^ '^P^"'^^^IR'' 
 
 CIHM 
 
 
 f Series 
 (Monographs) 
 
 « 
 
 ICMH 
 
 Collection de 
 microfiches 
 (monographies) 
 
 > • rv "^ 
 
 Canadian Inatitutrf or. HiatoHcal Microraproductiona /pnatHut Canadian da micrpraprodMCtiona hiatoriquaa 
 
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 1 
 
 TIM ImlitwM hM •ntm^tarf to oMatn tte« Mtl origlwi 
 
 ^ lirtifiMntIv chMfi tfM vMMl iiMdiod of f MMin«. «• 
 ciMcliad b«low. 
 
 •■■mptoln ^ MMii pMit4tra wwi^im Ai point ^ vim 
 
 raproduHa. ow qui paii>jWrt a^lfar una modtf iaation 
 dam la mMioda normala da f Nmafi tont indiqu4a 
 el dawQut. 
 
 . r~~l Ceio«f*d«o««n/ 
 
 \Jl1 COWIftliW <i ■OMlWIf ' 
 
 ■ - * . 
 
 LJ^»9Mdaaouteu» 
 
 --y\o»m,4m>m^ 
 
 1 IfatHdamaqad/ 
 
 "^n Covwt rMMfMl and/of lamiiMtMl/ 
 
 t CouMrluf* rMtMirte ct/ou p<IHcmIA< • 
 
 > . - 
 
 iCovwtittomMnf/ 
 
 1 U titr* 4» tMnmttm manqiM 
 
 ■ « 
 
 1 1 Pagas diMolourad. itainad or foRod/ 
 Li^ Hffn dieolortai. tadiatiat ou piqutat 
 
 
 ' r~l PSfM ditaeh^ 
 
 "^ 1 J ^^^^^ M»™Mm** . 
 
 r — 1 CekMmd ink (U-othw than MiM or Mack)/ 
 i 1 Encf* da «Mil«t(|JLa. autra qua Mmm o« noira) 
 
 [ 1 Showthrouih/ 
 ) r~~| Quality of print varia«/ 
 
 LJ Ptinchfi at/oH iH^^ 
 
 I Bound wHh othar matarial/ 
 1' RalM a«ac d'autrat doaumanti 
 
 . 1 Continuom pagination/; 
 ' _J Paflination continua 
 
 P~n Tight Mndint may cauaa •hadowrt or distortion 
 
 ahMif iniarior marfin/ 
 
 La raliura larrte' paut cautar da I'ombra ou da la 
 
 dittonion la lonf da la marfa intiriauni 
 
 D 
 
 □ 
 
 Blank laaw i adda d durinf rattoration may < 
 urithin tha taxt. Whanavar poniMa, thaaa hava 
 baan omiitad from filming/ 
 H la paut qua eartainat pagat bl a hcha i a^outiaa 
 km d'una ra*tauratton apparaitiant daiH la taxta, 
 mait, loriqua oala ttait poAiMa, oas pa(n n'ont 
 pat ata f ilniaai. 
 
 d 
 
 Includai indax(at)/ 
 
 Comprand'un (da*) indax 
 
 1 
 
 Titia on haadar takan from:/ 
 
 La titra da l'an-t«ta pro«i*nt: 
 
 Titta paga of isiua/ 
 
 Pf/t da titra da la livraiton 
 
 I I Caption of isiua/ 
 
 a 
 
 Titra da depart da la livraiton 
 
 ♦ ■ - ' . ■ ■■ ~ ' 
 Masthaad/, 
 Ginariqua (ptriodiquat) da la iivraiion 
 
 
 Additional commanti: / 
 Commantairas tupfMrnantiiras; 
 
 This itam it f ihnad at tha radiietion ratio chackad I 
 
 Ca documant att fikn« au tauit da rMuetkin i w diqui ei^^daiiow. 
 
 :tOX /. 14X ■■:■■■'■ 1|X ;.■ 
 
 22X 
 
 26X 
 
 »x 
 
 na 
 
 12X 
 
 UX 
 
 aox 
 
 JIX 
 
 ax 
 
 
.P' 
 
 
 Th« copy filmed h«r« has b««n r«produc«d thanks 
 to tfc4 ganaroslty of: " 
 
 Thomw F Wmt Ran Book Library, ' . * 
 Univ«rtl|y of Toronto Library 
 
 Tho imao«« appotirlng hara ara tha baat qualHy 
 poasibia conaidaring tha condition and laglbllity 
 of tha original copy and in kaaping whh tha 
 filming contract spacHlcatlons. 
 
 Original copias In printad papar covars ara fllmad 
 baglnning with tha front covar and anding on 
 tha last paga with a printad or lllustratad impraa- 
 *slon. or tha back covar whan appropriata. All 
 othar original copias ara fllmad baglnning on'tha 
 first paga with a printad or lllustratad Impras- 
 slon. and anding on tha last paga with a printad 
 or lllustratad Imprassion. 
 
 Tha last racordad frama on aach microflcha 
 shall contain tha symbol <— ^ (moaning "CON- 
 TINUED"), or tha symbol ▼ (moaning "END"), 
 whichavar applias. 
 
 Maps, Plata*, charts, ate, may ba fllmad at 
 diffarant raductlon ratios. Thosa too larga to ba 
 antiraly includad in ona axpoaura ara fUmpd 
 baglnning in tha uppar laft hand cornar. laft to : 
 right and top to bottom, as many framas as 
 raqulrad. Tha following diagrams lllustrata tha 
 mathod: 
 
 L'axamplaira film4 fut raprodult grAca k la 
 g4n4roalt« da: 
 
 Thomai FIthar Rara Book Library. 
 Unlvanity of Toronto JUbrary 
 
 t 1... 
 
 Laa Imagas sulvantaa ont 4t4 raprodultas avac la 
 plus grand aoln, compta tanu da la condition at 
 da la nattat* da l'axamplaira film*, at tn 
 conformity avac las conditions du contrat da 
 fHmaga. 
 
 Las axamplairas origlnaux dont Is couvartura an 
 papia^ ast imprimAa sont filmAs wi commandant 
 par la pramlar plat at an tarm^ant soit par la 
 darniira paga qui comports una ampralnta 
 *"d'imprassion ou d'lHustratlon. solt par la sacond 
 .. plat, salon ia cas. Tous las autraa oxamplairas 
 origlnaux soiit f ilmAs an commandant par la 
 pramlAra paga qui comporta una ampreinta 
 d'Imprassion ou d'illustration at 9n tarminant par 
 la darnlAra paga qui comporta una talla 
 ampralnta.. 
 
 Un daa symbolas Suivants apparattra sur la 
 darnMra imaga da chaqua microflcha. salon la 
 cas:/ la symbols —^ signlfis "A SUIVRE", Is 
 symbols V signifia "FIN". 
 
 Las cartas, planchas. tablssux. stc. psuvsnt Atr* 
 flimte A dss ^ux ds reduction diff«rsnts. 
 Lorsqus Is documsnt sst trop jgrand pour Atrs 
 rsproduit on un soul cHch*. 11 sst f il.m* A psrtir ' 
 ds I'sngis supArisur gsiichs. da gauche * droits. 
 St ds haut sn bss, sn prsnsnt Is nombrs 
 d'Imsgss nAcssssirs. Lss disgrammss suivants 
 illustrsnt Is methods. 
 
 *', 
 
 ■, \ 
 
 • 
 
 2 
 
 3 
 
 ,.,.- . 
 
 W- 
 
(AWSI ond aO TMTjCHAUt'mo. 2) 
 
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 A 
 
 IMJ Coat Main Str«««' T" 
 
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 ■(MNMMi 
 
 Rt'i 
 
 ^ 
 
 ^ 
 
 PLAIN TALK WITH PBAOTIO AL PADTTERa 
 WILLIAM JOHNSON, 
 
 MAMUf ACTUIIIR OF 
 
 WPE LEAD. ZINC. AND COLORS. 
 
