oil varnish, which only requires to be renew^ed every six or
twelve months. It penetrates into the wood and makes it
water-resisting, its properties being thus of a nature to com-
pensate for its higher cost in proportion to other compositions
use<l for a similar purpose. Its use is particularly recom-
men<le<l in schools and workrooms, as it lessens dust and
facilitates the cleaning of the boards.

BLACK PAINT.



Boiled oil .... .


Lb.
. 18


Carbon black ....


. 25


Raw Unseed oil .


. 18


Barytes

White lead


. 112
. 56



( iiind all together. This is thinned down with boiled oil
and turpentine to make into a working paint.



MI.XKM TAINTS.

BLUE PAINT.



M



Mix I'Mt 11». of CV'lcstial hliu-, !Mi Ih. ol' l.arytrs, 2^ Hi. .-t law
linseed oil. 2H \h. <tt" l)oile<l linseed oil, aii<l tiir]>s ry.v.

BRONZE PAINT FOR IRON.

'lakf nf cliiniiif ;f reel I. 2 lb.; JNory Mack, ! uz. ; cjii'iiiif
yellow. 1 (J/..; ;,a)o<l japan, 1 ^ill. (Iriml all together, and iiii\
with linseecl oil and tnr]is to pi'ojH-i- consistence.

BRONZE PAINT.

VerdiiTiis ....

Putty powder

I^orax .....

Nitre

Corrosive sublimate

Make into a |)aste with oil. then tone down with boil.d <iil
and tiirj)s.

BRONZE PAINT No. 2.

I'.oiliiit^'' water siitticient to dissolve ; copper sidphatr, -I- o/.
I'lit 4 ()/,. of ii-on nails into the hot solution, and collect the
pi'ecipitateil copper. Dry it. an<l rub diwii \ei-y fine with
boileil oil and turps.



<)/..


I).


. s





. 4





•J


()


>>





. (1


2



BRONZE PAINT No. 3.

Sulphur ....... 2

Stannic acid ....... 2

M(dt together in a crucible. Stir when nicltiMl with the
stem oF a tobacco-j»ipe until it assumes the ajtpearance ol
i;(jldeu 8pan]L,des. then pour out Mix tliis when cold with



64



MIXED PAINTS.



boiled oil, turps, and add a little driers. These cheap bronzes
should all be coated over with a clear varnish when dry or
they will soon tarnish in rooms where gas is used.



BRONZE PAINT.



Chrome green
Ivory black .
Chrome yellow
Japan varnish
Linseed oil .



Lb.
2








1





1





5



q.S.



DARK BROWN PAINT.

Mix up 65 lb. of Enoli.sh umber, 54 lb. of barytes, 28 lb. of
raw linseed oil, 28 lb. of boiled linseed oil, and turps q.s.

LIGHT BROWN PAINT.

Mix 7 lb. of Turkey red, 56 lb. of English umber, 56 lb. of
baryte.s, 28 lb. of raw linseed oil, 28 lb. of boiled linseed oil,
and turps q.s.

BUFF PAINT.



Cwt.
3

5

8

100



White lead
Grey barytes .
Eed oxide (genuine)
J. F. L. S. ochre .
Burnt Turkey umber

Grind in raw linseed oil.



PAINT FOR DRUMS.

Dissolve rosin in an equal bulk of naphtha, and colour with
lampblack for black, Celestial blue for blue, Venetian red for
red, and so on. A little boiled oil will help it to give a good
adhei-ent paint.



Mi\i:i> I'ArsTs. (iS

FIRE PROOF PAINT.

IA>.
Finely pulverised glass ... 20

Finely pulverised porcelain .20

China stone in powder .20

Quicklime .10

Silicate of soda, licjuid ...... 30

The solid elements havin;,^ hccn powdered as Hnely a.s
pos.sii)le and sifted, are moistened an<l intimately mi.xed with
the silicate and thinned <l(nvn with wati-r. This yiel<ls a mass
ot" .syrupy consistence that may l»c ••midoycd for jiaintiiii;,
either alone or mixecl witii cohjur. The additi<jn <»f lime
gives a certain unetuosity to the mass for wiiitewashin;,', and
its comhination with tlu; silicic acid of tin* silicatf of soda
serves to liind the other materials togetlni-. The [»roportions
of the ditierent elements above nnntioned may hv altered, hut
that of the silicate of soda must remain constant. These
elements may even he replaced one hy another, hut it is always
well to preserve the lime. Instead of silicate (jf .soda, silicat*'
of j)otasli iiiii^-ht lie used, l)ut thr fornii-r is le.ss expensive.
The coating is ap|)lied with a hrush. as othri- paints are, as
uniformly as possible over the surface to he protected. The
first coat hardens immediately, and a second on.- may he
applied six houis or more afterwards. Two coats are sufficient.
The paint may likewise he employeil as a pre.servativ** against
rust, an<l used as a coating for iron l»ridges, etc.

