir cumstances where a more elastic paint would peel, will stale or Sake, according to its degree of brittleness. 89. What is meant b; "wearing away"? The normal wear of paint is both a chemical and a mechanical process. The action of at mospheric oxygen on linseed oil, as already stated, is progressive from a tough elastic substance to a pulverulent mass. A coating of linseed oil alone disappears in this way. The addition of an inert, opaque pigment, obstructing the penetra tion of air and light limits this action to the surface of the paint Sim. As the. surface thus disintegrates, it is slow); and uniformly washed or worn away, exposing continually a fresh sur face to the atmospheric attack, until the entire Sim is thus worn away. 90. What Is the meat dsairahle mode of disappearance T _ Naturally by normal wear, and it it ona of the chief objects of the welt-informed paint chemist and paint manufacturer so to compound and pre pare bit products that they shall not chalk, sale, flake nor peri, but wear away normally from the surface. 91. Sow la this aeeotaplishadf By maintaining a due chemical balance between pigments, oils, driers tod other ingredients of the 38 paint, as we!) as by a cartful selection of the single ingredients themselves--care, fDr example, that the iron oxides contain no free sulphuric arid; that the iinseed oil is properly prepared and the irce tatty arid content uot abnormal; that proper allowances be made in composition - for ambers with a high manganese content; that the chemical activity of the pigments selected be duly com pensated for by some other ingredient, etc. 92. In view of the foregoing facta, la it possible, or tf possible, adriaahia, to prepare all tinta with a white has* of Seed composi tion T By no means. It will lie understood, from wbat has been stated, that practically every tint or shade, if the ideal practice were followed, would require a separate formula and special treatment But confining hiauelt within rational practical limits, the enlightened paint manufacturer divides his tinting colors into groups with common charac teristics and varies bis white base and his for mulas according to the group. Thus, the wellinformed manufacturer may combine the ver milions, blues, para reds, etc, with line oxide, leaded line, sublimed white lead, lithopone, Titanox, die inert pigments, but he will be very chary of combining any of them with a base containing lead carbonate. , 93. What ia tbs cause of blistering of Paint? Heat vaporixsng underlying moisture Only new paint is subject to this evil unless the heat 1 excessive and one paint appears to be as much subject to it as another. Excess of volatile oil prevents it. Incompletely dried lumber would jeem to be the chief cause It may be partially due to a chemical action of light and heat on the oil, segregating glycerine under the blisters and partially to the expansion of the water in moist spots under the paint. The blitters often dis appear in a short time bttt the paint is detached from the surface brittle They are merely a de tached covering, not an adherent coating of paint. 0007-SWP-000006375 94. What la "Anigatoriafr An incomplete fora of peeling, where the paint cracks into large segments; one end ot the segment loosening and curling hade irom the surface, while the other end remains firmly at tached, the surface remotely resembling the hack of an alligator- When the aliigatormg is fine and incomplete it is usually termed "checking." 95. What fa the eansa of "Alllgstoring" 7 Heary coats of .paint applied to unsetsnaerf wood will ailigator, especially if the paint be slow drying, tough and inelastic. Rosin drier in rate paints is said by Tech to be the chief cause of the forms known as "checking.' 99. What is the remedy 7 Scrape or bum the old. paint off and repaint with thinner coats. 97. Bow may chalking, peeling, finking, aUigatoring, old, bo arokUd7 - By the selection of a properly prepared paint and its proper appellation to a surface in fit condition for painting. 9S. What la a properly prepared paint? A paint in which the ingredients are selected with due regard to their physical and chemical characteristics and thoroughly amalgamated into a homogeneous mixture, proper grinding of the pigments being also essential. 99. What la meant by the proper applica tion of paint to a surface in St condition for painting 7 The "proper application of paint" has reference to the consistency of the paint when applied, to the method of application, and to the time allowed to elapse between application of the several coats. The fitness of the surface for painting refers to its cleanliness, the nature as well a* the condi tion of the wood, and the state of the weather at the time of painting.