 ••' 
 
 ALSO, or 
 
 MASURY'S READY MADE COLORS, 
 
 For Painting EXTERIORS tnd INTERIORS of Country Houm. Btrni. 
 F«ncei, and Out-Buiidingt, called ".Rail-Road Colort," ^ 
 
 FINB COLORS for CoacK Carriage and Car Painting » 
 Off WE and FACTORYSt. Gabriel Locks. ) jf^Qf^YR^AL P. Q. 
 
 672 WiHiam Street. 
 
 Descriptive Exposition of the " Rail-Road Colors" 
 
 with/ suggestions as to a prober selection of the same. ^. 
 in respect both to their economical use 
 and harmonious combination. 
 
 j^a—Vk. MrtM " RaU-Road PaimUi" amd " Rail-Road Colort," h«n bttm adopttd bpmtat 
 oJ^t^teial " Trad* Mark," and anv tufrvta^mitM of tit »ttM»$ urt foHnddm, tmd wiU it 
 prot te n ttd . 
 
4«ft| 
 
 f^ 
 
 I 
 
 ■'i - « 
 
 
 p-t^r*. 'T^trv^r^ """-^ 
 
 
PLAIN TALK 
 
 r 
 
 WITH 
 
 PRACTICAL PAINTERS. 
 
 An every-day experience of thirty-five yean in the buai- 
 neM of preparing and manufacturing colore and materials 
 Tor the uMof the painter, in the opinion of the writer, 
 entitles him to a hearing and consideration which might 
 properly be denied to a novice, or to one who speaks not 
 /ram experience. 
 
 The knowledge whereby he claims to speak ex-€<rthedra 
 is the ntsult of actual experimental and comparative tests 
 of all the various materials and substances employed in. 
 the art of House Pqjjfling, extending through a series of 
 years-— begun in l^B-ond continued up to the present 
 writing. ' 
 
 Every practical painter will appreciate at a gUnce the 
 truth of the following remarks as to the properties which 
 A pigment must possess to render it, under all circum- 
 stances, a desirable paint. It is not of the slightest conse- 
 quence by what name it may be designated, or what 
 f chemists and professors may say of its component and 
 constituent parts, or its property of resisting the action of 
 certain gases, or its wonderful and never-before-heard-of 
 , <* chemical affinities.'\ All such talk is mere bosh, and is 
 Altogether impertinent to the question. ^ 
 
 A good paint must possess — First : The property of 
 ppacity / t'hat is, it must cover well. Second : It must 
 work — that is,' s{»read<— easily, smoothly and evenly under 
 
 
 V 
 
 '.4' 
 
 f 
 
 -.-.•/• 
 
 7 
 
 J 
 
 ■15 : 
 
•■■■ \ 
 
 
 th« p«int broth. Third : It muft raUin its color wh«n 
 exfHNMHl to •utiltght, Aud not darken «nd dmoolor when noi 
 •xpo«<Ml to the light j and, laatly, it muit be at durabla 
 under expoour^ to tun and ■torrotaa it it poittbUi for A 
 paint to be in the nature of the mixturt. 
 
 Whatever paint poMeteea theae properties in the highest 
 degree is b«st — whether it be called I<)S<1| or xino, or ochre, 
 or whit4*-wash, or bu^r-miik y ami the writer contends 
 that the least educated joumeyraan house-painter in th« 
 United States, who has served an spprenticeship to th« 
 trade, is better qualified to judge the value of the materials 
 which he uses,in I'espect to the good qualities enumerated 
 above, than the most skilful chemist or learned professor. 
 As a rulfl,| all this professor talk and certiiicatioa is a trap 
 to oatoh the unwary ; (ind a help to foist upon the market 
 some substance which will not stand upon its own merits. 
 
 The pigments first in importaacjB to the painter are 
 White Lead and Zinc. | 
 
 It is not the intention of the writer herein to discuss 
 the comparative values of these indispensable materials. 
 Both paints have their respective Superior qualities, and 
 the object should be to ascertain ^hen and where to use 
 them to the best advantage. In pn^f of the assertion that 
 most of the antipathy existing against Zinc fts a paint is 
 onhf prejudice, may be adduced Ifhe fact that hundreds 
 df thousands of tons of Zinc hav^ been used under the 
 name of Lead which would not have found sale or con- 
 sumption under its own proper n^e. x 
 
 ' BXTBRIOR HOUSE; PAINTING. 
 
 The extreme fondness for whiti exteriors In discordant' 
 contrast with gieen window blirjds— and for dead white 
 for interior painting —is passing ahvay. Abetter taste now. 
 to some extent provail*, and it jis devoutly to be wished 
 that the mania for white and g^n may return no more 
 
 \ 
 

 \ i'.!' 
 
 \ 
 
 Ibrvver. Apropoa to thi« mihimi i DOWWIIO, in hit AnMm 
 lAilMre qf Omn^ JUou»9§, myn t i 
 
 Ibao ui fVMnll/ aupfioMd, «ito*» MSt lo tli« form ilMlf, IIm (wUir b V 
 lb* ArM hnprwiiiiw Um <j« i<v«a^vM <» bvkokling M i mmI In mmm 
 QMMi thcioolor m*liM \U itiipr«Miuii mm 6«/or« iMyil% oompMlivncI 
 thf furni uf ih« building. 
 
 TIm fTMlar aambar of ooaalry hmtMi ia all pMt* of Um Uait*4 
 8UU« b«vt bith«rto bMii |Miin«<l whiu, partly bM«OM WhiU L«>m1 
 i« suppoMd to be • better prwwrvfttivc than ulbw aoiars f though tkt 
 mkiUpaimi gtmrmltf und isontoftkt worat ta (M«rM|MtO. *a(l parV 
 Ij of ila giving M appMraaoa of t«pMi«l imwo«m lo • booM* wbiob, 
 with mifny pcnmoa, i« in itMlf* r«cnmm«n(l»tioo. 
 
 No p«raoQ of tMt«, wbo giv«« li>« Kubject iii« IcMt oonai<l«r«tion , is, 
 k^mt^it, gaWtf of lit «lllil»«f pninliog or coloring country houMt 
 whiUi and yet there M« eo many who here never givrn the eubJMt 
 m moment'e thought, thst we muet urge upon them • few argumenU 
 •gainet eo great m breach of good taete. Our flret objection to whit* 
 it that it i« too glaring and cooapicuoae. We acaroely know anything 
 mow onoonifortahle to the eye than to approach the aunny aide of a 
 bonne on one of our brilliaot mtd-eumnier daye when it revcia in the 
 fkehionable purity of iU oolo' . It ie ab«>lutely painfull. Natort, (UU* 
 ofkindneea toinan,bae covered meet of the eurftuM that meet* hie 
 •ye in the country with aaoa, green hue— at once refreahing and 
 moet gratefii) to the eye. Many of our country houaee ap{)eiir t«) be 
 oolored on ^(e very oppoeita principle j and one need* in broad eun- 
 - ifehina to torn his eyee away (Vom them to relieve them by a glimpae 
 of the Bofl, refreahing ehadee that everjwhsrs parvads the trees, the 
 graas and the surface uf the earth. 
 
 Oar second objecti<fh to wbiu is, that it does not harmoniie witb 
 the country, and thereby mars the effect of rural landacapee • • 
 • • Nothing tends so much to destroy the breadth of tone aa any 
 object of ooneiderable size and of brilliant white. It'aUnda harshly 
 apaift from all the soft shades of the somis. Hence landscape pain- 
 ters always studioualy avoid the introduction of white in their 
 buikiinga, and give them, iuatead, some neutral tint— « tint which 
 unites or contrasts equally with the color of the trees and grass, and 
 whioh seems to blend into other parta of natural landscape, instead of 
 being a dtsoordaat note in th« general harmoDy. 
 