FIRE-PROOF PAINT.

-to 11). of asbestos jiowder, I0 lb. of .liuminate of soda. 10 lit.
of lime, and 'M) lb, of silicate of soila. to which m.iy In* added
any desired colouring and water to make to a working con-
sistence.



66 MIXED PAINTS.

FIRE-PROOF PAINT.

A fire-proof paint with an aqueous vehicle is made from
40 lb. of fine ground glass, 40 lb. ground porcelain, 40 lb. china
clay, 20 lb. quicklime. These are ground up very finely, and
then mixed with 60 lb. liquid silicate of soda, and sufficient
water to make into a liquid of suitable consistence for
application. The proportions given above can be varied if
desired, and colouring matters such as ultramarine, Venetian
red, Indian red, oxide of iron, yellow ochre, sienna, and umber
can be added to produce a coloured paint. The paint so made
is used with a brush in the ordinary way, it dries in a few
hours. Two coats are given. In place of using china clay>
asbestos may be used with good results.

FIRE-PROOF PAINT.

Grrind 7 lb. of zinc white and 3 lb. of air-slaked lime in one
quart of fat linseed oil, then add one quart of water-glass of
83°, and stir into the mixture 5 lb. of dry white lead and 1 lb.
of sulphate of zinc. Thin with soft water to proper consistency
and use immediately.





GOLD PAINT.


Lb. Oz.


Bronze powder




. 12


Powdered mother-o'


-pearl


. 2


Powdered lime




. 8


Turps .




2 gallons.


Gold size




. 2 gallons.



Method. — Mix the turps and gold size with the lime, shake
well and leave for a day or two, then draw off' the clear
portion without disturbing any sediment, and mix with the
bronze and pearl. If about Is. 6d. per lb. is paid for the
bronze, this will produce a very satisfactory article.



MIXKIi PAINTS. (i7

BRONZE-GREEN IRON PAINT.
Ivory l)liU"k 1 o/., fliroinc yi-lkiw 1 oz., chroiin* ^een 2 lli.,
mix with raw linHct'd nil, atldin;,' a little Japan to ilry it, aiul
a nice hronzc-f^ict'M ]i,iiiit is niaiU'. IT <U*Hir(*(l, <;ol(I lnonze
niiiy lie ]iut nil till' juiMiiiiifiit |iai-ts, as (in tlif tijis or <'(l;^r(!s of
ii'on railinj^rs. Wlifii tin- jiaiiit is not i|uitf <lry, «is«' a j»i«ci'
of velvet or plu.sh with which to ruh on the bron/e. With
Mtatuary, plaster casts, or castin^^s, wash the plaster over with
thin <,^lue or staich watei-, wlicii ihy apply the hron/.e mixture
above (lescribe<l, addin;^ to it a little ;;old bron/c powder or
some Dutch metal, powdered on the stone.

DARK GREEN PAINT.
Mix 12() n». (jf Brunswick ij^reen, lU II). white lead, 42 lb.
barytes, 20 lb. boiled linseed oil, 50 lb. raw linseed oil and
turps ij.s.

LEAD-COLOUR PAINT.
Mix uji 1 cwt. of best white li-ad jiaint. and l cwt. )»lack
paint.

MAST-COLOURED PAINT.

This, althoujrh at tirst si;;lit rather siniplf-lookin<f, is in

actual practice rather difticult to get to one's satisfaction.

The following recipe gives very good results.

I'artK.
Genuine dry white lead 12

French ochre .1. V. L. S. 2

(Irey barytes 12

Red oxide of iion (^'enunie) 1

PHOSPHORESCENT PAINT.

Take oyster shells ami clean tlu-m with warm water, IMit
thi-m into a furnace for half an hour, at tln-fud of that tinn- taki-



68 MIXED PAINTS.

them out and let them cool. When (juite cold pound them
fine and take awa}' any gre}^ parts, as they are of no use.
Put the powder into a crucible, in alternative layers with
flower of sulphur. Put on the lid and cement with sand, made
into a stiff paste with beer. When dry put into the fire and
bake for an hour. Wait until quite cold before opening the
lid.

