^' ^ ,.v IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I 1.25 '" IM IIIII2.2 m m 1.4 12.0 1.8 1.6 V] (^ o e. '^w c ^ %. ^ -^ o / or. -> / / / ^ ^ /A Photographic Sciences Corporation 2J WEST MAIN STREET WEBSTER, NY. 14580 (716) 872-4503 i^. CIHM/ICMH Microfiche CIHIVI/ICIVIH Collection de microfiches. Canadian Institute for Historical Microreproductions Institut Canadian de microreproductions historiques 1980 ii Technical and Bibliographic Notes/Notes techniques et bibliographiques The Institute has attempted to obtain the bt tt original copy available for filming. 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Les cartes, planches, tableaux, etc., peuvent 6tre filmds d des taux de reduction diff^rents. Lorsqus le document est trop grand pour etre reproduit en un seul clich6, il est film6 A partir de Tangle supdrieur gauche, de gauche d droite, et de haut en bas, en prenant le n^mbre d'images ndcessaire. Les diagrammes suivants illustrent la mdthode. / errata id to It ie pelure, pon d 13 32X 1 2 3 4 5 6 w -7T (VijuXi^ \\\ \hX^ • A : 7^ / t- " g^t^ <' i. t* I ^C^ .J y?0, ' ^SNSRAL AissL *. '// AN3 MSSFUL /f7- iisrsTRTJOTionsrs ON PRACTICAL PAINTING SalhitciiMfiliin^, ^hmp U |rint for, ^Jniidin^, &c. KY PROF. LACROIX. AUaUST, 1S7Q. OTTAWA : CITIZEN PRINTINti AND PUBMSHINU COMi'AXY, S'i'AUKS SlHEKr. Entered according to Act of rarliamcnt of Canada, in the uvir 1870, hu hi the Office of the Minuter of Auriculfure. .'/ EF HAVE much pleasure in laying before the public a manuscript, which is certainly the only manu- script of that kind, on painting, as also on the pre- 1^:^ paration and purification of Colors. It is a book '/jk^ ^^ I'etcipts rather than a treatise. In olden times, the ^(^ domestic habits and accommodations of the people were rude in the extreme. They would build castles, the walls of which were lofty and substantial, the openings few and narrow, giving them thereby but little relish for elegan- cies and comforts of domestic life The domestic accommodations were in accordance witu the edifices. Such state of society, it may be readily supposed, afforded small scope for development of the Arts, and could not remain without improving, and, in fact, it has gradually improved. The magnificent buildings which were erected during the twelfth and thirteenth centuries, gave an additional impulse to the study of painting. The improvement in the civil condition of the people followed, if it did not keep pace with the advancement of the Arts ; but towards the latter end of this century a sensible refinement took place, and the amelioration of the manners and habits of the people was decidedly favourable to the development of the different Arts, especially the Art of Peainting, which, conse- quently, made some progress. Having thus taken a cursory view of the state of society and the Arts during the middle ages, it would not be uninteresting to treat more particularly of all the advantages deriving from the N knowlt'dgi' of the Art of Painting:, and of its technical and practical processes, in order to render the various practical directions more available and interestinj^ to the people wishing to learn them. But, as I never intended to make a treatise on the Ait of Painting, and do more than hint at a few of the most prominent points embraced under this general subject, I think I have already attained the object which I had in view. Every human life has its purpose, as everything in nature has its uses. Within our heart lives a c(m6ciousne88 that, in the duties of life, everyone must answer for himself, and not another. This very consciousness is the key-note of existence, lending to life its charms, and to society its surest safeguards. I desire to accept it as the basis of a few suggestions, which I think not out of place in tliis connection. To become suddenly an artist is the passion of the age. Very few young men, before fairly starting in life, have any decided pre- dilection for a special calling, for want cf having frequent oppor- tunities of learning a trade, in all its branches, at a small expense of money and time. I am now off'.*ring to the public in general a good opportunity and a fair chance cf learning how to t^ave their money, by doing themselves their own domestic works in painting, wall-papering, let- tering, gilding, stamps to print for braiding, &c. Above all, young men, never be idle . There ie nothing so hopeful of future success as present employment. There is always something to do for will- ing hands — and no class of persons have less favor from right-, thinking men than those who are agd who remain willingly out of employment. Now, the proper course for you to adopt, in order to make yourself useful to the community at large, and to you in par- ticular — in your own domestic life — is to take a few lessons from Professor Lacroix on the Art of Painting and its process, tinting wall pai)ering, stamping for braiding, &c., &c. 3 T would also calt the attention of carriage makers, furniture dealers, farnicrs, themselves, or some of their family, and I stronj^ly invite them to come and take lessons from me on the alK)ve men- tioned several matters, as it would he most profituhle to them. There must be at least one in every family disposed and able to learn from me, in a few lessons, how to render themselves useful in the way of doing their own paint work. For gentlemen who have all kinds of paint work to be done, this book or pamphlet, which contains a great deal of general in- formation and recipes, will guide them as to the most proper and economical way it should be done. It will also be as useful and in- structive to the rich as to the poor — inasmuch as it will equally enable them to judge by themselves of the work done for them. Be in earnest. Whatever is worthy of your attention at all is entitled to your best energies of thouglit and action. Do not place a false estimate upon yourself — seek to rise upon your own merits. Come one, come all, to hear the lessons and instructions given by Prof. Lacroix, who will learn you, at a very small expense of money and time, how to save your money — and to you young men how to secure yourselves prosperity and success in the future. I know it is difficult to please everybody. It is almost impossible. Neverthe- less, I am sure of giving satisfaction to everyone attending my lessons, which will be a profit of 8200.00 for §1.00. Under the following headings are given information which is of great importance