 WORDSWORTB, in a little volume on the Scfnery of the 
 Laiesj remarki that the objections to white as a color in 
 large spots or masses in landscapes are insurmountable. 
 He says, it destroys the^rotia/tOfw of distance, haunts 
 ttte eye, and disturbs the repose of natlTre. ^ 
 
 ■;l'. 
 
 j' 
 •J 
 
 ♦ • • 
 
■m''w 
 
 .^ 
 
 •V 
 
 Um 
 
 TIm wTiliff In hit book on aott$§ r^^tUtnf^ Myt < 
 •M of wbilo (or •xtortort^ \ 
 
 ft to kklwf of PQHintMn t* Pktnttnf. whW<h hma no wttrr«n^ tn 
 •Mar*, w|ii«|i ta aiMh in«4ttr« vhuvM nicMormblj Im o«r gaul* i^ 
 iMtnMlof . If «• t» to kit fer lM«ni«il«tt. aW will polal n« lo li 
 Vttull#d •rch •!»»#, IVMirfMd by dajr with • IIwmimimJ ahair* and bi 
 OlIuvaliiiMM •nd bMutf , aimI by ttlght with njriadii of aUra | u> I 
 *M't t^y ti"!* of (h* mominf twilight, «ihI th« (<>nr*»**a MMoning 
 ofth* Mmmtr mnmL SIm will thow m • UikiMapt whirrMn with 
 k*i«h h»ml ah* haa |winUMl fomia ofhrauty ofavary color Mid lta«, 
 Md tiot Md shMlt, Md (teaoiJltd with M^akit* looehM th« UnkH 
 
 It mutt not, howovor, b« tuppoced that, in trnking 
 ioitrufltioa from iiatura, we Am to copy tbo luitural iltap^^ 
 •ition of colore in th« doooretion of our houMt, etihrrfii 
 kiiid or proportion. Th« fuct th«t pature in tiM ▼enud 
 iMton tpreada a carpet of living green boueuth our feet, 
 and at all tinHM a canopy of aaure above ua, ia not of itaelf 
 goo<l reaofm why the baae o( a houie ahouid be painted 
 green, and the roof aky-bliie. Both th«!M colore should 
 have little or no place in the extenial ornamenration of a 
 building, /or the mi*m— if for no other-><Aal nature 
 taehibita them in ahtrndaHce^ and of a purity thut art 
 cannot hope to rival. It should be remembered that a 
 building ia not in any leoae a natural object ; but, with 
 its formal lines and severe angles, is artificial to the last 
 degree, and must^ under all oireomatances, be treated aa 
 ■uch ; and any attempt to make it appear a natural obji et» 
 by painting it with such colore aa nature moat largely 
 dbplays, ia ridiculoua. 
 
 The true theory in patnling a country house is to render 
 tiie building conspicuous, but not obtrusive ; to enhance 
 fts good features, if it have any, and diminish or hide ita 
 defects :--to bring it into harmony with ita surroundings, 
 ind with the general landscape. The uae of the primiiry 
 colora, red, bluo and yellow, and the extreme colors, black 
 9od white— excepting the latter insmall quantity— is mi 
 
 ■^r-'Sigp- "W' 
 
 > 
 
 P-- 
 
 •dmiasible io extoripr bQUie pfuotiiig. 
 
 If, ' 
 
 • 
 
 
 ^■■■^ ■ 
 
 -■•*■, 
 
 
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 }.-t ... . 
 
 a|;y .... ^m 
 
 Urn. - , , . ^^^^^ST 
 
 
tm ■ 
 
 Hm advoMU oi wtiHt wW tak •xftltinglf , wiMt tooka 
 
 bttUr In m country biMlic«i»« Uian • whiUi \wum \i«m\na^ 
 
 out from A nuM^ofgnwii foliagu I— w h ich !»«•«• «m|»ly— 
 
 ' what UKilii better tbm wUiUi whtu ti it et^y^nd or M<i«o 
 
 from vUjw f 
 
 For prcMiit purpo«M thi»qu«ition of *• how not to paint" 
 tmy he eon«i<l4'r«Hl mi Mttb<i ; mud it b«com«« important to 
 •ak ** how ahall w« paint," and what oolora am (ittiwl and 
 moat auitttbU for ext«5riorhou«« painting. Tho eoonoinical 
 vlaw of tho caaa will romain^ ab«jyiwjc«. aa app«aranc«ia 
 only or» now imporUot ThrtinUOr totiaa of color callwl 
 illiiiJitliMlgMO'"''^'""lW drmhm^ fawn, itona color«,gray% . 
 buflky cf«aro and cluy cobra, arc moat«uitabl« (or exterior 
 painting, aa alao olivo drabaaiid grvt'nish browna 
 
 I'wo or thr«« toiica of color which hariuoniK^ either by 
 oontraat or analogy may be exhibited in juxta|>oaition with 
 good eOect, and this ttylo of painting i« tiappity now the 
 faahioii | II10 euatom of coloring exterior* with one uniform 
 unvarying thst being^uuong the by'gone# 
 
 The art of con>binifig colora with each other, and with 
 black and white to produce the varied huea, tonea, ahadea 
 Mid broken colora, ao aimple to an adept, la among the 
 myatenea to the uninitiated, and impowible with many,) 
 from the fact that not lUmoll proportion of mankind are 
 I poaae«aed of perceptive facultiea which are not i^fnaitive 
 * to color impreMiona : •.<.,thoy are color-blind. The percep- 
 tion of color la a natural gift, and the eye alone must be/ 
 oonaulted aa to what i* good •, buty^ much dependa upon 
 circumntaneea and conditiona, oa bodily and mental aanity, 
 ita judgment w by no meana infallible^aa " all looka yello^ ' 
 ~ioTbe jaundiced eye ; " and under the moat favorable 
 oircumatancea the delicate orgaoiam of the eye becomes 
 tired when exerciaed by certain color impreaaiona. 
 
 Since the publication of hia book on Houao Painting,the 
 writer has been applie^ to by acorea of people from all porta 
 of the country to iumiah rulea and to give definite quan- 
 
 / 
 
 / 
 

 ■j^^^ 
 
 *V-'"ff~- tii 
 
 
 ■», r 
 
 ■ ''* 
 
 %.ittiei of the ▼irioui colored pigmenta neceanrj to pKv- 
 doce th« tonesand tint* comnjonly uaed in houw painting. 
 *" The difficultiea in the way of auoh an attempt do not 
 leem to have occurred to the applicant!, probably for the 
 reaaon that it ia not generally known that much— perhapf 
 moat-of the paint aold by dealers throughout the country 
 ii not what it purports to be. Pure painta, whether white 
 or colored, are the exception and not the rule ; that ia the 
 chance of getting pure paint— aa compared with the 
 chances of getting a highly fululterated material— is small j 
 and this is not the worst,, Much of the material sold under 
 the various names, as umber, sienna, etc., are not in any 
 kense what they puirport to be, bu^ wholly fictitioua 
 articles, without any of the properties of the genuine. 
 
