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Tous les autres exemplaires originaux sont filmAs en commen^ant par la premiere page qui comporte une empreinte d'impression ou d'illustration et en terminant par la dernidre page qui comporte une telle empreinte. Un des symboles suivants apparaitra sur la dernidre image de cheque microfiche, selon le cas: le symbole — •• signifie "A SUIVRE ", le symbole V signifie "FIN". Les cartes, planches, tableaux, etc., peuvent dtre film^s A des taux de reduction diffirents. Lorsque le document est trop grand pour dtre reproduit en un seul cliche, il est filmA A partir de Tangle sup^rieur gauche, de gauche A droite, et de haut en bas, en prenant le nombre d'images n^cessaire. Les diagrammes suivants illustrent la m^thode. 1 2 3 1 5 6 Church's Mabastine and how to use it to the best advantage- ^ Illustrations of relief decorating and useful hints for practical workers. The Alabastine Co., Paris, Ontario. : vvi> INDEX. Alabastln© fts wood filler 80 Alabastine tire-proof for factories 27 Alabastine healthful 27 Alabastine noninjurioua to brushes 34 Alabastine, nothing similar to Alabastine, painters who talk 35 Alabastine pays the painter 10 Alabiistine, Sanitary advantages of 10 Alabastine, To varnish.. 23 Alabastine? What is Alabastine, Samples of colors nexttit'e B.ithroom, Tiling for 24 Best work. Fine stippling for 13 Blend, Ceiling to Y) Blend, Frieze to 11) Brick painting .3;* Brushes U Brushes, Alabastine non-injurious to 34 Brushes. Care of 3t Blushes, Price list of last pajje Ceiling to blend I J) Ceiling to canvas 2S Oolop schemes for rooms IS Combing, Tools for relief 24 Cracked plaster, Kepairing 10 Darker shades. Stippling for 10 Directions.. 12 Directions, Follow . 11 Directions, Special 20 Filler, Alabastine aa wood 37 Filler, Liquid 31 Fillin^^ Oil 2d Frieze, To blend H> Homes of health and beauty 22 Intermixing tints Id Introductory d Lime, Look out for 35 Lining !•> Mistakes 11 Mixing for one coat 12 Nothing similar oiimiing ae Old ivory xrhite - .... 28 Old work, Kecoiiting... 13 One*0(iat, Mixing lor 12 PaiDtiiiK bii'.'k 82 Painting wall, Prepaniliun for 1(5 Paint Preserver 82 Priming for shiiiL'le roors 88 Kecoaliiig o'd work 18 Relief coniMng, Tools for 24 Kelief ouitius m Relief work 29 R«'lief work. Sjiino'es of 92 Repairing cracked plaster 10 Rooms, Color schemes for 18 Rosette tiline 25 .Sanitaiy advantages of Alabustine 10 Second coat. For 13 Shingles, I'liining for 8.3 fe'tiiiniug, Flati washable 20 ShiMis, To liide, with dry color 34 Stains, Will Alabastine cover water 34 Stencils _. 14 Stencils, List of nice work with 80 Stencils, Price list of 41 Stippling, About 13 Stippling, Fine, For best work 13 Stippling for darker shades 1(3 Stippling under paint 10 Sponge work 34 Tiling for bathroom 24 Tiling, Rosette 25 Tints, Intermixing 10 Tints, Samples of forty centre pages Tracery work 29 Varnish Alabastine, To. ... 23 Wainscot, Clieap Washa»>le 24 Wall, To prepare for painting 10 Washable finish 23 Washable staining, Flat 20 Wiishable Wainscot 24 Water stains. Will Alabastine Cnver 84 What is Alabastine 9 Whit.s Old Ivory 20 Wood fiUer.Alabajstine as 30 Church's Alabastine, M Dry Powdmr Ready for Usa in Cold Water If) •J") ."J 17 l.i U 13 IJ •21 10 The fctrong shades, 20, 33, 34, 35, 36, 07, 38 are intended for stenciling and fo>> special dark work; also for intermixing. To intermix tints, stir thom together dry and mix with Cold Water as required for use. avoiding waste. Introductory. Tills liook ; .loRiprnod to give Pnintors nml De- corators tht'l)t'.\' it of Koinc things we have learned u'latinK to inti'iior decorating. Having spent liic past f|uarLer of a century inconstant study and txpei'' .eut i.i this bianch of the painter's art. It is nnr aim t»' increase with the use of Alabas- tine ihedeuiandforartKsticwork, not only in high- class fresio but in work of medium cost by the use of our delif'ale tints in both modest and vigor- ous harmonies. With the growing use of Alabaetine, we have been able to inauguriite a system of modest and inevpensive decorating that is within the reach of every class in the conununity. The decoration of dwellings has been greatly simplified by our system of aids to the painter. The latest of these now in the press is a work entitled "The Home Healthful and Beautiful." Price 10c postp.ud. In addition to the letter press, it also contains iliusfrations of a series of furnished rooms in colors, the exact reproduction of rooms decorated with Alabastine tmts; also a series of smaller samples of walls and ceding sections in tints ar- ranged to suit houses of six, eight, and ten or more rooms. There are also church and school interiors in suitable harmonies. People have supposed that In order to dispense with wallpaper they must have plain tinted walls devoid of decoration, or be obliged to send away for fresco artists, and that they could not have special designs made to suit each room, as the cost would be prohibitory. But now with the help of our designs, painters are able to execute artistic work from the cheapest to the most elaborate frescoing, all of i/hich will be fashionable, per- juauent anu sanitary. Wo (It) not attempt to tea«.'h the art of fresco painlin^, for no on^ can becotnc an artist from tht^ reafliiig of books. It takes both experience and study to become proficient in tliat line. But we liave found by our past expeiience that tlie ordinary painter can do much more beautiful woik with the aid we can pive him and bv usiny: Alabastine than can be done with any other wall coating or covering, and at the same time make money and a reputation for himself. This is de- monstrated bv the number of painters who co- <»peiate with us in efforts to make the walls of om- homes, schools, and ciiurches healtldul as well as beautiful. It is also a fact that tlie public are now mor" willing to pay ff>r work done with Alabastine than with other water color mixtures, simply because the luminous appearance of the permanent Ala- bastine tmts give brilliancy to the j«.b. making it show UD better with less work tlian other material. Our aim is to stimulate to a better class of de- coration, to aid the painter to get better prices, and to enable him to reclaim his almost lost art, which has been taken from him by the manu- facturer of wall paper. The workman who aspires to advancement bus in Alabastine a material peculiarly adapted to his wants. The paintings of an artist, like the writ- ing of any individual, are more or less character- istic of the man Just so, work done in Alabas- tine is characteristic of the workman who did it, and if neatly done is truly artistic compared with the stitf ornamentation and endless repetitions of wall paper. All ("harm and individuality is lost when all the amateur has to do to duplicate the artists' work is to procure the same material and paste it on the wall. Alabastine is healthful, which can never be said of wall paper on account of the arsenical poisons used in its manufacture, and the perishable paste and glue used to slick it upon the wall. These readily decay and beconie the abode of hacteria j^hat menace the health of the home. Moisture, which softens kalsoniine causine: it to (lecfiy no that it rubs otf, and that moulds wall paper, allowing it to peel off, does not injure Ala- liasiine which hardens upon the wall with every change of the atuiosphere. Our stencil catalogue has been revised and kept up-to-date by the addition of new designs, and for conveniencehas been kept within these covers. We are always prepared to suggest color schemes and suitable ornamentation for churches, public build- ings and dwellings free of cost, but where designs and working drawings in detail are required the price would depend upon the size and quality of the work desired. We will be glad to have anyone correspond with us regarding the use of Alabastine. To such we will cheerfully giye suggestions when required. THE ALABASTINE COMPANY, Limited, Paris. Ontario. $'^ WHAT IS ALABASTINE V The base of Alabastiiie is made from a white c.ystaline »ock known us gypsum, which is calcined, driving off tlio water of crystali/jition by boiling in large kettles at great heat. This, when mixed w'^h w.itt r, set3, by taking np its water oi crystalization again, i e-forniing a stone as hard as the original; tiiis setting is retarded by oiir ad- mixtures Avhich must be in exact proportions, to hold it from setting long enough for the purpose, without changing its textu e or stv^ngth. The base, in setting, absorbs these nnxt'ues, forming a mass harder than the original r.)ck, that will not disintegrate as soon a* the rock itself. This base from which Alabastine is made, pre- pared as above described, is ground and mixed by a patent process, poli>bing and separating the atomic crystals, and these ai-e tinted by automatic machinery, and pure colors only are used, and not enough color to hide the lustre of the ci-ystals. The tfxture of Alabustme on the wall is due to this crystal base made and combined as above ex- plained po that the coating is iu reality a crystal, or semi-transparent coating, though it appears opaqut. to the naked eye; when minute crystals are separated and examined under a poweiful microscope they are seen to be transparent, while other small particles of white materials such as chalk appear black when examined in the same way. The whole is intimately mixed and perfectly proportioned by patent proc'>ss. These machines and processes are mainly the inventions and patent. 