* * 106. Bow ahould the consistency of the paint ha varied for different surfaces.' The painter should these require* taents. The priming coat, bong the one on which ihc adhesion oi tbc t&uit paint pfa* depend*, should be most eafctuily considered, it should be sufficiently liquid to penetrate every pore and irregularity of the surface, carrying with it parti cles oi the pigment; but this fluidity m,.T, not be obtained at the cost of the future strength of the dried film. Bor the priming coat it is customary to add a quantity of oil and some turpentine or benzine; or, in case of cypress, yellow pise and resinous woods in general, some form ot beruoi. ft is easy to overdo both. Only enough of the volatile thinner should be used to avoid a high gloss, to which subsequent coats will not readily adhere. Hard, unabsorbest woods require a thicker priming coat than spongy woods, such as poplar, soft pine, etc. Resinous woods, like yellow pine, again, require special treatment--a prelim inary light charring, washing with turpentine, or varnishing of knots and resinous spots with shel lac, and subsequent priming with a fluid pruning coat containing a benzol product. The second coat, which in many instances is also (improperly) the finishing coat, should be tempered accordingly. If there are to be three coats (as there should be), the paint should be slightly reduced with turpentine or benzine, so as to promote amalgamation with the pruning coat, and to reduce the surface gloss. If it is ' to be the finishing coat; prepared paint of tiir avenge conaistency can be used without reduc tion, but a very little turpentine is sometimes desirable to assist pmetration and adhesion. The third or finishing cost should usually he employed as it comes from (be can. In the case of all coats, thorough, hard brushing is essential, and a round brush is always preferable to a fiat brush. The failure of paint is frequently due to insufficient "elbow grease" with the brush. Every coat of paint should be completely dry throughout before tht next coat is applied; but 41 K 0007-SWP-0000063 7.6 it it a mistake to allow a priming coat to `'weather" and become weakened before painting is continued. Too much drier or japan, or cheap rosin japans are at the bottom of man/ paint failures. The manufacturer of a scientifically prepared paint will introduce the proper kind and quantity of driers into his formula, and none should be added iu use. 101. How la a fit condition of turfaca ob tained! First, by delaying the application of the priming coat until the wood Is thoroughly seasoned, unless seasoning has been properly attended to in the lumber; secondly, by seeing that the plaster on the inside oi the building is completely dry be tore painting is begun on the outside. A new house (except in summer) should have been heated some weeks before it is painted. In an old house leak ing spouts, etc, should be repaired and the adja cent wood allowed to dry thoroughly before re painting. Thirdly, by avoiding the application of paint in moist weather or when the atmospheric moisture is high. Fourthly, by selecting a dry, mild season for the work. Fifthly, by seeing that sappy- or resinous spots in new lumber are prop erly treated before painting. Sixthly, by due care on old work that all loose paint and dust are removed' by scraping, sandpapering, wire brush ing. dusting, or, if necessary, "burning off," before new paint is applied. As a rule it should always be remembered that two thin coats, thoroughly brushed out, are better in most cases than one thick coat, and that repaintinn should never be delayed until the under coats begin to loosen seriously. 102. Can the ordinary property owner ob tain satisfactory results with prepared paint by applying it himself? Only when conditions are favorable. In any case he should study carefully the directions on the can, and unless they are found to apply to his particular job. should consult either the manufac turer or a practical painter for fuller advice. 42 I 103. Will a chemical analysie determine the quality of a paint! Mo. To the expert paint chemist it will indicate whether the paint is properly compounded or not; but of the method of preparation, which is quite as important as composition, it will tell nothing, ami of Ute nature and quality of paint very little Only a thorough and exhaustive physical examinetion will indicate the real value of the paint. 104. What it 'Flat Wall Paint"! "Flat wail paint" is the title usually applied tn a type oi paint for application to interior wall sur faces, drying to a Hat or lustreless finish and capable of being washed without injury. It sonictimes contains some ingredient intended to neu tralize the tree lime in plaster or cement- The white pigment base is usually lithopone. with zinc oxide, in combination with some reinforcing pig ment, and the vehicles are specially prepared of tung oil or other varnish compounds which dry "flat" and become waterproof on drying. 103. What are the merit* of the** finishes? They are more sanitary than, other wall coatings. and, being more durable, are in the end far more economical. They replace with a material de signed on correct principles the old fiat finishes produced by painters by washing the oil "binder" nut of paste paints with turpentine, which is bmh wasteful and unscientific, in that the paint is thus deprived of its essential "binding" ingredients. . 106. Why is paint preferable to paper for interior walla? Briefly, because it can be washed. A pamphlet issued by the Institute of Industrial Besearclt. at Washington, clearly shows that paint exposed under the same conditions, side by tide with wall paper, remains comparatively free from bacteria, while the wall paper - swarms with them. Barleria are the cause of infectious diseases, such as diphtheria, scarlet fever, typhoid fever, grippe and common colds. 43 1 . 1 , ' . - ' ' 1 - - <;"ra.VffU'P*et I i 0007-SWP-000006377 107. What ta fire-retardant ahingla painta? Experience hat fed to the classification by fire iamnace authorities of onpaiated shingles it extra hazardous risks. because of their inflammable na ture; which tt increased by the fibrous "fun" which gradually develops on their upper surface. In warping alto they are inclineJ to form cups, which catch and hold firing sparks or brands. The bare shingle in these rirntmitancea readily takes fire. This hazard may be entirely eliminated by properly painting the shingles before laying and by keeping the roof adequately painted thereafter. Any good linseed oil and mineral pigmestt paint is ordinarily efficient for this purpose, while special paints, containing large percentages of aluminum silicate, are, within reasonable limits, absolutely and permanently effective. 