 To illustrate the difRculties in the way of furnishing a 
 set of formal rules *irhereby to instruct the uninitiated in 
 ^ the art of combining colors, let a case be supposed. It is 
 easy to say that one pound or two pounds of i^aw Turkey 
 umber, with one hundred pounds of pure white lead or 
 zinc, will produce a tone of pure drab such as will be 
 suitable for coloring the exterior surfiiee of a house. Now, 
 supi>ose, instead of both articles being pure and genui ne, 
 the lead or zinc to be so much cheapened by adulterating 
 materials that the tinting power of the same is only ono- 
 
 . quarter that ofp^re white lead or zinc. To mix with this 
 a pound or two pounds of pure umber would give a shade 
 four ti^es darker than is wanted ; or, suppose the lead 
 to be pure, and the coloring material to be either a wholly 
 fictitious article, or to be ao much reduced as to have 
 lost almost its coloring' property. In the one case a dir^y 
 .gray or brown would be the result; an^in the otb^r, 
 ilmort no effect would be shown ^ytiaixing the same 
 with one hundred pounds of the whitjB. In any event the 
 Mora Would be attributed, not to the fictitious materials, 
 bat to the author of the rule ; and on his devoted head 
 
 ;■' ii^ould fall the blame. ---^4,,-^.--.;-^^'-^Sv...-- .,i^^ 
 
 ,o>- 
 
 1- 1 ^y "tS^ 
 
^f 
 
 !(.■# 
 
 good materials f and the best an aUoajft the cheapest, 
 
 • A few fiMjU will perh»p« •erve more fully to illuttraie 
 tb« faUe ♦'conomy in uiing ch«»p or impure painU than 
 would a volume of argument. Take the well-known article 
 of lamp-black at a familiar example. One pound of pure 
 fine lamp-black, ataoojk of36 or 40 cenU, po^eMea 
 more coloring power, aild will cover more •urtace uied 
 by iteelf, thfcn five pounds of black paint coniimonly sold . 
 in the phopt at a oort lay of 20 cento per pound ; or thirty 
 cento worth of the pure pigment will reaHie a better ^ 
 ^iweault than wUl a dollar't worth of the lo-called cheaper 
 ^»into •, and the pure paint will retain iti intense bUck- 
 ' jUtilmntt forerer, while the cheaper article will, after 
 l^brief expo«ire to the weather, turn gray and Mion fall 
 '".dL^- What ii true of lamp-black ii applicable to all 
 pigmento, whether white or colored. No one can afford 
 to uM impure painta. The beat ofito kind is always 
 the moet economical; and no cSnaumer shpuld ever 
 purchaM a package of paint jihioh doea not carry with 
 it the name of wme well-kno^ and reapontible manufac- 
 turer. No matter how great "the akiU of the workman 
 may be, good leaulto are obtainable only by the uae of 
 good materiala^" -, '■■-' ■..•^••.'.^ ,•);.■■ 
 
 To remedy the evik which grow out of the common 
 and extreme adulteration of painto, and to save the trou- 
 ble and loM of time coneequent upon the mixing of colors 
 with white, we have adopted the pUn of selUng Beady- 
 made Cohre^ all of which are tones and tinto suitable for 
 exterior, and many of them are equftUy suitable for inter- 
 idr, house painting. The list, as wiU be seen by the 
 accompanying samples, comprises tw^snty different tinto 
 Mid shades of color, and these are produced by the use of 
 such materials as experience has proved to be most suita- 
 bfe for such purpose, teferenee being had to economy, 
 durabUity, eaae of working, and purity of tone of color. 
 
 
 -f 
 
 ^ 
 
 •i^gj:? 
 
 ^r.A.CLg-:isg 
 
t 
 
 *^ 
 
 * Bright blue and red graji, and pink and nlmoii colon, 
 JMe not exhibited on the card, for the reeeon that euoh 
 lolon are in a measure liable to the lame objection at 
 %hile, when uaed for exterior painting. ^ 
 ; Theee tonea of color, too, are apt to decflSre, and in the 
 "teault to dieappoint ; the ^eot being to different with 
 them when teen in large manea compared witb^he amaU 
 patch of color aa leen on the lample card. 
 
 It ia not claimed that theae colors are entirely perma- 
 nent. No compound color cao remain oitchaoged under 
 the bleaching influence of the bright sunshine of oar 
 climate. By " Compound Colors," in this connection, is 
 Jneant, those colors which are produced by tinting with 
 #faite. Any and all ot the natural colored pigments, 
 however permanent they may be by themaehrea, are ren- 
 derad fugHife by admixture with white. For example : 
 /Venetian Red, which per m isalmoat absolutely unchange- 
 able, becomes one of the most fugitive oolocs when tinted 
 fith white lead or xinc. What we do daim is» that our 
 l^eady-made colors are more permanent iioder the weather 
 influences than are the tonea of color produced in the 
 oidinary way ; heeanue those coloring native pigments 
 only are osed whrch have been shown by actual test to 
 best retain their color under the fading influence of sunr 
 light ; also, iiuA our cobrs are more homogeneous, for 
 the reason that the colon are mixed with the white 
 hqfim the paint paMca through the mill, and consequently 
 become more thoroughly incorporated— more entirely an 
 Integral portion of mixture— than are the colors mixed 
 In small quantity at the mdment of using the same : as 
 ^im been heretofore the general mode of producing tints 
 %|^ tones of color. . / 
 
 ^ We do not expect^ or even hope, to eonvince the in- 
 cndolool painter of the merit and snperiorityof our pro- 
 ' duets by words ; for, after ^ is said, they must stand in 
 4l^ 01^ Bo^Mjt^ «mdi*ion» of good 
 
 •^y 
 
 *■ 
 
-'H": 
 
 ^y 
 
 paints ; which are, M before mentioned, body (that is, 
 opacity or covering pi^perty), ease and smoothness of 
 working under the paint brush, and darabiiity, both as 
 regards color and miiteriaL 
 
 There is an impression preTAltfng to some eit«nt 
 among those who are only partially acquainted with oar 
 paints, that they are produced by the useofmateriaUnot 
 before known. To. correct this impression, which is erro- 
 neous, we desire to state that they are simply good old- 
 fashioned oil paints, ground in the purest linseed oil ; and 
 that there is no pretense of any chemical combination or 
 operation ivMj^e production of them ; nor are they "a 
 great scientific discovery." They are comjposed of materials 
 which have been in use since the discovery of the art of 
 painting, and which will continue to be in requisition so 
 long as wood shall be used iii the construction of houses. 
 We believe that our " Beady-Made Oolon " fulfil the con- 
 ditions of a good paint to a greater degree than do any 
 other paints ; and in this faith we ask only a fair trial, in 
 fall confidence that the goods themselves will prove their 
 own best recon^mendation. 
 
 It will be understood that the paints are ground in oil, 
 bat twt thinned with the quantity of oil requisite to spread 
 them with a paint brusb,^ that they come to the hands of 
 the painter of about the same thickness or consistencj aa 
 ground White Lead, and reqaired to be thinned' witih^^B^^w 
 JAnmM fHl or Torpenti&e, in proportions as hereafter 
 
 stated. ; ■ ■*■ ■ 
 
 The writer is wdl aware of the fact, that to a skillfuj 
 painter the task of producing any deiir»d tint or shade of 
 " color is an easy one, suppdsing the proper materi|)8 to be 
 at hand or readily procurable ; but such* is not always the 
 case, for, aa the writer has said in his work on paints and 
 colors, pure, unsophisticated colors are the exception and 
 ifottheruk. That the skill necessary to produce the 
 varioua tones, tints aod shades of color is not univenal 
 
 \ 
 
 i: 
 
 •-I 
 
 
 
 *■ 
 
■* ■ 
 
 7 
 
 ; wnoDg thoM who profett tha art of painting the writer ^ 
 . bM good reason to know, if only from the numerous 
 applications rec^ved by him, since the publication of the 
 book before mentioned, for rules and-lorms whereby 
 those who are unskilled in compounding colors may be 
 able to produce any desired tone^ tint or shade. . ■^• 
 
 liis common among property owners — pkrticulariy In 
 tha country — to purchase earth 'paints in powder, for 
 painting stables and outbuildings, under the impression 
 that such a proceeding is in the dicection of economy. 
 This is a very great mistake, as the following figures will 
 show. To make a paint thin enough to i^'rk with a 
 paint bru^ requires oil in the proportion of 1 quart, or 
 9 lbs. of oil tb 1 lb. of the earth. The average cost of 
 linseed oil to consumers is 12^c. per lb., or say #1.00 per 
 gaL Patn^ made from these common colored earths 
 cost as fbUows : ' :' 
 
 1 q^ or 2 lb«. of OU.... ...;.......^....... Ite. 
 
 llb.EMrth,Mj...... .............. ...... 8 
 
 Bqasl to mors than niiM otntt par lb. 
 