1 of M. B. Church, arid are not only on tbi- the machinery, but tl'e compounds and processes of making and using, he having been granted moi-e that fifty patents. NOTHING SIMILAR. No other compound made has any right to claim (hat it is ev»D similar to Alaba^stine. The Sanitary Advantaues of Alabastine Are iinpo»"(",ant, it being a pure, porous, non-decay- ing stone-like surface ; does not decay and allows the air to pass through it readily, consuming or burning the germs of disease that sooner or later lodge in the walls of living rooms, and I'emain un til they prop-igate and become dangerous, if thet lodge in a sui-face that will act as a culture ground as with animal glue, flour paste and paper, and ii the air is excluded bv materials of such an ob- structing nature. The Michigan State Board of Health in years past made considerable effort through Prof. R. O. Kedzie, who was then presi- dent of the Board, on this subject of san'tary walls. The State published a book entitled "Shadows from the Walls of Death,'' and placed it in all the Public Libraries of the St.ite. The Professoi lectured on the subject, illustiaUng to his audience by means of a blow-pipe, how readily air passes chrou^h mortar when it is simply white-washed, and how the passage of air ("wall respiration ") is obstructed by painting, kaNomining or papering. Noticing that these efforts had been made, we called the Board's attention to this material. After investigating it, the Professor indoi'sed it in strong terms; and now, after the members of the Boai-d have used it many years, a paper was reaa in one of their State sanitary conva^tions, and waa printed in a supplement to their a:;nual State Board of Health Report for 1888, recommending only Alabastine, and telling why the old laetLods are unsanitary. The U. S. Department of Aorriculture Bureau of Chemistry in their annual report of 1904, deal with the subject of arsenical poisons in wall paper and cite many instances of such poisoning from both new and old papers, showing thcit the arsenic was tiot limited to greens but might be found in any tint. Alabastine Pays the Painter. L& decorating a room with Alabastine, the cost of the materialii small in proportion to the coat 10 of the labor. For instance for a room that would be worth $15 to decorate with Alabastine, the painter would fi;et about $12 for his labor, aud the Alabastine would not cost more tliJin 83.(jO Wherein in decorating ar(K)ni with wnll-paperthe painter gets one day's woik or less, and the dealer IS the one who niakes money. You can make dollars where you now make dimes, if you replace paper with Alabastine decorations. Follow the Directions. Painter8»who do not read directions make mis- takes, and then condemn Alabastine because they do not succeed in doing good work. We claim greater covering qualities for Alabastine than any alsomine, but we could hardly expect to do first- class woik when mixed as thin as water. As it is always ready for use by mixing with cold water, there is no necessity for anyone to mix more than can be used in five hours, and there will be no dnugei of its rubbing off or rubbing up. Some of the mistakes in using goods are — 1. Letting it stand over night and trying to use it next day, 2. Putting it on over green or damp jilaster. 3. Rubbing up first coat with a stub of a brush in putting on second. Use fjood brushes if you would do good work. See Alabastine Brushes ir index. 4. Adulterating it with coloring matter, trying to change the tints, thus spoiling its lust: s well as its texture, 5. Putting glue size in or under it. 6. Mixing too thin. This is most likely to occur on non-abcorbent surfaces. 7. Not removing old kalsomines from the walls before using Alabastine. 8. Leaving old paste on. after removing old paper, then putting Alabaetinr on such 8tu£u t! 9. ViiinishlnK Alabasline without carefully siz- ing as we direct. See regular directions to avoid above mistakes. DIRECTIONS We Kive below some brief directions V>y the aid of which any one can do nice work in plain Ala- basline tints or white, mixed in cold water. Fill THE Chacks First, or have a little mixed thick to work in large cracks with the same brush as the surface (ont is applied. For quick, cheap work the brush may be touched to some dry Ala- basline to fill cracks. All old kalsomine, etc.. musfbe entirely removed from tlie walls before applying Alabastine, to get a perni;ment conting. Old coats of Alabjisline or oil paint are all right to put Alabastine over. Mixing for One Coat Work. To mix for all wor!-,, stir one full nieasure of the dry Alabastine in one-half the measure (not more) of cold water. Slir thoroughly until smooth and free from lumps. Before thinning it much, try it on the surface to be u.,ed on, and if it does not spread well, add a little more cold water at a time until it does. It should be used hs heavv for first or one coat work as it will soread well ; then in case a second coat is iequir*^d,*a good body is formed to receive it. Bi'ing cold it is not so heavy as it appears, as is the ca.-e with any jellied mixture; it is often therefore used too thin to cover with one coat r r to staVid the brush when a second is needed. Do not use Alabastine after it stiffens from having been mixed too long, nor add fresh mixed to such. To get the b.'8t result the mixed Ala- bastine should be used within five hours, and when mixed thick for relief work only about one hour. For a Second Coat The second coat Bhould be used comparatively thin except for stippling (about one cup of water to one ot powder, mixing thiok at first, as above); and if the first coat is not too thin, it will not rub up in applying the second. Re«coatinQ Old Work. For re-coating over old Alabastine, brush a coat of water on tbe old coat, and cover it before it dries with one coat of Alabastine mixed heavy ^about one cup of water to one and one half of Alabiistine, mixing heavy at first as above), and one coat will produce good work, and any change of tint desired. Fine Stifpiirig, the Best Work. It is donewilhan oiuinary wallstippler, and can be done in I'eu uf a brush with a piece of plush — Moquette caipet is the best — fastened on a block, say 3 x 6 to 4 x8 in size. A piece of wood fastened to tlie bat k lA ll.e block is a help in the way of a handle. It is best to tack the Moquette carpet on the block, letting it project, say one-half inch over the tdges <.f the [>lock to leave the edjjjes flexible. These stipphrs can be scraped out occasionally while using and very easily washed when through or to change tints, and they are very cheap. Very frequently one coat of stippled work will cover well, Itutbettei work will result if a priming coat is pi;t on first, as this will form a back ground so that the tint will be seen in its full strength solid and uniform. About Stippling. Painters understand what stippling is. Still we Are sometimes asked to explain how it is done. To stipple a wall begin atone corner, and coat a space witn a wall brush, from twenty inches to two feet square; then with the stippler strike the wet surface with the flat face of the brush. Tbe ends of the bristles will pick up and distribute tbe Ala- bastine eyenly, as the brush is worked about over 13 the wet surface. Draw the stippling brush acrosa the sharp edge of a board occasionally to prevent its becoming clumsy by getting too heavily li>atled. The stippling will be light