1011. How may wood ba mada fin resistant? By treatment with a solution of sodium fluoride This is also a wonderful germicide (preventing decay), and wood so treated may be successfully painted with paints of the ordinary type. 100- What Is Cement Faint? A type of paint specially designed for the preser vation and embellishment of cement, concrete or plaster, surfaces. . 110- What atw its charaetorlatlca? In contradistinction to ordinary oil paints, it adheres permanently to the Surface and retain* its original color. ' 111. How may earnest or pisatnr surfaces bs prepared for tho uae of ordinary oil paint? Ur. Charles Uacnicbot, of -Washington, D. Crecommends treatment with a solution of sine sul phate, m the proportion of eight oustces to a gallon of water. The chemical reactions involved trans form the free time in the cement to calcium sul phate (gypsum) and the sine sulphate into ime hydroxide, both of which products remain in the surface-layer of the cement or plaster and retard absorption. Equally good results can be obtained by using a paint designed for the purpose. 44 112. What are HIH-Whites? The term is applied to white oil paints, of spe cial composition, used on factory and other com mercial interiors to eihance the illumination They sre commonly pure white in color, retain their color welt, are washable and durable. A stood paint of this type may increase the effective iilummatson upwards of 2i%. 113. What is the Electrolytic Theory of Corewdcn? Research has shown that corrosion of steel sur faces it largely due to a difference of eleetric potential between adjacent points. This difference of potential may be doe to uneven distribution of components (steel contains small percentages of various substances besides iron) or to differ ence of tension, etc. The rule is. that where such difference of potential exist a current will pass from the higher to the lower whenever in elec trolyte (a liquid capable of conducting the cur rent) tnmta them. Ordinary mojature is suffi cient for the purpose. At dm s u m time, the sub stance at the higher potential will pass into solu tion. carrying an deetrleal charge, and if means of oeneralixmg this charge he at band the process wilt continue indefinitely. In the ease of steel, oxidation neutralises the electric dance and en ables electrolytic corrosion to proceed. The de tails of this theory have been formulated by Drs. Cushman ami Walker; and more recently have been confirmed experimentally by others, notably Mr. Jamcs Cobb, of the British Iron and Steel Institute. - 114. What f* meant by inhibition? In connection with the electrolytic theory, it was found that certain substances act as retarders of local corrosion, and experiments, duplicated by a number of Rained observers, indicated that cer tain pigments in comown use possess this power. Chief of these are the chromates--tine, chrome, chrome yellows (lead chromes),-scarlet chrome, the compound chromates (lead and ths& sine and 45 0007 -SWP-0000063 7G barium, etc.), and xiac oxide. Some pigments were found apparently to stimulate or facilitate corrosion. The entire matter has been investi gated an a large scale, and the results, in a general war. appear to fire ample ccofirmatioo of the cor rectness of the theory. US. What 1* aa InhfHtfra PaintT A paint so omilitulod that it will mist or In hibit local deetrolrtit in the presence of an elec trolyte. Such paints usually contain a small per centage of tine chrome or other chromate line chrome being the most common, though the other chrtxnstes, when alkilinr or neutral in reaction, are bettered to be equally efficient and xinc oxide nearly so. Basie lead chromate, red lead and sublimed bine lead are usually classed as' "inhibi- tire." Other paints of this type are rendered inhibithe by a special treatment of ordinary basic piements. in which the surfaces of the pigment particles are "chromatued." lit. Win the blow-pipe determine whether White Lead is good or bad? ' Mo. It wilt tell whether or not the material is a pure lead compound, but it will reeeal nothing regarding its qualities as paint. The soluble salts n'f lead, such as the acetate or the nitrate, will yield metallic lead with the blow-pipe more readily than will the carbonate, but When found in white lead they are eery detrimental. On the other hand, the more stable white compounds of lead, such as the basic sulphate, though they may be pure lead compounds, will sot reduce before the blow-pipe without the use of a flax, except in the hands of a skilled operator. 