 Add to this thekiKiir of mlilDg, and take all these facts 
 ia connection with the ftct that the mixture is a paint 
 which works badly and covers worse, of an undesirable 
 oolor, etc, and it will not be difficult tp arrive at the 
 conclusion that this mode of supplying one*i self with 
 paint is anything but economical. 
 
 The advantages of our nadjt^iiade eeihrSf htown <» 
 **BaUroad CotorSf** are many. They are more economical 
 because they am mixed in large quantities by steam- 
 power, andy as ooly the exact quantity of coloring matter 
 Wquired is added, there is no waste. The tonos and tints 
 an the purest possible^ Imng piodnced by the use of the 
 vny best matc^rials. They are always the same, being 
 amnpoonded by rallD, and alwajrs in Uke proportions, and 
 
 — *"■ 
 
 
 i 
 
y ^ ,. ' «|i(;^7Wn«^^ipn« 
 
 #f^*-*^/ 
 
 -rn 
 
 it: ■ r 
 
 Miy additioQal requlrad quAotitf of the wme 6o1or may 
 riiMlily b« obUined. -.[M,^ ,,.-.H; ;:* ' ;^*|^. '. 
 
 I BamplM MTV furoMbad, and the owner mtkf Mieet tK« 
 exact tone or hue which may pleaae bia taate before the 
 work aball be eommeiiced. 
 
 Our aample aheet (which will be furijiaKed on appli- 
 eation) oomprtaea twenty colore, all of which, in com- 
 bination or contraatjar^auUiblelof either .exterior or 
 interior bouae painting. -»^ , 
 
 Thoae tinta which ahow moat of the yellow ray are 
 preferable where green bllnda are intended. 
 . The following are auggeated aa auitable and pleaaing 
 jftontraata and harmooietiC 
 
 Noa. U, la, «3, 16 or 109 for body of houae, with 70 
 or 4!l^ or 84 for framea, cornicea, etc., and green bliuda. 
 
 »>. 8 for body, with 46 or 60 for trimminga, and un- 
 fading green for blinda or ahuttera. 
 
 No. 109 for body, with 190 for framea, etc., and green 
 
 for blinda. r 
 
 No. 212 with 190 for trhnmingej and unfading green 
 
 for blinda. . 
 
 Noa. 1 or 3 or 189 for body of houae, with 70 for 
 trimminga, and 21 for bUnd% if green he not indiapenaar 
 
 .".•:We. • '•"■•■'■■.■ ■■■' ' 
 
 No. 139 for body, with 70 aa the contraating color, and 
 60 or 46 for blinda. or green, aa may be preferred. 
 No. 166 for body, with 70 for trimminga, and 46 f^pr 
 
 }i\iDdM^ ':'■-■■ r----'\^--''-'.^^ '■■''''■: 
 
 Ko. 13for body, with 70 for trimminga, and 60 for 
 
 The number of colore we preaent aiR)rda aebpe for an 
 endleaa variety of combinationa •, moat of which, perhaps, 
 would be quite aa pleaaing to the average taate aa those 
 named* With all the combinationa auggeated, white ia 
 jeoommended for the painting of the window-saahea. 
 1 ITo. 166 ia a pare gray, and, of course, one of the cold 
 
 ^ 
 
 ^fP-. ■■ 
 
 «n 
 
 !; 
 
 .'.•-> --ail*. 
 
 ^■Mf 
 

 ^^«w^^;q){V| 
 
 
 ■ \ 
 
 ,*, 
 
 
 ^■- 
 
 \ 
 
 colon. It ihouM b« uaad in oontrait with the wanneat 
 •hades of brown ; and green doea not harmonize with it \ 
 .green and gray being among the worst of diseords in color 
 eontrastsW'.' ■.,,.,.. .-„^ ./.- .■ „.■>, ,■, ^\' ,, J ,^. „: ., 
 , Gray ii f n hinnony only witli some dq4r whieh reflects 
 more or less of the red ray, as 70 or 46. Therefore, 
 green should not be placed in juxtaposition with gray. 
 With 166 as the body color, 70 is reconimeaded for the 
 cornice and window frames, with 60 for the blinds ; and 
 Ihe sashes may be either white ibr the same color m the 
 body of the house, 'that is, 166. ^' ' 
 
 Referring to those colors wherein the yellow ray is 
 predominant, the writer would impn^ most strongly; 
 the fact, that, of all the colors^exoept white, yellow is, 
 from its strong reflective power, the least diminished by 
 distance, and the most difficult to neutralixe. Inhere will 
 always be more of it than the aample would lead one to 
 expects It never comes short of its promise, and becomes 
 obtrusive as it is exhibited in Urge masses. Caution 
 must therefore be used in the selection of the yellowish 
 colors, for, unless a decidedly yellow tone is wanted, the 
 re#"'* is opt to disappoint It is, however, leas obtrusive 
 thitn white, and alwajrt in better harmony with the land- 
 scape, either in the vernal or winter season. A yellow 
 house (as col^r No. 109 or 83), with green blinds, is per- 
 fectly harmonious in itself and with its surroundings ; 
 yellow being almbstthe only color which harmonizes per- 
 fectly with aU the shades of green and aU the shadfia of 
 browni!;-\i';>:.,i-i^^i%|»iNi^'- :^4^;^ .< \'- 
 
 There are, in all oommunidea, timid persons who can- 
 not bear eritioiam ; who, in matters of taste, hare no well- 
 grounded opifiiona, but are controlled entirely by the 
 decided expresiioos of their atronger-minded neighbors. 
 To SQch, the writer woald reeommend, in bouse painting, 
 the use of those oobrs which are so entirely neutral aa to 
 oritici8m--aiiob«i 1, 17, 812, 14, 139^ 84, 70 or 
 
 ^. 
 
 "^ ■»«. 
 
 .» * 
 
wwrf^' 
 
 #' 
 
 • ♦-. 
 
 J * 
 
 ^ 
 
 .■f 
 
 ' , ■ ♦ , ■ ■ ■'.-■■. 
 
 45, on MMnplfl iheei Variety iti however, moetdedrable, 
 and no two houeee In » village slM^uki be painted alike, 
 iuppoeing all to be painted well. Exterior Koui« painting 
 afforda a good opportunity for the expreaaion of ^ndivi- 
 duality, and every man ahould, in aome particular, expreaa 
 himaelf diflferontly from hia oeighbora. 
 
 Fortunately, the alphalMt of colore ia inexhauatible, ao 
 there exiata no neceaaity for uniformity. The custom 
 which haa heretofore much prevailed, nalnely. of paiitting 
 groupa of buildinga belonging to one homestead, of uni- 
 form color, ia not a ouatom to be honored. Every member 
 oft group of atructarea ahould have iti'individual color, 
 aa it haa ita own form and aize. One general tone ahould 
 pervade the whole, but each ahould have ita diatinctiv 
 color, except where it may be deairabka to hide or dim! 
 iah aome of the leaaer buildings. That will best be acconfi- 
 pliahed by painting such of the same ool^r aa the main 
 or principal building. Aa a rule, the principal buildmg 
 ahould preaent the lightest shade. * / 
 
 The color 109 maybe daaaed it yellow, although 
 diowing more or less of the red ray, ind is suitablej for 
 painting houses which are partially concealed by foil 
 which IooIl out upon the public through maaaea of 
 of every hue. It accords admirably with any of the gr 
 from the brighteet hue of the willow to the darkest 
 of the pine. It is a bright, chiMil tint, sunny— bu 
 glaring like white — warm, harmonious and agreeAble, 
 particularly in a bare, winter landacape. It it not 
 recommended when the house ia a eonspiououa object in 
 the landscape — isolated — ^unscreened by trees, being under 
 soch circumstancM Mable to the same objeotiona aa white. 
 The strong reflective power of yellow causes' this color 
 when viewed in large masses, to present aataring ap 
 anoe. For buildings so exposed, the drabs, or gray tints, 
 are, preferable. Tfaoee tones of color, too, wherein ^ne 
 yellow ray predomidatee, are the only ones— suitable fi »r 
 exterior pain^l^ — which harmonize with green blinds. 
 