or heavy in high or low relief according as the Alabastine is mixed thm or thick. Astippled wall in AlaVKistine tints has theappear- ance of plain or ingrain paper, but with a bright lustre that is characteristic, of Alabastine only- wall paper or kalsomineare dull in comparison. Another etfect of stippling out is that it obliter- ates brush marks that can not very well be avoided in coating. On clean surfaces so great are the covering properties of Alabastine, that in nearly all cases only one coat is necessary to get (irst- class work. In stippled work the .light is very much softened, and there are no harsh reflections to show up defects in the wall. For blended ceil- ings, panels, and frieze grounds, the stippler is aliflost a necessity to work quickly and cheaply. A Stippling Brush fuch as we sell is made to fit the hand, the face of the brush showing the ends of the bristles is flat. iix8 inches in size Every paint shop should have a pair of them. For price see index. Brushes. Without good tools no workman can get the best results that can be produced with any niateri -L Our seven-iiich kalsotnine brush, made to order is especially adapted for Alabastiniug. We do not sell them as a source of profit to us, but to make it possible for all to hive a good tool 'o work with. When ordered lo uo by niail remittance must include 15c. extra for postage Fen- prices see indev. Stenciling. Is best done with a lound or oval paint brush 6-0 or 7-0 in size. Put a plug or cork about the size used in an ordi- nary quart bottle in the centre of the brush. Then bind the bristles tightlv about two-thirds their length. This will make a first-class siencil brush. 14 The directions of the openings of the stencil will govern to some extent the manner of briiahiug, so as not to work too strongly against the edges. Do not-, have the brush too full. Do not pound the brush apainstthe surface as requiied in oil colors, but work tlie arm freely up and down or across the surface keeping the wrist stiff. These hints will be better understood as they are practised. Liuiug. More or less lining is usually done in connection with stencil work. Every painter should be able to run bronz(4 or color lities. For lining in bronze the tools required are; — A small strong twine JMidapiece of c'.}arcoal with which to color the line f'U- snapping to indicate where to run the bronze line. When the line is snapped, surplus charcoal ■-hauld be dusted off. A very fine line in bronze or color is best, and is the easiest to make. Procure a tin-boiind artists tool or fitch one-half inch wide.with bristles about as long as brush is wide, and one-eighth of an inch thick or less. This used edgewise will run a line less than one-fourth of an inch wide. A straight edge with one edge beveled so that when it is held along the charcoal line the sharp edge is away from the plaster. To use the lining brush, grasp it between the point of the thumb and forefinger at the extreme end of the handle, fiat side of brush againststraight edge and move hand steadily drawing the brush edgewise along the straight edge. For gilt lines use dry bronze powder mixed w'.tli common mucilage to a thick paste, and thin with water in the proportion of two of water to one of mucilage. Keep it stirred. A very small quantity will line a room. Bronze put on this way over Alabastine will not tarnish, and looks nearly as well as gold leaf. Use aiuminiuu the same way. If portions of the line dry dead without gloss go oyer that part again. 15 Repairing Badly Cracked Plaster With Alabastiue. AlMbastine sets without shrinkincr, as explained above, and when mixed thin i^, is brushed into the cracks, hlhng and cementing, making the walls wlu.Ieagam. To fill the very large crack., thicker Alalmsf i.ie is kept m readiness to work in as the coatmg proceeds; and where patches are to heputia li.-.K'a i"" ^l""*^ '>y /"ixing i dissolved Alaimstme firm atch '' ^'''" ""^^ quickly and make a To Prepare a Wall for Painiiug. dnH'.t?. 'n;'^''^'Ttions call for pain t and the people i Z n ^''"^ »^V';"Jf'iKt>s of using Alabustine in- ^to.irl, tlicn p.ii: Alabastine under the paint- 'his S:rri^''\r'"'"''' ^ '^"••'^^^ with goo/l OH 'paint l^ist, the !i the second coat will stauci out even all o\er the wall, and seldom needs a third coat of pa int. STIPPLIVO U.VDETt PAINT AXD FOR DARKER SHADES A good effeft can be produced by first stipplinff the wal with Alabasrine (line stipplb.j.), anci il "§ go'xl dead fi.ush. This is often done when people want DAKKKH SHADES than our Alabastiue makes- and js bcfter than to nut much color in AlaSstine o darken it. \Ve ha .-e found, however, that t h.^e eopio who think they want darker shades, will be better satished with our delicate tints, ii proper combinations are made. piopei Intermixing Tints. fh^T*! '""""'"^ »-^'i"ind the fresco painter here again, that he is expected to exercise his skill, these to dobvaddmg colors to white and this way is the more convenient and accurate, can be matched agrua bv and keeping a recoid of the proportions ,"n.! « • 4*<^'«ts have customers who appreciate hav- ing original tints and those not used Tby any other customer. ^ v«»» H By intermixing our tints, each one of a thousand <;ustomers can have a special and beautiful tint on each room, and tlie artist will have more than a thousand other good combinations for as many other customers. Take four plain primary shades, Nos 18, 12, 14 and 13 (black, blue, yellow and red). 1st. He can mix one cup of No. 13 and three of No. 12, making a peiirl tint ; very simple. 2nd. Mix one cup of No. 18 and one of 13. 3rd. Two 18, two of 13 und and one of 14. 4th. Three of 18 and one of 13, 5th. Three of 14 and one of 18. 6t,h. Three of 14 and one of 13. 7th. Two of 18 and rne of 14. 8th. Four of 13 and one ot 18. 9th. Three of 12 and one of 14. 10th Throe of 13 and one of 12. Now we have made ten beautiful shades from four of the most simple ones, yet we have not givv^.' a oiie-hundreth part of the nice combinations possible fr«)in the four shades. [Note. — A croud painter, when once acquainted with Alabastine effects, to appreciate the highest possibilities in delicate shades and combinations will advise using about half white in all these com- binations we give above] Each shade can be du|>licated at any time, if a record is kept, as every painter should do, of each room he decorates ; having a bookforthe purpose. By combining the mixed tints more delicate and complicated tints can be made than the ten given above. For example, see the Forty Tint pages Mne Combinations. Fresco painters, who wish to produce beautiful shades for fine d<^corating, can use Nos. 20, 21, 13 and white With these colors alone tints in- numerable, ranging from the strongest to the most delicate shades, can be produced which cannot be duplicated by others who do not know the exact proportions used. A record of the exact propor- tions should be kept, so that they can be duplicated at any time. If Color Schemes for Room^ The number of harmonious combinations that can be had with these tints is practically uDiiraited. The selection we pive will be found useful. The diaf^ram below is for the benefit of those who wish to use our selection and who would not otherwise understand the technical terms we use for the various parts of the room. We first describe a room combination in which three of our tints and white are used and that has a ceiling field, style Meze, wall dado, and an all over pattern on dado. 1st. Combination; TakeNo. 