11?. In view of all the foregoing, what fa the true test of paint value? Service. The conditions, physical, chemical and technical governing the behavior of paint in any given case are so numerous and so obscure that it Is hopeless for anyone but an expert to attempt to comprehend them. House paint is designed to cover a wide range of conditions and the bet- 46 ter grades of prepared paints meet the average conditions with remarkable success. As between the many competing products, naturally, it is to the record of success rather than the composition of the paints that the consumer must look for enlightenment. There is always a reason--.usually there are many reasons--why a certain paint under certain conditions meets or fails to meet the re quirements ; but these reasons are usually obscure and technical and quite beyond the range of com mon knowledge, It may be taken at axiomatic that no paint obtains permanent popularity except on the basis of substantial merit. Success begets success, and nothing could be more conducive to increased sale of a given paint in any locality than the ocular demonstration of its value on painted buildings. It is this practical demonstration of superior convenience, economy and durability which caused the consumption of prepared paint to ex pand from the humble beginnings of the industry in the late fifties, to its vast proportions of the present day. SUMMARY From the foregoing it trill be seen that paint manufacture is a progressive industry, dependent for success upon the knowledge and skill at the command of the manufacturer. The constant ad dition of new pigments and other materials to the list of available products and the keen com petition between manufacturers insure progress. Sixty or seventy years ago there was hut one white pigment generally available as a paint basis. This was haste carbonate white lead. The fact that its use precluded the use of many beautiful tinting colors, its well recognised sanitary mconvemenccs and its deficient durability, led not only to improve ments hi its handling and application, but also to its very general extension with inert pigments and to a diligent search fnr other white bases. This research has given us zinc oxide, leaded zincs, suitlimed white lead and lithopone--all white pigments of great importance to the paint-cnasutniqg public. The field of paint production has thus been vastly 47 007-s ffp.0ooooe379 extended, end the manufacturer has tt within his power to very his pimt bne ii the conditions of use and the chemical nature of his tinting colors require. The history of line oxide in this connection is familiar. Since the middle .of the last century its omiurntnion has grown from nothing tn over 100. 000 tons annually m the U. S. alone. The history of sublimed white lead is another fsmiliar instance. The important and rapidly growing use of this pig ment at one of the raw materals depended upon hy the naint manufacturer for prepared paint is an excellent illustration of the advantages to the puMic at large resulting from the develonment of the paint industry, for the reason that sublimed white lead would nrebably not he in use tedav at all as a nigment. if its rat had depended upon its miliration in hand-mired paints: while, on the other hand, thr paint manufacturer has heen able tn give the public the very real values and advantages of this pig ment in the can of paint. ' White lead--that is the ordinirv hasic carbonate --owing to the long-continued use of the terra to describe sit hinds of white paints in naste form, has sequired an undue importance in the popular mind. While an extremely useful and valuable pigment it it only one of many, and in a lame proportion .of..the deHc shades commonlw used neither it nor any of the other white bases fexcept ing the inert pigments! has any place whatever. Expert testimony strongly iodines ip the opinion that its value for painting requirements is con siderably enhanced try the addition of other white pigments and meet materials. In the present state of our knowledge it it ab solutely impossible to assert with tuthority that any given formula is "the best." We can say. however, that many formulas in common nte are excellent and that it is surprising that from so great a variety we should obtain results so nearly identical. As before stated, the "best psmt" is that srlrieh produces the most uniformly satisfactory results-- for paint is bought to produce results, not to demonstrate technical theories. The widely eele- 48 brated paint test fences, at the end of four or five years were reported by the official committees to have demonstrated conclusively one fact which is formulated as follows: "A contbinaum of two or more of the prime white pigments, with Or without the addition of a moderate percentage of reinforc ing pigments, is superior to any one of these pig ments used alone." In conclusion, let us boldly end confidently assert that prepared paints are the sum of paint progress; that the hand of progress moves forward and not backward on the dial: and that the American people having once realized the economy, conven ience and common sense of the sealed can with its completed product still not voluntarily return to the paint pot and paddle. 0007-SWP-000006380 CONTENTS m* ........................... .......... Ab rM'*t .................................................................. 14 Ctomwil ............................................ 41 ' f Viniiih ........ ......... .. v............. ........ -..................................... ... 16 ** . .... .......................... *................................., 12 -* .................................................. .... 14 jMktk Carton .............................................,.................... 14 Ota* fin ............ ........................................................ . ji StiMriVf'........ ............................... .................... ................ 37 View-ftp* Tent ........................................... ...................... . 44 Ctleitn Ciriwtiif ............................................................. 17 Cllcim Sulphate ...........................................*,................ 