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 1 
 
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 1 
 
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 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 
 

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 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. 
 
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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. 
 
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 23 *;r»T MAIN STRBBT 
 
 VvlBSTER, NY. 14580 
 
 (716) 872-4503 
 
 
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 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 
 
 
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 I Width I24in "^1 
 
 
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 40I 
 
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 Width 2lii24in 
 
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 Width I6\tn. 
 
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 1 
 
 407 
 
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 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.