15 and whfte (mixed) frr the field (see diagrauj above,) No. 16 and white mixed for the style that surrounds it. No. 15 and 16 mixed for the frieze, No. 16 for the wall, No. 19 for the dado. If a stencil pattern is used on the frieze use either No. 19 or white and for a pattern or line to divide the field and style use either No. 19 and white mixed, or No. 19, No. 16 or white; to divide wall and dado use white or No. 15or both, a bronze line would of course look well. For all over patterns on dado use No. 16 or any of the other tints used in the room. [Note— When we name two tints as for example; No. 15 and 16 mixed we mean in equal parts of each both in the above and following combinatioiis.] (8 To Blend a Ceiling. As Rotfie of the room combinations have blended work in the field we here de8criV)e the easiest method to do this and obtain a perfect blend. For example sav it is desired to blend from No. 14 (cream) in the centre of field to No. I ^old blue) at the margin. Mix each tint in separate dishes. A wall brush and stippler are the tools needed for best work. Coat a circular space in ihecentrr with No. 14 and stipple it, then add half aeupof No. I to the No. 14 mix and coat a narrow strip around the previous work then add anolhor half cup and so on until the margin is reached, increase the quantity of color added toward the margin if it is necessary to secure the depths of blue and finish with the full tint No. 1 in the corners. The blending is much improved by stippling, being careful to go around wi^h the st'ppler the same as the coat- ing goes, instead of back and forth from one tint to the other any more than is necessarv; mark one end of the stippler and keep that end towards . h» centre of the ceiling. If the work is done with a wall brush but with out stippling then be careful to brush in towardi the centre in laying off; the result will be a more perfectly blended ceiling than can be made with paint or other fresco colors, even if just as well distributed as such material cannot respond to the dainty delicate shades of changing color produced in blending Alabastine. To Blend a Frieze. Mix up each color in a separate dish sufficient to go around the room. Suppose the frieze to be eighteen inches wide and that one tint is darker or stronger than the other, a brush is needed for each tint; take the light tint and coat a yard in length and fully two thirds of the width of the frieze lay on the color freely to overcome suction. Then take the other brush in dark color and c»at the remaining third and use this brush to blend into the light tint and the middle third of the frieze, repeat this around the room while the colors are wet. work should begin at a corner. (9 If the frieze is to have a pattern stenciled upon it stippling may not be a necessity, uut stippled woik is the most beautiful, if only one stippler is used keep it on the strongest tint the same end up as on the ceiling, but two stipplers one for eacn tint make perfect work a very simple matter. 2nd C'umbination, a Pink Room: Take No. i and whi<« mixed for field, No. 5 for stvle, No. 4 and 5 (mixed) for frieze ground, >'o. 4 for wall, use white for line be*^ween style and fleld, and below frieze; if the frieze is left plain it will appear to be blended. 3rd Combination, a Pink Room: Ceiling No. 5 frieze blorded from No. 4 above to No. 5 below, No. 4 for \ kI\. Stencil decoration on frieze in No 35, or the frisze may be made by mixing No. 4 and 5. 4th. Combination, Fawn and Straw tints: No. 17 for ceiling. No. 19 and white mixed for frieze. No. 17 and 19 mixed for walls, use white for divid- ing; lines. Use thin bleached shellac for stencil on frieze or on wall below frieze. 5th. Combination, Cool Grey Room: TakeNos. 17 and 18 mixed for ceiling, No. 18 for frieze. No. 18 and 1 mixed for side wall, for line below frieze or stencil on frieze use No. 17. (Ml. Combination, Buff Room: No. 17 for ceil- in>.% No. J4 for frieze. No. 15 for side wall, for line beiow frisze use No. 12 or bronze to stencil on frieze iise No 12 or thin bleached shellac. "(th Combination, Grey Room: No. 17 for ceiling field. No. Ifor style, No. 5 for frieze. No. 18 for side wall. To divide field and style use either bronze or No. 18, to divide wall and frieze use white, bronze or No. 16, stencil frieze with white or No. 16. 8th. Combination, Terra Cotta: No. ISforceil- inar, No. 16 for frieze. No. 13 for side wall, use white or No. 18 for lines or stenciling or use both bv making the first inioression or pattern in white then stencil again with No. 18 shifting the stencil pattern one fourth inch downward or to the right the result will be a uniform white high light behind the design resembling hand fresco work or stencil once with Nos. 20 and 36 mixed. 20 0th Combination, Lilac Room: Use either No, 12 and white mixed or No. 12 alone for ceiling, No. 9 for frieze, No. 9 and 12 mixed for walls. Use white or No. 35 for ornament on frieze or to divide frieze and wall. lOth. Combination, Lilac Room: Blend the ceiling field from full No. 9 at centre to 16 at margin. Mix equal parts of white, 9, 15 for styles, No. 9 for frieze, Nos. 15 and 9 mixed for side wall, Divide field and style with either 9, 18 or bronze. Divide frieze and wall with white or No. 85 use either to ornament frieze or both, 11th Combination, Old Blue Smoke: Ceiling Nos. 20 and white mixed or No. 14, frieze Nos 38 and white mixed, wall Nos. 18 & 38 mixed. For frieze ornament or lines u-e No's 20 and white mixed or Nos. 14, 18, 85, or bleached shellac not very thick. 12th Combination, Cool light Blue Room: Ceiling No. 14, frieze Nos. 12 and 14 mixed, wall No. 12. If it is desired to decorate the ceiling, use No. 12 and white mixed to coat the field. To stencil between field .and style use No. 9, 4, or 18. To stencil between frieze and wall or upon frieze use No. 35 and white mixed, No. i8 or white, any or all of these will look well. 13th Combination, Green Room: Ceiling field blended from Nv». 4 in centre to No. 5 at margin if blend is not required use No's 4 and 5 mixed, Nos. 14 and 5 for style, Nc^s. 38 and white for frieze, No. 38 for Willis, for ornament around the ceiling field use white or bronze gilt lines. To divide frieze and wall use white or bronze lines. Stenciling in white or bleached shellac or in l)oth would look well. 14th Combination, Pearl Grey Room: Ceiling No 17,frieze No. 9 and white mixed, Nos. 14 and 9 mixed for walls. For ornamentation of frieze use lithet white No. 10 or 18 or each one. 15th Fiwn Room No. 15 and white mixed, for ceiling No. 19 and white mixed for frieze, Nos. 19 and 9 mixed for walls ornament the frieze in white or whi(e and No 21. 16th Terra Cotta Room: Nos. 6 and 16 mixed for ceiling field. No. 16 for style, No. 19 for frieze 2t N.) 13 tor walls. To divitle field and style iTse No, 13. Jo* divide t ho wall and friez<. use No. 1.5 or 3T Of both, for an over pattern on the walls or for a. dado Ube No. 87. 17th Combination, Blue Room: No. I for ceil- ing field. No. 18 and white n)ixed for Ptylc, Nos. 18 and 6 mixed for frieze. Nos 21 mid No. 1 mixed for walls, divide fie.d and style with white lines or stenciling, trieze to be left without ornament, stencil to divide frieze and wall or to form a pattern below a picture moulding first in Nos. 19 and 20 mixed then over this in white. Shift the stencil slightly for second impression. 18th Combination, Olive tone Boom: Ceiling field blended from No 10 at centre to full white at margin, N \ 5 for style, Nos. 16 and 5 mixed for frieze, Nos. 16 and 10 mixed for wall. Stencil to divide field and style with No. 16 and 10 or with No. 10 and 16 mixed or with all three? tints. Stencil to divide frieze and wall with \^ hite or No. 35 Stencil on frieze with sani"! tints or with No 10. The field of this mom would also look well in No. 10 an I wlnte mixed without the blend.. 19th Combination, In Green: No. 21 and whita mixed for ceiling, Nos. 20 and 21 for walls, ptencil ornaments at top of wall in No. 85 Dado tint Nos. 20 ind 38 mixed, over all stencil on dado in No 35. 20th Combination, Terra Cotta; Nos. 15 and 4 mixed for ceiling, Nos. 36 & 4mixed for walls. No. 37 ff)r dado oi- lower wall, over all patterns on dadc in No 34, divide tints with either a bronze, black hne or moulding. 