 1 
 
 ^sdss. 
 
^^— 
 
 v- 
 
 
 J 
 
 ik 
 
 li-.-*,- 
 
 '••/'iPA 
 
 FOR ROOFS- « 
 
 '-■M 
 
 
 a_. --%. 
 
 i._.f 
 
 \ ■ 
 
 A dirk eolor fa requfra^, Na. 70 fa raoommend- 
 
 •B. Otherwlie,. 190 will b« fouod a ino«t, Mrvioeabfa 
 
 Mid deairsble pigment It adbtfrM to tiu with a wondeiv 
 
 ful tenacity, and it iuflexibly permanent io odor ; on the 
 
 . More of eooooray, it u unequalled. 
 
 For tin roofii about two gallon* of raw (unboiled) Limp 
 m$d OH are re<)\jirBd — jfaaa during rery warm weather-— 
 for each 26 poundaof color. For priming or Srat ooaliof 
 new pine wood, about tlie tame qoadtity aa fortinf 
 more if the work be done in cold weather. For leooiid 
 ^•nd third eoating. about one and a half gallona will bT^ 
 required. Care ehould be exeroieed not to make the paiql 
 loo ihin. Thick paint weU rubbed out with the bniajl 
 makei better work, and will prove mora durable than 
 tiiin paint The extra labor expended in epreading th^ 
 thicker material will be more than rapaid in the better 
 6niih and more failing character of the work, ,j^j. 
 
 No theory, however well elucidated, can teach the art 
 of properly combining colors and tinta for decorative and 
 ornamental porpoafls. Such knowledge mutt come ftom 
 practice and obaenratipn, and the eye alone mart be con- 
 aulted aa to what fa good. The tuggettiont heretofore 
 given are intended <m^ at •uggeetiook and the combida- 
 tiont may be changed to tuit the varioua taatea. Some 
 of the mentioned oombinationa may be reverted with 
 very good eflbo^ mak^ig the principal color dark, and 
 uting the lighter tintt for blinds, trimmings, et0. 
 
 
 » ; 'S 
 
 .;lV;i«;'-. 
 
 '»"«' 
 
 .'.>'.•.-■ 
 
 ■'-'.' '•<•■'■ ^■'.■'■. .;' V'#- 
 
 ! •,>--,»• ... «: ■-> ) ^m. 
 
 \'-Li 
 
 'V ^^'■-M '-*'*•!> 
 
 \ -J.., "i ■ ; 
 
 i ':i.r 
 
P','^^ 
 
 ' ♦;'««ffr"«^j 
 
 It* 
 
 rj-^ 
 
 VIMPORTANTP. 
 
 :r'. %' " '»i-^! 
 
 •k'-.rs'" ,mr:rii%,-^%-. ■-■<•■>. -."*•■■ ■•«. •; ,/ . '>^. 
 
 ^'i^s^ 
 
 i.-' 
 
 •fca 
 
 .V* 
 
 TBI trmsforntjitiun which oil pftint undargoM in itt ehang* 
 from a liquid to • tolid tubaUiiM hM not b««n u y«t 
 aatiifBCtorily expUined. The theory that piuot hardeMby 
 th« abaorption of oxygeu from the air, may or may not 
 b« correct An axhauitiya ■eriea of experimenta, only, 
 would letUe th« queation ; but we propoae now to deal 
 with facta— not fiknciea. The point of inUreat to the man 
 who paiiiU hia houte — or a room therein— ia, will the 
 material harden to the point of uiefulneM within a reawn- 
 able timet Queationa aa to the preaenee of oione in the 
 atmoaphere and all the fine diati notions in chemical tcience 
 are out of place here. What we want to know it, iimply, 
 will the paint we are about to uae eo burden in a rear 
 ■onable time, that we may re-^Ater and poaMMa our domi- 
 oilea and continue the daily rout|iie of household dutiea T 
 The change of paint from liquid to ioUd iaan operation 
 uncerUiu and dependent. The paint which we may apply 
 in a July day and temperature will harden m aa not to 
 elicit a word in condemnation. The lame mixture applied 
 in December— the surrounding atmoaphere showing but 
 ten degroea of heat— will utterly refuse to dry, or begin 
 to dry— aa the phrase goes I On the contrary it will romain 
 soft and liable to removal by contact, while the patience 
 of the i^erMMfMl of the household becomes entirely ex- 
 hausted./.^;':. . m-'-n^--' ■■ 
 ■^ow H would seem that the oeeessities of such a caae 
 llPild of thems^|M call forth a remedy. Nor dp they 
 not I Besearoh has discovered a remfldy to fuU And oompli^ 
 
 L 
 
 ■ h 
 
 * .' 
 
 . ji#: 
 
' .ft. 
 
 'h' 
 
 %': 
 
 If . - . 
 
 Mi 
 /•til 
 
 lliat thfi cAuat oTeimipUliit tm h§ m\d to txbt no Ion- 
 fV. Th« remedy it tinipUi and not intriOaU f It oonaiatt 
 In th« idilition to th# mii«d p«int of a sulMtaiioii whioh 
 in itMlf conUina th« property ofneutrmliiing tip untoward 
 conditions of winter t«fnper«l«r«, mid otmiing, u it wei«| 
 for th« drying paint a perpetual •umitoer Atmospller*. 
 
 Thia liquid—which adda to, rather than detracta (Wmb, 
 the eaay working of the color—ia put up in tin oana ot 
 convenient capacity, and aold by uif under the name of 
 Masury's Liquid Dirit. Following ia a aUtement of th« 
 Kze of packagea and price of tame. The oonaumer m*f 
 raatiuMured he can always, by the addition of a imall 
 quantity of this Dryer-mdre orleat, aa the contingencie* 
 may demand— enaure or secure the certain drying of hit 
 j^int beyond peradventuK, regardless of unfavorabU 
 atmospheric conditions!. - A 
 
 DoiiotMigbiii«f|itofftm,MiMiviiaIwi^^ . 
 
 Paint, that is, oil paint, loses, in a measure, its propei^ 
 ty of dry ing in cold weather, and particularly in cold Uamp 
 weather ! Therefore, provision should be made for thisi 
 when painting is performed in winter. A fire in a room 
 during the process of painting in winter is the equivalent 
 of a summer temperature. Alwaya, if poaaible, secure a 
 temperature of 70 degrees to paint in. An ioe-cold waU 
 in a fi^mg bouse is not a good surface whereupon to 
 apply paint with hope or expectation of aptody drying, 
 lo the handling of paint heat ia an indispensable powar. 
 
 It will be borne io minct— ao^ tbe ^ is important 
 and weU worthy of heed— that when the diyer Is added,/ 
 Bow Unaeed OU $haM (Afca^a bemtedm thmmg iki 
 cohr. There is no need or necesnty for boiled oil— W 
 drying oU-jvhen our Liquid Dryer ia added to the paind 
 
 / 
 
'-S^. 
 
 J.^....,, . 
 
 / 
 
 
 For piUnting during ooM w«4lli«r» » half p*nl o( dry* 
 a|||taiW>ugti for tfvery g»lloo of oil whUb may b« um4 
 
 ' in tlio' thinning of th« dolor. A Htilo mofo or Wbm of tb« 
 4ryor !• o«|ft oMltor ofMy p«rti««tUr importano^.for Um 
 rtmtiTTi im[ •• far M w« bavo yot boon sblo U) dr<luo« 
 from our oipriraonU, tho incorporation of tho dryer 
 witb tho point dooo not tood to lemin or impair in any 
 degree the durable property or quality of the mixture, 
 for Interior pdnting In cold weather we would ipeciaUy 
 tieommend the uie of the dryer, partiouUrly for pU-tered 
 walla. A little practioe In the uea of thia article wJU 
 ■ooo under om ao (Juniliar with ita nature and propertiea 
 
 ^mmFmf^^^9m^HSjl0t^^ aito the 
 
 |Multin[{ conie<jueoc<dl ' •..•*. \ 
 
 
 "** *tni'1^ 
 
 
 ^..i 
 
 '/. ,■• . 
 
 r-f* -«■♦■■ i:{'r, 
 
 i '■■■■ 
 
 ■, ./ 
 
 'v' f'%'^.^*ii-r '." 
 