and utility to the reader. They tend to show how or in what order paint and varnish brushes have to be kept ; how outside and inside paintings have to be proceeded with : how the whitewashing, tinting and coloring, as well as the mixture of paints arc done, &c., &c. Paint Brushes. FAINT bruslics nnist be bridled or bounded witb yellow ol- factory cotton instead of twine ; it will save tliem from running and will make tbeni wear out K(iuare. They must always be kept in cold water up to the bridling; washed clean with soap Ruds, and wiped till very dry. Outside Painting. T should he done with raw or boiled linseed oil, for durability and cheapness, for it does not soak in the wood, l)ut remains on the surface. No turpentine ought to be used except for inside painting where whiteness is desirable. Size ought to be used in preference to any other material for outside painting of old buildings before any coat of paint is given ; it is made with glue of more or less value, appropriate to the kind of work to be done. First coat of paint ought not to be thick, and work very freely, in order to prevent it from blistering and shelling out. It must not be applied under the influence of a hot sun. Second coat of paint — on good lumber — no knots — must be thick enough to cover the first coat and the lumber entirely. The interval between the application of the second on the lirst, and of the third on the second coat, must be long enough to allow the different coats of paint to became hard enough so as to stand the rubbing of sand paper before any other application shall be made. Third coat of paint must be strong and thick, but work freely, in order that it should cover all faults, whether in the lumber or elsewhere. Before priming or the first coat is done, the knots have to be destroyed or made to disappear l>y pure shellac — the making and mefiih.csH oi whicJi J sl.Hll make you lu-q.uiiiitccl ^^hh ,luiin;< tlie coiirsc of my IcHsons. Inside Work -Plain Work. FjUlMING, or i'u'Ht coat, should W dono with vory little <"'P<'ntine. For the second coat, more turj)entiiic must be UHer two coats, instead of three coats, as above-mentioned. Inside walls ought to be sized, and the thickness of the size must be so as to be suitable to the coldness or heat of the >vall. On plastered walls, before painting in oil, each coat should be sand paj.crod aiHl well dustereen. Bottle-Greex, with Naples deep yellow and Prussian blue ; and by addinii: black, we can obtain a darker bottle-green. Violet Color. — White lead, vcrmillion, blue and very little black. Brown. — Burnt uruber or vermillioa and lamp lilack. Lead Color. — White K'ad and lamp black. Sky Blue. — White lead with Prussian blue. 4 I* 1 ,1 11 I If i Igll Brick Lkad — Yellow ochre, rod loiul nmi a viiiiall quantity of while load. PKAtii CofAJK. — Wliitc load, with cither vermillion, Indian rod, purpli brown or burnt stone oelirc. OuAxcJE Coi-oH. — Oran;;o lead or chrome yellow and voiniillion. Lemon on Canary Coi/)n. — White lead with chionie yellow. ('i5E\M OoLon. — Yellow oclne and more white lead than for buff. Pkarl Grey. — White lead with black a id a little Prussian blue. (iHEYSToxK Color. — White load and a little lamp black. <) Carriage Paintings. B^ji^JlHE trt'o lirsst coats are oi' slate or steel color, made with white 1 and black, Putty has to be used after the application of the two coats of mrey ; that kind of putty is made of >\ hitening and boiled oil. Another hard kind of putty may be used, if sutticient time is not allowed to use the iirst kind, which hard putty is made with the same material as the rouju;!! stulf ; but it has to be made thick enough to be putty. Rough stuti is made of powdered white lead, yellow ochre, Japan dryer or varnished turpentine. Give time for each coat of paint to dry well, and add three coats of rough stuff or composition to the abov-j-mentioned two coats of grey ; give time for your composition to dry hard and then polish it with pumice stone, in stone, and be careful not to attain the wood. Now a light coat of idate color, with half oil and half turpen- tine, should be given, so as to enable you to see all the flaws, and if more putty were again re(|uired, it could be more properly applied ; and then two or throe coats of colors have to be given, according to the bodv of colors. 10 After the colors are applied, we apply a coat of good polishing varnish, which, when dry, must he polished or rubbed with ground pumice stone, with cloth, without cutting colors. Afterwards we draw a good strapping, according to taste or to suit fancy, and then follows the application of labels, which application is done with cementjor varnish, — at all events I will give explanations with re- ference to it. But to complete the work, and in order to give it a good and durable lustre, we apply one or two coats of good wearing body varnish. Furniture Polish, called Dull Polish. ^E begin the furniture polishing with one or two coats of raw oil according to quality of furniture . There is a certain composition applied on those two coats of raw oil, used to fill up the pores of the wood, which composition I shall initiate you with, as to its preparation, and materials used to prepare it. After the application of that composition, five or six coats of shellac polish are to be applied, and each coat should be polished with a hair cloth. For inferior furniture, less number of coats are given, finishing with raw oil and cloth. Furniture Polish, called Shining Polish. raJllRST oi all, one or two coats of raw oil, according to quality of furniture, then three coats of shellac varnish, rubbing at each coat with hair cloth ; next, two or three coats of No. 1 fluing varnish, which must be polished with fine ground pumice stone mixed with water, and then polish it with rotten-stone and raw oil for finishing, so as to bring out the fine gloss. 11 GENERAL HOTES. Under this heading, reader, I wish you to observe that there are several other processes for painting, mixing paints, preparing, purifying and coJorii r them ; as also there are several other matters, such m stamping for braiding, lettering, sign painting, graining,' drawing, decorating in oil and on paper, gilding on glass, em- broidery, &c., &c , on which I cannot give you satisfactory and eflfoctive explanations by way of writing, manuscript or pamphlet ; it is only by verbal explanations, with illustrations, that I should be sure of a success. « ^ Finis Coronat opus. 1f 1f ^