21st Combination, Ceiling: No. T7 and white mixed for ceiling, frieze blended from No. 17 to No. 10 and white mixed at bottom edge, Nos. 9 and 4 mixed for walls, frieze stenciled in No. 35 and 38 mixed. Homes of Health and Beauty. Many of the Couibinations we have here given may be seen as they will appear on the walU of the room, bv writing us for our book "Homes of Health and Beauty" and encl(»sing the price 10c. This work is now in the press and will appear n about November lstl9()6 In combination 'with our "Decorators Aid" it is not only the best but the most practical work on iuterior sanitary decoration that has ever been published. The work costs us more than the price we charge for it and is an invaluable aid to the painter. The illustrations not only give the tints in suitable combination for Hall, Libraiies, Dining rooms, Bed rooms, Kitfhen and Bathrooms etc. b"t also for school and church, with suitable decoration in stencil work that can be reproduced by any one caoable of doing good plain tinting. We avoid showing elaborate fresco designs preferring the simpler color harmonies, to which the Alabastine tints so readily lend themselves. The demand for this style of chaste and simple inttrior work is Vdv great, so much so that the painter of today has no need to be a slave to wall paoer, he can if he wishes to do work more desir- abie, artistic, sanitary and profitable To Varnish Alabastine. Use very fine white glue or izinglass or gelatine not very strong as it is preferable to size lightly and go over the surface twice to ensure that no spot has been missed. Two ounces of glue to one quart of water is quite as strong as it should be made, soak the trlue a few hours when it melts readilv. Apply with a soft brush going quickly over the surface to avoid luiiving the Alabastine, reduce the size for the second coat, have the work thoroughly dry before recoating and let it stand five hor.rsbef.ire vai-nishing. If a gloss is desirable use a light "Hard Oil Finish" this dries quickly. Very heavy stipple or crinkled work and combing looks well ".mder varnish, plain brush work does not look well; it should be stippled to take out brush marks. A Flat Washable Finish. This can be produced in two ways The first of these is to size as kbove then apply coat of "Flat Varnish" which can be had of any pamters supply 23 • house. The next process which we prefer is to apply a coat of bleached white shellac. This must be reduced. Take one third ordinary white shellac and two thirds alcohol, apply freely going over the surface but once. This will turn the Aiahaotine several shades darker nearly as dark as when it is wet. There is no better methoi to E reduce a suitable wainscot or dado in Bath room [all or Kitchen . For lining stenciJ'ng or shading upon Alabastine, White Shellac is very useful and always "looks just right. ' Another Cheap Washable Wainscot or Dado Can be obtained by applying one coat of oil paint over the lower part of the stippled wall, if the paint is mixed to match the dry Alabastine exactly, when it is applied it will turn darker but not as dark as the Alabastine is when wet. This will harmonise with upper wall and is acheap and quick method of getting a solid flat washable and stippled surface. If a gloss is desired varnish it. Alabastine Tiling. FOR WAIN8COTTING8, BATH ROOMS, ETC. For tile, niix in about the proportion given for medium heavy stippling or crinkled work, not heavy enough to draw out sharp points. For plain crinkled tihng, put plenty of it on the wall and crinkle it with a smooth block and line it off in the sized squares desired, before the Alabastine sets When this is dry apply a heavy coat of clear varnish, then take a little color (any fine color de- sired in oil or dry) mixed with varnish, and apply a verv little of it to one corner of each tile, vary- ing the amount nf color • then betore it sets, brush it out, which will blend out the color and leave the tops of the raised portions lighter; this colorinsT must be put on before the first coat of varnish sets The workman will soon be able to get a nice effect in this way. The varnish must not, of course, beapplied too far ahead of the color Use only the best quick-drying varnish for this purpoM. 24 The best white hard cil is preferable, but good light hard oil will do very well, except for verv light tiling. Coach varnish will not do, except when the Alabastino surface is first prepared, eu9 for varnishing light work. B08ETTE TILINO. Is made by first crinkling (as above) and then ornamenting part or all of the tile asfollows: Take a round brush that will spread in all directions from the centre when pushed against the surface (these bruslies may not be obtainable in every place, and for the present we furnish them). Fill one of these brushes full of Alabastine and push it against the tile, while the crinkled surface is soft, and draw it b"ck slowly. This forms a kind of flower, resette. One of these may be put in the center, or more, enough to cover the tUe, and of course this can be done all over the tile, and on all of them without crinkling first; the varnishing or a flat washable finish Ts done as usual. Tools for Relief Combing. For combing the ordinary steel graining comb is good, taking out every alternate tooth for coarse <;omb'ng. Inclinethe comb forward as it is drawn, to prevent cutting clear through to the wall. By giving the wall a plain coat first, then a coat of thin white shellac, the comb can be made to cut clear through to show the undercoat, which the shellao will make darker. Combs mav be made of wood or metal by hand, or from a slice of potato or turnip, that will answer for the purpose nicely, as they need not have long teeth like the steel comb. To enable OXB MAN TO COMB A LAROB 8PACE ALONB apply the heavy Alabastine a little ahead of the combing, not enough to let it dry, then pass a brush over it with cold water just ahead of the combing; this will make it comb smooth. On some walls a coat of water ahead of the Alabastine is a help for heavy work, but if the wall has much •uctioD it must be penetrated with an oil filling* 25 Flat Washable Staining. First put on a coat of Alabastine and comb or stipple, etc , then, when diT. stain it with flat Copal varnish. The Alabastine tint l)ehind the stain T^ ill sho\^ through with a lustre, producing a beautiful flat effect and ye^ washable. This is the way to get stonger color effects than on the Alabastine tints, where they are wanted in nice work and where the washable effects are wanted. Any of the ordinary colors in oil or'japanor dryer may be used in the varnish. This is a good way to u)ake the lower part of a wall or a dado washable. OLD IVORY WHITE. ^ Put on the combed or c-her raised work, and size as for tileing, then when dry rub on a very little oil color, preferably with a iittlo varnish in ; it is worked as a grainer would rub on graining color, using a very little in the brush, then wipe off the surface with a cloth, leaving the indenta- tions lightly shadt-d but without a surplus to fill them. ^ If a gloss is wanted apply a coat of varnish before it is entirely dry, rubbinjr it out of the in- dentations as well as possible with a itrush. The mistake most likely to be made in doing this work is to get on too u.uch color ; the brush that applies should be ahnost dry. When this is done with >ut the varnish we call it satin finish, and can be washed as well as ordinary "oil fresco colors." Another good way is to use white sh«llac on the Alabastine direct without the filling, if pure white is not w.inted. A dead washable surface is made in this way with flat varnish, stained with any color desired. Oil Filling. Penetrate the wall with oil and a little japan well turpentine, if necessary to stop with thinned suction. Agiin we call attention to the beauty of light shades, soft tones and delicate contnists as de- scribed on other pa><es. Painters are likely to think that people want striking contrasts, that is, that they should select a tint for stenciling, etct 26 that will show prominent on the ground work, but it has been found that people are better pleased where tints are used for •that purpose that are nearer like the tint of the ground they are put un, though the painter might like to display his tacite in contrasting colors and have them more proriu- nent. Alabastine is Fire Proof tor FactorieSt And is an excellent and cheap material to ccat the interior of factories, as the coats can be repeat- ed from time to time on wood, or sChy solid surface as long as desired, if applied light and according to directions, without danger of scaling off to fall on machinery, etc., and is always ready foundation for painting on, should it be desired subsequently to paint the interior of the building. Special Directions. Plain Alabastine work is very simple, but direct- ions must be followed to get the best results, and in addition to regular directions we have this to say: Do not try to use it after it has stood over night, though it might remain soft, as there is not one time in fifty that it retains its strength that long. Notice what is said on other pages about mis- takes. (See mistakes, in index.) To get gest plain work, brush it out, do not leave it flowed on with a sweeping circular motion as with kalsomiiie. Use the first coat as heavy as it will binish out smoothly, so that the second coat will not cut through (it tv ill stand more brushing than painters' water mixtures). Always use the second coat as thin as five and one-half parts of water to four of dry powdler. More water can be applied if this does Dot work easily under the brush. Always use the coats as th'n, in all repeated coatings after the first found- ation is laid, as it can be and cover well, to f^et the most durable work for repeating from time to time as long as desired to keep the building in repair, year after /ear as long as the wall aHnds. 