 I , ■■■ ..rfts-'' 
 
 ■n.. r 
 
 ■^"l. 
 
 •^•^;^" 
 
 / 
 
 • '.f 
 
 m. 
 
 -j^ 
 
, 4 
 
 ^ (I*.. 
 
 \^ 
 
 iFOB Mnaro oub iuilbo 
 
 *N. 
 
 il«»'*^'i«.M 
 
 -t%-; 
 
 •ud for oolj, dwiip wmIw di^ •.IdldiMli'j&sS 
 on ,»g. ««. For thi. miUuri . |K,rtT«^"IXSoff!!! 
 
 • pint to thA^kMi for tl,« .u<-«Mdin, co«to— withmil 
 
 uniMiintod pine wood. * T^^^ f^ ^•^ *» "•^r 
 
 One hundred pound* of RailMRHR!/i. *u 
 
 .^Pf ordidwy pine-wood iurface. ^ ^^ 
 
 inir th/nk^t ^11* ""^ •*^^.v*™«h, before apply. 
 
 £r!«i?! ' " •^.*»*»o*» >n the proportionof a lb«. of the. 
 former to one gallon of the lattir. » *»' * '»>^ <>» the. 
 
 The writer «lvi«« the ooiSng of the entire ««fiu» of 
 
 ■ ■ ■ ■ ■ ■ ' ■ ■ - '^ ., ' ' ' ■ ■ 
 
 •t 
 
 1 
 
 k^ 
 
 
 
 ■.T ' 
 
 ■»• 
 
 <; 
 
 ^ 
 
 
 ,• ■ 
 
 
 . 
 
 « 
 
 
 "^ 
 
 
 
 -f 
 
 ^*^; ■ 
 
 .•ArrfJ- 
 
 
 
9 ■»'"- 
 
 ^ # * 
 
 ill ^^•^ 
 
 ««8i 
 
 
 f 
 
 'W'' 
 
 m- , I 
 
 mm 
 
 and wmwtf , ' ^*^ gt^ 
 
 I for •iMnfiW •mifi \ t«k« Mo. §4 fRl tliin lOMi^ ol 
 |Minl for Arat o«Mtliig n«w |Mfi# wtia^ fiN)uirrai Ah(>i||(| 
 mUofui of f>tl, whioli ntliturn will (<f>v«r Hiy HiN) ysHll 
 Fgr WMHuid fKHil ft §»lb)na (M atl will b« «M(fU"i«^»i, ikw4 
 IM qiMiitity of oiiMd pAJnMiriil mtt »bot»t 7(M) fifvb. 
 (WiMfi eonvantiint, m msoh m Ave or di ibyioliou'^ 
 t«rv4*n« b«>twiwn th« •MOcwMrivA rcnita.) 
 
 For 'n«vr houoa, th« uidm tnd mi<ki of ii^i«h 
 «)qusl ATM* of iOiSIA fiMl, ni»kirt)i( dlowanoM fbr iMlgtHi of 
 oUp boMtK fVstiMw, comioMk mo«ildings, br««k«^, «<l»i. 
 th«t b«fon»-iMiiM)d quantity of i»«inf, vti,, 134 lh»., wotM 
 bo •uAeiont for ftr«t oott. Th«i wkt>4m(l cooUtig wou^|_ 
 not rvqalro to inu«h. Tlwr^tVM <• tho coat of material t<> 
 Minting s ItBM of th« ait«t givon abo^o, two eoata,^ 
 Jloultl not «x««od thirtf ckill«r% and fot thrM» coata, not 
 tnuch oror forty dollara. Thia |>alnt, too, will prov» 
 room durablo than tht) boat wbito load paint, at about 
 oo«Hhalfth« coat Who ahall aaf , in vi«w of lilheaa facta 
 and Agurea, that any ownor ean liflbrd to allow bin hottaty 
 bama, outbuildiaa and foncM to go unpaintodt 
 , Wood which haa bean aifioaed for a timo lo lh« 
 Waather ia more abaorbont than Niriily planmi wood, and 
 thorofore a greater proportion of oil would be neoeaaary 
 In painting auch work. The figunaa given aa the coat of 
 Hnaeed oil are the market prieea or ratea for oil by the 
 oaak at wholeaakr. A higtrar or loiwer quotation for oil 
 * woiiki of eottfaa maka tba ooat prmortiooataly more or 
 
 ; In pamtHig gg fe riori nfhmmt in «olor$j whm the mhe§ 
 
 fre noitobe wkiU--49hit0 i§ gmeraOff m good Uuts—tht^ 
 
 ^kould 60 pninied alwats wiik the Ughittt Imte uml on 
 
 iko 6iMUtMf ; thai tt, th$ 9a»h t houldm hMi ft eontnut wUh 
 
 ik» ¥mdow fram^^i '*'r^'''^ ■''-■/■*% v..->.--/t;f; ..;;u ■/ 
 
 Referring again to the qoaltty of oi A aady-Mida Ooiqv<^^ 
 
 we wiah purohaaara diatinetly to and«ratand that we do 
 
 not claim that they are entirely permanent under tha in- 
 
 iBuenoe of aunahlne and atorroa. The tendency pf all 
 
 fumpounded oolora expoaed to aanlight ia to bleaching. 
 
 ~ We do propoae that our eolon will atand expoaure- 
 
 longer without fading, than tintt {iMdaMd in any other 
 
 4. 
 
 !'> 
 
 e 
 
 
 "..r 
 
 /A.'i.J^tm &*•''■ 
 
'■■'"■^^- 
 
 .,,-..vVf-- 
 
 ^ ■■■» 
 
 '# 
 
 .■■'*.■, .• • "■■ ■ •- . - % . 
 
 W^l and w« bttliere thai w« oAr » better nainf .* ii 
 tfiren pnce, than can be pr^curj^ ^J^^^ 
 Another important cooiidmtioa to\5iWb wTSi 
 •peciol attention it the fkctthat in oflSJTn-fi,^'^*^ 
 Jo not .ak conaumera to tryXubtfal«SriJ!I !*?'^ "^^ 
 profit Mo« than one hu^SS^3i^^^ 
 th.. wnting, throughout the V^^tm^^^A^ 
 painted with ouf Miy-Mada oJI. tl!i ^'^ 
 
 Swner. of theao, SrThWtt^i!^ ^^i *" ••"^ 
 ^ ^nable grouil for «>m';r„V'^L^*i"»^^ 
 of expenen<«, tert and pWetioe, we coM^ I^ 
 that one painting with wr painta i. ^^^^Z^T^. 
 -2^^-geotof 1^^ 
 
 Dew; White Jead. We do not ehum any new — - " • 
 eombinatloa or gwat acientific diaei«Sy^l^T£5 
 ^1^2"^ to bMj «• ««ply old fiSZed oU e^ir 
 produced from the awne w£4i,lCS»S!i tl^^^^^ 
 ^ «n<* the inception <»f the^^^S^^t^^ 
 
 continue inuaeao longaa woJi2^i^^ ^ 
 
 ^LTt^^^A^ oompodtion of the varioua pig- 
 
 abteLSnillJ? r^*^^?** "J^ e«>nomiflal and moat dar- 
 wh^tSJir «S *^ J^ ^ ^***^»^ ^'^ ««»« and •t 
 may uae our paint to tiy in oompmon with i^]*tting 
 
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 the conditiona be «U|0^ U^ noM^w«oIor |foduc«d in 
 any oih«r war. •* 
 