19 Carton Slick* .................... ................... ......................... .... }4 Cement Flint ........... 44 Chaikin* ................................. China Wtod orTon* Oil ...................................... IT ,, 11 Cetera. Chetnte*} v.. j j Cetera, Etrab...................... ............................................... 20 Centre** or Cement Ftot ............................. ................. 44 Cermfen* Stecuoiftie Thae/y of ................. Cmntt Oil* ................... Dritra ..**.................... Dryfaf OiU ............. Earth Colon ........................................... 45 M 27 24 20 Etectnriytte Tkwy of Cerrmton.................................... 41 Fir* Stttrtol Sfrtefte Paint* ........ .. 44 Ftth OU ............ ............................... ................................... 29 Flakntf ............................ .............................................. U Formula*, Standard ...................... Gypavm .................... .................... ............ Horoted on .................................... ........... .. .............. Heatt Ttieti, Standard ol Qwtirr 25 19 34 IttOft Fi|ttM ............. laUlfcfeto ......................... Xali&ftfo# Point* ........... 11 45 46 Interior Ftaiitos ................... 41 JlfMfl Drier* .............................. Zt Komi on .............................................................. u lihi ....................................... ....................... 24 traded Zina ..................... 4 1' Litopow............ ....................................................... LnteTian* Oil ........ ............................................................. , Mifwiiii Silicot* ....................... 11 Moatod Oil ........................... ............... .. b , 29 t UiS-Wttec -.......................................,,............................ 4S ; Mineral Printer .. .................................. SEteenJ Spirit .................. ,......... ....................... 20 it. 03, CUu Wood or Ton* .............................................. 24 Ot Crraw ................... je ) Oita* firyta* ............. Ji Oil, Fiah or Merited*** .................. ............ ............. 29 03, Hamperrd ........................................... .............. :<* ' OH* tonaoad .......... ...................................... ................... 2: OH; Lnatoof ................................... .. 2i OS, Paritt* .................... i> OT*t Nwlmw .......-......... ................. ................ 31 OU% Sao^Dnint ............. ....................... ;? 00, Soft Saw ................. 31 , OQm, Volacfi* ........................................ .,............................ si Fate ............................. s PatoC Cam* nr Concrete .......... .......... *.......... . 44 Wai, Canatom/ 01 ........................................... 4; Patoe Sown ...................................................... 2 . Point, Ptet W'ell .................................. 4,* ' Patoe Motartete Veto te t................................................ ? Pwtt, Vatoa .................................................. 46 Pain* n. WD Paper ................................ ....................- 41 j him Fit* Botout ............... 44 Paint*, Bu m, Standard of Ovality ................ ........... Je him lakiMvi .............................. 4*. Ptina htjtettto tml Attorn ............. A Part* Wfcto ..................... 2v ' PmUu .......... ................................. *....... ............ pwab 011 ......................................................................... 2- rmnrn* ..i............... .................. .............................. Figment*, Innrt .......................................... Semite* ....................................... StnUDryivy 00* ..................... Stic* r Silk*......... ............................................. . Soar* Baca OA ................................................................. .. * If 3? 39 1? It 50 i 5* t 0007-SWP-000006391 f ace Sohreflt Xaphtha .......................... .................................... ii Standard for Patau ............................................... ....... J6 SaMnacd Blue Lead ........................................................ 12 SoUiaad WbiH Lead .......... ......................................... 11 Surface, Ceedittan of ........................................ .............. *2 Ttanerx. Volatile ....................... 32 Ticaama U . Titaao* ................................................... 14 Toluol or To Iu c m ....................,............... .. U Tvifwiini ........ ........................ ..................................... W Torpentme, W'eed ................................................ 22 Vannhc* ....................... IS Voliiih oa* ............................................................ 3> Witt Paint, Flat .......................................................... 4l - Watl Paper. Pint vt. ................................ 44 White Lad. Cylinder or Quick Pfoceu . ............... 9 White Lead, Mttkmt Pww ............................... 9 White Lead Old Patch Pimm........ . 8 White Lead. Palp Prwceu ..................................... .. 11 White Lead, Sottiiued ................ ............. . 11 WUtmf ......................... 2`i Wood TarpemiM ................. 32 Zinc Ofefck........ *.......................... .............. .................... * Zinc SstphJte ..................................................... T Ztac Sulphate (or Cmunt Pataua# ........ ................ 44 1 52 0007-SWP-000006382