27 Oive it a chance to dry by circulation of air as soon as it is applied, and not have the room too hot while applving. Bear in mind that in giving these specific instructions to get perfect work, we do not want it understood that this plain Alabastma woilc is any more intricate than ordinary tinting that painters do with their mixtures or as much so. A good kalsoininer wlio produces the best work possible with his kalsoniine, takes more precaution than we do and then gets, in most cases work that is unsatisfactory to himself, while with Alabastine he should always get good work, with proper cAre in following our directions, except in cases where walls are are so rotton stained and imperfect that nothing can make them new again. Although Alabastine will cover more stains and dirt and work better over old kalsoniine, etc. than will t'.ie water colors painters mix, we do not re* couituend using it over such surfaces. Badly stained walls should have the stains killed first, the suction stopped, etc., to get the best results foi plain work, as well as heavy and elab- orate work, as explained on other pages. All old kalsomine and the like should always be taken off before applying Alabastine, as it will make a permanent coating when properly handled with no old or temporary coating netween it and the original wall. Again we say, never put glue t'^e under it or in it. TO CANVAS A CEILINO FOB AI.ABASTINB. Where a ceiling is made of wood and in too bad a condition co paint or till it or to cover the joists instead of boards get some chea|) muslin, sew it together the size of the ceiling and fasten it on the outside edges of the ceiling only, preferably with a little quarter round luoulding'to cover the treks then coat it with Alabastine, white or tinted, and if this is done in plain brush work, it will be hardly possible to tell it from the plastered ceilings ; the centre will sag slightly but will not be nolioM from the floor, as the sag will be even. 28 Relief Work. ' Church's Gold Water AUbastine is well adapted for the various kinds of relief work, such as comb- ing, stippliuKt flower work and modeling, and much more oeautiful work can be done with it than with lead and oil and far clieaper. It is a well- known fact that relief work done with lead and oil and the various compounds made by painters take weeks to dry, to say nothing of the time spent in repairing them to work with. This work done with Alabastine leaves the room free from injurious smell of lead and oil. which prevents their occupancy for a long time after the work is performed, and the cost of the material is very much less, and the effect far more beautiful. Probably the most beautiful raised work done with Alabastine is what is called TRACBRY WORK For ornamental frieze or ornamentations on ceil- ings that are usuallv done with fresco colors or with gold. It is easily done with an air gun, such as is used for squirting insect powder with, and can be bought for ten cents in any drug store and with a little practice one can do this work nicely. Alabastine should be mixed — two cups of Alabast- tine and 0"*> cup of cold water stirrJ.'d until it is smooth and even, or strained thiough a wire cloth to remove all the lumps. ^ A bag syringe does very nicely for this work but is more expensive than the insect powder box. The patterns used in doing this kind of work are prickea through paper and conveveyed to the wall by rubDing over the pattern with a small cloth hag filled with oowder- ed charcoal ; or in other words, is [touncea on the Wall precisely the same as fresco jpainters apply Iheir patterns to the wall. Some of the most beautiful friezes can ne made in this way, especially where the background is blended, using lighter colors for tracery work. This can be done by anyone who has had a little f>ractice as rapidly as the ornament could be out* ined with gold or colors. It is not expected that 29 amafpiirs will attptnpt this elaborate tracervwork but fresco iiainteis aiul those who have a taste for tliiskiiiil <1 decoi'atioiis willflnd this style of orna- njentfiiioM not only jittractive, but more profitable to them th;«ii to follow the old style of ornament- ations used liy men not up to the times. Relief Outfits. Our Alabastine relief outfit consists of a rubber buib fitted with five nozzles. Write us for special instructions for using Alabtistine in very high or thick I. uib relief ^\ork. How to do KlJic Work with Stencils. r.iinters who have never used stencils are apt t'l make | oor work because they do not have trie ripbt kind of brusues. The best brush for stencil- in;^ Is a medium-size pound brush, which should be bridled, and kept exclusively for this work.. Sirall bruslies have to be dipped into tlie color frequent I'', and in cfjusequenctj a'-e apt to smear the edges. Mix Alabastine for stencilinj^ a little thinner than for ordii.ary wall-coaling, as a thin coat will show np well, and closely resenibles hand work. Saturate the brush well with color, and thoiouTThiy wipe it out before applying to the wall ; do not bear tf)o hard on the brush, btit coat over the stencil lightly and quickly, and with a. little practije even an amateur can do good work. As a Filler for Soft Natural Woods, Do you wish a firsf-rlass imperishable filler that requires no ruhbinji olT? Such is white Alabastine if mixed as follows. Mix one pound of Alabastine in one pi.t and a hnlf of water. The reason it is mixed so tliin is that it IS not needed on the sur- face but in tlie pores of the wood. Pine, popla.r basswnod dealsUalsamand woods of such character or what we call soft, the grain of these will not he- raised bv wetting with Alabastine. Mix as above and anply an even coat to nil the \«ood work tobe^ finished. The work will turn solidly white and to the unsophisticated e>e will appear to be ruined for natural finish. 30 As soon as the Alabastine ia thoroughly dry it is ready for thn next coat. If a cheap Varnish finish is required coat the woric \vith a coat of pure boiled oil or a mixture of oil and varnish. This coat will cause the Alabastine to totally disappear and the oil will sink out of sight also. When this coat dries thoroughly it will bear up the finishing coat of varnish and give an even gloss, the end wood of tne doors will be just as glossy as other places, all will bear up alike. Stioald the soft wood require to be stained in oil Cherry, Mahoo'any or any of the Oaks, the value of this filler will be apparent as the oil stain will TAKB EVENLY, as the suction will be the same on the end wood as on the face of thedoorand all will come out an even depth of stain and the usual cheap looking pine growth will not appear. A great saving of time, stock and labor is effected the result is also a superior quality of work. In all exterior and interior painting Alabastine if used as a filler will be found to produce smoother and more enduring surfaces. If used in connect- ion with other pure paints, its w^rth is just as apparent in an expensive residence as on badly perished clapboard surface. A Liquid Filler, Best in the World, to be Rubbed Off. Take equal parts by weight of a package of white or No. 17 Alabastine and pastry i-uller process flour of the very best quality. Mix them together dry and we have ten pounds of the base of our filler. What vehicle it is mixed in depends on how soon the work must be finished up, If for an^ ordinary job of oak or chesnut filling, a house pamter would mix it to a stiff paste with oil and a little drier and thin it with turpentine or benzine. It would be brushed on the wood and where it bloomed to the right stiffness would be rubbed off clean; what i-emained in the pores of the wood would be allowed to harden for several days before varnishing. When it is used on some grades of furniture, chairs for instance it is mixed 3( in a quick varnish thinned with benzine. One man brushes it on, it is passed to another who at onoa gives it a rub down, another at once applies acoat of shellac, when it is immediately haired down varnished and sent upon the earner to the stock room, finished in a lew minutes. This filler will never dissapoin^ you it is extensively used and we have