 For •lampla, we woa!d iuggeat that aoy of our drab 
 eolora be plaoed in jaitapoainon with limilar toffta of 
 color produced by mixing pure white lead with umber, 
 either burnt or raw. Lei thcae be exposed to the same 
 influence of aunahipe and atonH) and we have no fear aa 
 to tbe reaiilt} bat^ea the contra^, we are confident 
 that oar eolov will piwe mora unfading, that the paint 
 will preserve ita integrity for a much longer time, and 
 we are certain that tne gain in eooaemy will be alto- 
 gether on the aide of our cok»ra. ?*• 1 1. < ^ 
 . If the reader requires more teatimoiiT after our own, 
 ife aubmif, in all faimeaa, that he shall obtain it from 
 theee who can apeak from knowledge; and not from 
 tboae who flippantly condemn everything which they 
 do not. understand.'; .'..,./^: -'^^^z :;-.v. (,;,>, .;r-- ■. v. ■ ■^\. 
 T We would have it dit^nedy tindefiitodd that we do not 
 tafer to our rivalaand competitora in trade, for the mAtita 
 ef gooda which we 9oMp manufacture. 
 • with the knowledge that success in any branch of 
 trade begeta imitations, we have endeavored to identify 
 the Railroad Colore, aa much aa posaible, with our own 
 establishment Every package ot our paitits comes with 
 our full name and addresa, and we call the attention of 
 consumers speeinlly. to this fact, so that we may not have 
 to bear the ain of some worthless imitation, foisted upon 
 tbe market, through the reputation of our goods. 
 
 We wiah our colon >o itaod whoUy and entirely on 
 . tbeirmerita* " -^■■K'^f:.•;^.v;y■:r^:~^'^iV^ .:^\ . ■.^-a--'/;..;--^ ;. -^ :■■ 
 
 We siieuk . with confidence, becauae in no single in> 
 itance have we sold our paints to a dealer, wherein the 
 first order has not been followed by others ; and all who 
 bave uied the s^bn giT» tlic«|a unqualified approbation 
 
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 H3P».GRAINERS: 
 
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 may have «t h«nd. The hmt mh. «r /i ."""•*!*•• *»• 
 
 be better iiitotad ^ o^LlZT *»*<>™n»'' «" «« 
 nor titwiM^ and quality, iad ^ h. fe!!!i*?* **^ *"P^ 
 
 JOHN W. MASUEY & SOK. 
 
 NEW YORK AND CHiCAQ<C 
 
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 mil, Carnage and Car Faiatias. 
 
 ■ ]'■'': .h^l'i-.m^'- MANUFACTUaBD ONLY BY .'f i»'.. '^■ ' 
 
 iWttt 
 
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 eolmare now in ffmerattmin iheJSni^lass ear- 
 
 riage man^factorie8 in New 'Ywrk and eUewhete. The 
 Uei mdudes Iyory BhkOEBf of varitme kinds : the Lakes, as 
 ScAHLKT.PuRPLi^CABMiifi, Munich, Yiulow oikI Qrsen : 
 JpMr« No. 40 Cabmimi^ Light and JOeepr and aU the body 
 eolorsy as Ghbomb Tbllowb and Gbbbms, Milobi Green 
 Indian a/nd Tubcai^ Beds, Ultbamabinb and '^bussian 
 Blubs, dtc. These are aU ground of impalpabh finemss, 
 and in such vehicles as experitme has proved best adapted 
 to the peculiar nature of each, Theg are mostly ground 
 without oU, and wiU dry in from thirty minutes to two 
 h^mrs. No carriage painter should be without them, as they 
 are admitted by M who have tried them to be superior in 
 every respect to colors produced in the paint shcp. 
 . These colors may be obtained of aU first-class Paint, 
 Drug and Carriage Hardware Houses in the United States 
 and the Dominion qf Canada. V 
 
 Befoaw closing this little essay we would call attention 
 to what follows : 
 
 We need hardly meotion the fact that ool' Coach Pain- 
 ters* Colors have been and jare to-day the xecofrnized 
 standard of the trade throughout the country. Seventy- 
 five per cent, of all the carriages painted in the United 
 States in the year 1880 were painted with pur colors. 
 Our success in this line has beeA wonderful ; yet, m the 
 
 
 
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 wliol« eotane of wir more Uum raoceMfuI bunneM. tli» 
 fact hai ever been preMnt that the poMibUitj of failui* 
 eiiatea, for the reaaon that wf did po^ maiihRih.t9 all th« 
 materials enterinie »«*<) th« <k>mpiM(tioii oToUr painta. 
 Now the manufacture of our Japani, Gold Siie. and/ 
 Dryem la in our own hands. Through a larire outJay of 
 money we have in operation tho^mode] Yaniish Work* 
 of the Woridi and by tWi^aU tbft m^lwitli eotaHag llS 
 the oonpoMtion of our various produots ara isomp^nM 
 of the very best materials, and with the mort\iikill(3 
 handling, and und<^ oar own hnmediale supervision i 
 therefore our Coach Colors are greaUy improved, and in 
 
 tioT ^* *" ^ *** ^*^ *'''t?"^ hewUfow feput*. 
 
 . To a im>p«r ^[kpMdiadofi of oar pwwmt position we " 
 give notice : r i~- « wo 
 
 ^ w"i^* we do not purchaae a gaUon of Vamisb 
 
 MnFiH^^'' S^"" ***•*?■* ^o'l^'-f » the best flowing, 
 •nd the beat turfaoe vanuahes that are made in the wotld. 
 
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 PRICES FORALL COLORS ONSAMPLECARD 
 81 0«nts Pmr Pound. 
 
 W« do not pat up "euia of our Batdy-aiado Ookm mij hmM 
 than 26 \h§., or kegi •malltr than 60 llw.— that i% Um imillirt 
 qnantitj wo bfht b 26 Ibo., and that in a tin aan. ' 
 Tho amallott woodon paokage ii 60 lb. kag 
 
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 ^^ Biqfen and oonaumon aia o^ptionad agaiiiai tha niiaNpt». 
 
 MBlaftiona of anMrnpnlona lalaaman, who .ofbr ooloti with tha 
 aafuanoe that tho paint it linuhtf in oompooad and anality to tha 
 Railboad CoLoia^ which hato boon known and triad in thonlanda, 
 of inatanoea during tha laat twolra yaai^ and whidi hava baca 
 •taadiljr growing in fttTor aa tima haa taatad thair andnring 
 qualitiao. Hovmm good a jmbmU may he, w wn nure of it» 
 mipiriontif only a/Ur yean of trial Time %e iKe (mly rMioMe 
 U^i and avaiy parohaser of painta, toMdk kaoe not hen^ eutjeetedto 
 tkie ted, triaa thorn alt hie own ritik Ovr laady-mada Colon hava 
 stood thia trial and are oommondad moat by thoaa who know 
 thetn boat Wa an alxnoat daily inn^ptof i^iaolioitadtaatiniony, 
 whioh nana mainly to this aflbot : ** I paintad my honsa (or stora) 
 with your colors thi^ years ago. Th» paint aa aaema ft«ah aa whaA . 
 lliBt laid on. I now propoaa to keep a stook of them for sala, an4 
 to leoommond them tp aU my epstomaxs, referring to my own ai^ 
 perimantto.settWtheqjiestionofdiiimfaility.'' This, wa i«peat» # 
 the general taatimon/of thoaa who speak from expariano% Mil 
 •ome of tha leading houses of New England ^ Canada hat§«|ikl 
 hundreds of tons of tliam, with entire stftisfiBction totheoonsnoiers. 
 Again wa oaation pnrohasere against colon which psetend to be the 
 same as oun. Ail anoh chdma an fraudulent, and are intended 
 'todaoaiTa. ' ''<^-''" .^ 
 
 vv? 
 
 ILU AM JOHNSON, 
 
 Manufaoturar Of Whita^ L^ad. Zinc and 
 SPECIALITy IN PURE PAINTS, 
 
 Office and Facton^ • St. Qabn'ei Locks. 672MHiiam 
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