The product ought to be white ; all grey parts are separated
out as they are not luminous Make a sifter in the following
manner : Take a jam-pot, put a piece of very tine muslin very
loosely across it, tie round with string ; put the powder into
the top and rake about with a bit of stick until only the coarse
powder remains. The fine powder in the jam-pot is mixed
into a thin paint with gum water, as two thin applications
are better than one thick one. If these directions are carefully
carried out success will be the result.

BLUE LUMINOUS PAINT.

A blue luminous paint is prepared from 42 parts varnish,
10'2 parts prepared barium sulphate, 6"4 parts ultramarine
blue, 54 parts cobalt blue, and 46 parts luminous calcium
sulphide.

YELLOWISH-BROWN LUMINOUS PAINT.

A yellowish-brown luminous paint is obtained from 48
parts varnish, 10 parts precipitated barium sulphate, 8 parts
auripigment, and 84 parts luminous calcium sulphide.

GREEN LUMINOUS PAINT.

A green luminous paint is prepared from 48 parts varnish
mixed with 10 parts prepared barium sulphate, 8 parts
chromium oxide green, and 34 parts luminous calcium
.sulphide.



Ml\ri> I'MNTS.



(i'.J



GREY LUMINOUS PAINT.
For 'f^vry luiiiiiious j»iiiiit, 4") jtarts ol" tin- NJiriiisli nvr tiii.\i'<l
with parts pivpaivMl hariinii sul]iliiit»', <> parts pr»'part'<| cal-
I'iiiiii mrlioiijitf, ()•') parts iiltiaiiiaiiiif Mui', (i') part.s ^rey
zinc sulpliidi'. aii<l oti parts ImniiKtus calciMiii suljilii<l»'.

ORANGE LUMINOUS PAINT.

For oraiitj^t' luiiiiiinus paint, 4-(i parts varnish inixi-<l with
175 parts prepared hariiim sulphate, 1 part prepared Indian
yellow, 1"5 parts prepan-il Maddci- lake, and *VS j)arts hnnitions
calciunj sul]thide.



ORANGE LUMINOUS PAINT.



Indian yellow

Madder lake .

Luminous calcium sulphide

Varnish

Barium sulphate



Parts.
110

llo

UrO
17-5



RED LUMINOUS PAINT.



Parts.

H



Barium sulphate in tine powdc^r

I're pared Madder lake ...... '2

Luminous calcium sulphide . .30

Prepared varnish ....... 60

Prepared realgar ....... .30

Mix to an emulsion and ;^rind very tim- in a ecdour mill.



VIOLET LUMINOUS PAINT.

A violft hnuinous paint is made from \1 jiarts varnish,
10 2 pai-ts prepared harium sulphate. "i'-S parts ultranuirine
vi(jlet. J> parts eohalt arsenate, anil •'?«! parts luminous calcium
sulphide.



70 MIXED PAINTS.

YELLOW LUMINOUS PAINT.

For yellow luminous paint 48] parts varnish are mixed
with 10 parts prepared barium sulphate, 8 parts barium
chromate, and 34 parts luminous calcium sulphide.

Luminous colours for artists' use are prepared by using
pure East India poppy oil in the quantity instead of the
varnish, and taking particular pains to grind the materials as
fine as possible.

All the above paints can be used in the manufacture of
coloured papers, etc., if the varnish is altogether omitted, and
the dry mixtures are ground to a paste with water. The
luminous paints can also be used as wax colours for painting
on glass and similar objects, by adding, instead of the varnish,
10 per cent, more of Japanese wax, and one-fourth the quantity
of the latter of olive oil. The wax colours prepared in this
way may also be used for painting upon porcelain, and are
then carefully burned without access of air. Paintings of this
kind can also be treated with water-glass.

DERBY RED PAINT.

Mix 2 lb. white lead, 54 lb. Venetian red, 124 lb. barytes,
36 lb. raw linseed oil, 36 lb. boiled linseed oil, and turps q.n.

INDIAN RED PAINT.

Mix lb. Indian red, 4 lb. barytes, 4 lb. raw linseed oil,
5 lb. boiled linseed oil, and turps q.s.

TRANSPARENT PAINT FOR GLASS.