never known it to fail to give the best re> suits on all grades of work. The Paint Preserver and Filler. Alabastine, if used according to directions and the precautions here given, will, with one coat of PURK OIL PAINT over it, make a more durable exterior painted surface than two or three coats of the same paint alone. One coat ndakes a dead finish and the second coat over it alwavs stands out. It requires two light coats of light-colored paint to cover over it. The Alabastine must be used very thin and the first coat of paint must be very thin over it to supply it with oil. If used in this way ic makes m. very superior floor paint. Note. — We have to repeat these precautions about priming. If it is put on too heavy, if the paint over it is an emulsion or filled with dryer, o^ if the paint is put on before the primer is dry, iC will not prove durable. It makes the paint wear much longer than the same paint will without it» and BFPKCTS A GRKAT BATING, especially on old rough wood buildings, shingled roofs, brick, etc. Brick Painting. A perfect imitation of red pressed brick is made by applying a very thin coat of No. 36 Alabastine to brick and then when this is dry apply a thin coat of Led in pure linseed oil, and preferably about one-tenth turpentine or naphtha to cut it to make it penetrate. It will not take half the paint to cover the brick that it would without this thin coat of Paint Preserver under it; the paint is ab- 32 •orbed and flattened, producing what has never 'been made before, i.e., a dead finish where pure oil paint is the last coat applied. This not only maKesa very cheap finish, but a more durable and better-looking pressed brick finish than can be done with any number of coats of paint alone and can be completed in one day. This coat of preser- yer must be allowed to dry out well, however, as the oil in the paint must go through it to be dur- able. If the brick is porous, as is usual, thn Ala- bastine should be used as thin as one measure of powder to two of water; then the paint must be as thin as it will cover over the red Alabastioe. It may be necessary to have a little Alubastine mixed thicker to brush on the hard brick that are UEunlly found in all brick walls, so hard that they would not tAke up enough of the thin coat to absorb enough oil from the coat of paint to deaden it. We have a number of brick buildings paintei* in this way, that have stood five ysars and seem to be as good as over and with the same rich lustre in their dead surface. Where light painting is to be done, such as yellow brick or white, where it ia usually desired to have the paint stand out it will require two coats of paint; the second will always stand nut well, where good lead paint are used. Emulsion paints should never be used oyer Alabas- tine, neither the flat brick paints nor the quick dry* ing paints, such as are sometimes used on floors. A light coat of Alabastine with a coat uf pure oil paint over it makes the best floor paint possible. Priming for Shingled Roofs. Alabastine, the paint preserver, applied to new Or old shingled roofs, very thin, with a coat of Venetian Red or any mineral paint in pure linseed oil, being careful to use plenty of oil in the oaint has proven to make the most durable roof paint and much cheaper than any other way of paintin|( the roof in oil. They should only have enough in the shingles to flU them, not to make a solid coat on the top of them ; it should at least be as thin as two measures of water to one of the preserver. 33 Manyhava found that an old root ^wmed to leak worse after paintinff than before { this comes from the fact that tbe shinicles, having been paint- ed with oil paint when curled and checked bj* heat would stay in that position when wet. . When they are coated with Alabastine in water, as described, it flattens them down the sama as the first shower does, closing the little cracks, etc., then when this coat dries it holds them down until the oil is applied, which prevents them from re- turning to the old position. Care of Brushes* It is necessaiy to keep brushes clean, that is, washed out, as particles will adhere to the bristles so that they require to be washed occasionally with 8AL 80DA and warm water, and they will re* main flexible and in splendid shape; never use soap. Hot water will damage the bristles. Alabastine is easily removed from wood-work with cold water when it is first done, although it may be dry but under no circumstances should soap be used. Alabastine is Not Injurious to Brushes Any more than kalsomine or any other water color, but they should be washed out after use. They should not be left soaking in water, as it would soon swell ihe wood-work, and when dry the brush would be likely to fall to pieces. Some unscrupulous painters, when asked by their custom- ers to use Alabastine, have reported that it would spoil their brushes. Persons makii^g such state* ments areliable to prosecution and suit for damages. Sponge Work, A very nice effect is made stippling with thin Alabastine in a spouge over plain, stippled or fine- combed surfaces, using tints nearly liKe the ground work. This is a good way to treat a wall or ceil* ing that has dried out a little uneven. Will Alabastine Cover Water Stains? Is a question we are often asked, iind to which ire answer that Church's Cold Water Alabastine 34 win fcp»<r water stains better than any other water color known, but we do not guarantee it always to, be a perfect cur^ for water stains, which are often very trbuolesoaie. Coating them over with shellac generally answers the purpose well; but care should be taken that no dampness remains in tbe wall, or the shellac may come off. 4 Usually coating >over the stains with a little oil paint will answer the purpose very well ; hut what .will answer- on one wall sometimes will not on alnother. and no infallible rule can be laid down. If stains should show upon the newly Alabastined vurface, and they are not of a very pronounced character, they can be made to disappear ia a ver> fiimple manner. The surface made by coating with Alabastine is very porous. Take a small quantity of dry Alabastine the same tint as the surface coated and rub it into the pores over the stain. The dry powder will take up moisture from the atmosphere and fn a short time become permanent. This method of hiding stains can he us<!d only with Alabastine. Painters will appreciate its ▼alue. Look Out For Lime. It Is unnecessary to ^ warn painters against the use of whitewash 'made from lime tor interior decoration. But very few are aware of the fact that numerous brands of dry powder sold under the name of Cold Water Paint contain a large percentage of unslacked lime. This is used .together with dry curds of milk to bind them upon th(e walls. All, such stiiff is liable to peel, and the lime \^ill spoil the walls for future decoration. Painters Who Talk Alabaslm? Have an Advantage. Th« beauties of Alabastine and stippled work can easily be seen on samples of paper, which every decorator should provide himself with to show his customers. Painters who have taken up this line invariably ^et the largest share of the work and are makmg firm friend.s of their patrons, and 95 ( .ave no feu- v« their honesty being taken into question for recommending some material that in a short lapse of time, has to be removed from the wall. People are paying more attentleu noW than ever before to sanitary arrangements ccd construction of their homes and business places, and those who are read up on this subject will not sleep in rooms covered with wall-paper, which is the refuge of vermin and disease. We are always ready to help to overcome any difficulties which may arise in the use of the goods and cordialry invite correspondence that we may he able to advise you. Address, THE ALABASTINE COMPANY, LTD., PAUia. Ont. 40 Tints Made by Mixing equal parts of two regular tints or white, W means white. 21-15 I j i ! i I 17-W 21-9 20-W 2-1 514 9-W 20-38 4-9 1 1 13-10 \M 1 ! 4-W IS-W 1 159 38- VV 15^ 10-21 1 1 The Alabastine Decorator's Stencil Catalog^ue m WItH Illustrations of ReltoT D«coratin^ and useful Klats for practical ^vorRers. 10-12 i^j^^ 9-11 16-18 9-19 l,r\V 18-5 lS-38 10-W 36-4 21-W. 15-20 Ifi-VV 18-21 33-10. 5-17 19-20 20-^t 19-W 20 37 20-30 k4-10 35-a8 mtk CATALCXJUE NO. 6. CMCELUNO ALL F«RMH LISTS. PMCE LIST Alabastine Stencils The Alabastine G>.; Ltd., Paris, Ont. Jfo. 7 9(Oo' li 12 19 31 82 33 35 89 50 53 55 102 103 104 105.... 106 108 110 115 116 {Jtm0 In Inehes.) ner Piece)., ••••••••• • •••••%•• 2 . li , 8 , 13 . 18 3i 3 6 9 15 4 8 I* 7i 10^ 5i 5 8 5i 11 9 12 Prtem- 15 $0 10. 16 la 8 2& 13 40 13 40 18 26 18 20 15 15 22 25 22 60 13 20 8 16 17 30 10 25 14 30 10* 20 10} 20 v • • • • •••••••,« \q 8 15 12 20 14 20 25 86 18 « » 41 118 14 x24 119 10 x22 Ua 15 X 30 120 14 X 17 130 U X 10 131 18 X 20 A- 1 & A 2 (Gombin- 1 a w 21 alioD) two parts J " * ** M IJ X 16 Q 5J X 18 200 8i X 3J 201 6 X 18 202 8x8 203 6 X la 204 5i X 11 206 8 X 14 206 6 X 10 207 10 X 10 208 (Corner Piece) 11 x 14 200 12 X 17 210 10 X 17 211 a x22 212 12 x24 213 2 X 7 214 13 x23 215 19 X 34 216 12 X 26 217 16 X 21 218 10 X 10 219 lOJ X 11 220 Background Sten 16 x 2!? 221 lOi X 2^ 222 21 X 23 223 li X 18 224 8 X 18 225 23 X 23 228 6 X 18 227 (All-over Pattern) 25 x 25 228 5i X 26 229 Background Sten 23 x 28 231 37 X 40 232 20 X 22 283 11 X 28 42 6B 45 76 46 16 (fuU8izda6x40) 1 26 50 10 25 10 20 15 25 25 80 25 20 26 30 30 36 not cut 26 10 50 not cut 25 60 not cut 25 20 20 76 40 65 15 30 not cut 26 36 not cut 30 30 not cut 90 not cut 60 76 00 S34. 286. 230. 2S7. 238. mAI****** • • • • ••• 6 9 6 13 13 13 240 not cut 13 241... 243.. 244... 245.. 246.. 247... 248.. 250.. 251.. 252., 253... 2=4.. 255... 256.. 257.. 258... 259... 260.. 261... 301.. 302... 303. 304.. 306.. 306 307.. 308., 309.. 310., 311.. 312.. 313.. 600.. 501.. 602.. £03.. ••«•••••• •••••• 9 3 3 44 3 10 17 74 44 6 10 7 13 14 10 14 11 8 7 12 16 9 5 10 11 12 10 24 7 14 6 14 15 15 15 6 X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X 48 21 12 9 16 14 18 80 20 16 17 17 15 16 17 74 64 8 12 14 16 19 14 20 17 20 16 18 16 14 Border Corner Break 18 Extens'n . 21 24 24 10 22 21 10 24 20 20 20 20 10 this forms a . • . • set corner piece... and extension 30 40 20 60 60 80 26 80 16 15 20 16 36 60 15 10 10 16 20 30 40 30 60 50 40 30 60 60 25 20 60 60 60 25 10 SO 10 30 60 60 7i 40 ao 0US>>«a<< •••••• 605 IS 12 10 U 16 6 22 15 12 12 6 12 16 7 10 4 S AV X 14 •t • *v ao 506 (Corner Piece)... 607 608 X 12 X 8 X 12 25 15 40 601 X 26 00 602 603 X 16 X 10 30 25 604 i Sec of centre. 605 606 X 22 X 20 X 18 X 16 76 60 80 607 40 608 600 X 16 X 12 20 25 610 X 18 40 611 602 A and 612 B (Comination in two parts) 613 x20 X 12 ao 60 X 20 10 In filllug orders for Stenci,s we usually send them by express excepting where only small sten- cils are ordered which can be sent by mail, the large ones are likely to be crushed in the mail. Purchasers pay express or mail charges. TERMS. All orders for Stencils must be accompanied with cash, post oflQce or express money order, and if to go by mail remittance must include to cover postage. Express charges can be paid on delivery. A discount from the list price of 33|% is made to all painters. Alabastine Cut Stencils Are made from heavy Tag Manilla, and given a coat of oil. They will stand use for a reasonable length of time, but will wear much long«r if given a coat of shellac before using. 44 % 0^ 1 ^>^ ^ y Xc \*t ^;<L y^r >V -V^- 2.>1 ">: ^0 ^ ;Xo 7 ii% U I I '•xa>i€ 9^''^^' ^'^\ J<o3. \ / 'i\ m^ Xo 3 5 ^m » Mc a '! . I ' yo'b^ -> •> 0. I "A' f J(»3i V. 4, 1 N'-' 105 N'.'IHO K. wm >cy Zf Z W 1 t s?^ <v<-> I in "«fe '^ N'.' IIV) N'-MSJV \\ •^ 6'^<f »• ««tM ^ ^' ^#S! ^^C"\ ^1^ JT.lt t .V b^3. I »*\\x f Jl«ftl» f r •* %c^ ^> V #^ c^^ -V 3* ; t JtaL^fc- 1^ '£»» 3VoZ20 5\oIl» »oX12> *« > > ••• X •••• Mo X14f. K.IZS. (\ ^-fZl-^Nxt/^tftV/ am>mf^. /i ^'k >'^<!^'? ^^y/ 3<oXlt f i \ 4 I fLh. iii^ m m lIlHlllllHlllll I *oU\. m ^ >®/ •v? No. 125— Background Stencil (37 x 40) This is the largest pattern we show on this catalogue. It is intended for panel work on churches and other public buildings. This is too large to cut by machine, and must be cut by hand. ♦ ^ ^ " t '>tx ) V \ ,^ <^>i* £S1 till I A3S 3L36 4w Jl 39 414 K -••• •>•>•>»>♦ v»V W '^"^'^ 4 Jl if • • 1» • " ^ • « w 5 ^ •. • • w CD •• .0 • < .••• \ ..•• ^ • • k # •^ • • • • •••^ «^ ^ V ^^ '"^J^^^ --"•'-''■%vV.;,;.'K /•?' ""'"'* I 44« S? / S? ^A JZ-f 7 ^ a 5 a. in #11 X55 ^M^ .it' ?) 5.56 ;; •<i? £57 ♦ Z54 \ 158 "# 9^ 506, 507 508 ±6/ I. V.I ^ O n o i1 km Mi Mi ml s ^:y''l #1 \\.7^f z ^ i Mj >3 >^i \ Itti \ SP It- !<?i CO Q I JL.^-1 1 1 %y 1 1 • • I L • o J I '^^. n iw^-'^m V ^Awf ■ xS^tEi'^ 602 ^^\ b^^ ^h 4^ 4» 4. 503 4 •^^♦./^•v ^^♦./^"V ^!;?^F<ai^^* 4;v^F^ A S05 !»« nT/ %rM/^ /^ O «yK' v;' • C A '^' r;^.i^i -v:^C, ♦ ♦ "V ^ ) > A '^ i §/ T iB^f(&.irii^ eo9 /i\ 60^ %/ Ki (^ \/f fix*'-/ so? SfO A 5. ^J^ ^ ^ m 612 A. fM WMmt^. \ 611 \./' CIZ B. k.' N*i S kl ^ rl X^ *. Free Hand Relief Belongs to the high ai't class of work. Never- theless it m ly be worked in with the plainer kind, and with good effect. By doing this It gives practice, and enables the progres- sive painter to become proficient: thus he is able, when his patrons want Relief Decorating, to accom- odate them. Jflabastine is the best goods either for Plain or Relief Decorating, and the degree of work that can be done with it is limited ooly by the skill of the work- man or artist. The following illustrations are taken from photographs of actual work done with Ala- bastine, using the tools shown. They are intended to be merely sugges- tive and may be enlarged upon according to the ability of the workman to design and execute. THE ALABASTINE CO., Limited, PARIS, ONTARIO. IMAGE EVALUATION TEST TARGET (MT-3) 4 <fe ^ I ^/ :/- ^ .d> 1.0 I.I ■ 50 ■^" t 1^ 12.0 125 2.2 1.8 11-25 111111.4 111.6 V] <^ o / Photographic Sciences Corporation 23 *;r»T MAIN STRBBT VvlBSTER, NY. 14580 (716) 872-4503 ^V- C/j ^>> ij^^MBBB i^:^^j ':>^'^ 1 ^-';^Jy% ^^^Sm^l^^m^ffT^^ .. - . 1**^,! •■ tSk^^^^^f^-^' >• ^ . ^S*!^»f y '. \ ■■" \ ■..-■* >;^":,. JKBHu^yf' " ' .■■••^■■•' .9 ■" ^P^^^?^^ili&»ii*>^ ^^RnL '•^K'.^^''^SaaL'^ 1^^^ §-^ife •' ^^1^1^ t^^^ji^r^^S g^^EiM^ S^HHR|^^^^C^> \ 'M^ ^*!^mB^h ffiB^^ BkW^Sib*"*" ■^^J^^K^^sCipflMutej^^^ 'V'Ssi^wflnH '^B^^RBP^H^^^^lHtu -j?/ .'.^ * (. : if ^- ., ^ . - ^- iitm ^'■'Ii^<^:r4 ■'^■.^ ^« "^^^ ^v,- - :-::?jrN^ ■ r^i''' Price List of Brushes and Relief Kit 7-inch. Alabastine Wall Brush (onr old style) price each $2.00, postage ISc extra. 7-inch. Alabastine Wall Brush, a heavier brush, price each $2.50, postage iSc extra. Alabastine Stippling brush each $1.75, per pair $3.50, postage 15c extra. Rubber Relief Bulb and 5 Nozzles, price $2.00, postage 15c extra. SUPPLEMENT TO CATALOGUE N6. 6 OF Alabastjne Cut Stencils &=t=^ MANUFACTURED BY THE ALABASTINE CO., Umited PARIS, ONTARIO PRICE LIST No. 400 .. . (Size in 1 .Width 1 11 X nclies) 2)4 in 15 Price SO 60 401... 50 402 (2 403 .. . Stencil; 1 25 . .. Width 10 in 50 404 .. . 16 " 75 405.. . \()'A in 13 in 70 406... .... 25 407 .. . 15 " 17 " .. . 50 408 .. . 80 409... 4 '♦ .... 6 ♦♦ . . 25 410... 45 411 (Over-all Pattern) 35 412 Width 5in 25 413 " 20 «' 80 414 ♦' 5 ♦' 45 415 (2 Stencils) 75 For Diacount See Cataloorue No. e no 75 75 25 50 80 25 45 35 25 80 45 75 ! +00 I I Width I24in "^1 ■j-^lt 40I A A\i'/ 4oa / / Wit Li ridthllin JW\ ^03 Width 2lii24in V • ^BWI •«■• •^i^i* •■• "iW"* g t^ » «. > • • m.$w°y^^ Width I6\tn. M 405- * f w 1 407 I 1 s I yvidth 17m nisjijl m m mn m mi m ^\Q iiririgjrji w 1 ^ !:^'^ Lt XXXJ A. Jfe ife. 4' + 4IS . #iii^ J H + A. WAL-PATCH WAL-PATCH meets the requirements of the most exacting Decorator, Painter or Paper Hanger, as it is adapted to perfectly repair dam- aged or imperfect wall surfaces. WAL-PATCH is a household necessity for mending bric-a-brac, putting tops on lamps, etc. WAL-PATCH is ready for instant use when mixed with cold water. To mend large breaks in plaster mix two parts of fine screened sand to one part of WAL-PATCH. WAL-PATCH is a perfect patching, stopping and mending material for plaster walls and ceil- ings and for filling cracks in floors. WAL-PATCH dries without shrinking, con- tains no lime and will not injure the most delicate tint or fabric. WAL-PATCH is ground to impalpable fine- ness like Alabastine. When mixed to a stiff putty it remains in working condition for one hour, and is superior to common Plaster of Paris, which sets quickly with great suction. W.AL-PATCH is the most economical material to use, as it sets slowly, and is ready for use when mixed with cold water. This saves time and waste over the ordinary method. It costs but little if any more per pound than ordinary Plaster of Paris, and will easily do 50 pei' cent, more work with the same weight. Sold only in barrels of 250 lbs. — MANUKACTURKD BV— The ALABASTINE CO., Paris, Limited PARIS, - ONTARIO For Sale by all Hardware, Wall Paper and Paint Dealers.