Take for a blue pigment, Prussian blue ; for red, crimson
lake ; for yellow, Indian yellow ; for brown, burnt sienna ; for
black, lampblack ; and for other shades, a mixture of the
appropriate colours. Rub them in a size made as follows:
Venice turpentine 2 oz., turpentine 3 oz., and appl}'' with a



Mixi'.n r\i'«is. 71

briLsh. Kor ttMiiporary j)urp().ses, tine ami brilliant coloiirH an;
obtiiined i)y iliHsolvin^r Hiiiliiie dyes in white shellac varni.sh,
but they are often Ueetinj^ coloure, an<l <lo not always pay for
the trouble.

WHITE PAINT.

Mix 14 III. white lea<l, 4 o/. iliiers, 4 j)ints cHeh ot raw an<l
boileil linseed oil, and h j>int turj>s. If the work is to be
finished white, care unist be taken to use pure white lead, and
raw linseed oil. The bi-ushes and tins must be (piite clean ;
after niixin<^ tht- paint nnist be kej>t covrred to prevent
diHColoration.

LIGHT YELLOW PAINT.

Mi.\ 14 lb. Paris white, 2.S lb. barytes. 28 lb. Derby ochre,
H lb. lemon chrome, 11 lb. raw linseed oil, 2S lb. boiled
linseed oil, and turps <j..s.

DEEP YELLOW PAINT.

Mix 14 lb. Paris white, 25 lb. Derby ochre, 28 lb. Imrytes,
2d lb. dark ochre, 11 lb. raw linseed oil. 28 lb. boiled linseed
oil, and turps q..s.

PAINT FOR ROUGH CAST SURFACES.
Take a r)U-;^^allon barrel and j)laee therein one half bushel
<jf builders' lime, fivsh burnt, over which pour hot water, .say
about 10 ^rallons. and cover ti;;htly to keep in the steam
while slakin<;. Let stand covei-ed (»verni;;ht. then strain the
lii|ui<l throueh a line sieve into another barrel ; ad<l 7 lb. ot
common .salt previously di.s.solved in h«»t water. In the mean-
time, cook 8 lb. of rice-Hour in hot water to a cream paste, and
add this while hot; always stirrin;; well, 5 lb. of !)olted
whitini; are also mixed with soft water to a thin p.iste. and



72 MIXED PAINTS.

added to the liquid. Finally, 1 lb. of pale glue that has been
soaked in water overnight is boiled as usual in water to
make 5 gallons of liquid glue, which is put in with the other.
Stir well, and if the total does not amount to 30 gallons add
enough hot water to make that quantity. Let the barrel stand
covered for several days more, when the wash is ready for use.
The wash must be applied fairly warm, therefore it is necessary
to have the pots from which the paint is used standing in hot
water during the operation. Two coats of this wash will
stand out white on any surface, and it may be tinted with
mineral colours, as in the case of the common wash. It is a
most durable and economical coating for brick or rough cast
walls.

It is difficult to give formulae for the preparation of col-
oured paints, and probably no painter works to any formula
in mixing any desired tinted paint, practical experience has
taught him what pigments to use and some idea of proportions
necessary for any particular tint he rec^uires. In the following,
taken from an American painting magazine, will be found
some useful hints as to proportions required to produce special
tints.

IVIIXING OIL COLOURS AND TINTS.

Asib Ground. — 400 parts white lead, 4 parts French ochre,
and 1 part raw Turkey umber.

Cherry Ground. — 100 parts white lead, 5 parts burnt
sienna, and 1 part raw sienna.

Light Maple Ground. — 100 parts white lead, and 1 part
French ochre.

Dark Maple Ground. — 100 parts white lead, and 1 part dark
golden ochre.

Litjht Oak Ground. — 50 parts white lead, and 1 part French
ochre.



MIXi:i> PAINTS. 7.H

D(irk ( hih (houu'l. — ')() |i;ii-|s wliitc Icinl, aii'l I |»iiit -lark
golden oclii'c.

Mahiiijanif (fnunul. — 10 |);ir(s wliitc lead, ."> parts iti<in|;e
chroiiit'. ami I part luinit simiia.

liosi'wooil (r/()«>i//. — I )n)p Mack.

Wdluiil ihouml. — 50 parts white lia'l. .'i ])aiis .lark ;;()l<lt!n
oclm', 1 part (lark W'lictiaii iftl, aihl 1 i)art <lri»|» Mack.

Blue lilack .!.—!> |)arts laiiiphlack, aii'l 1 part ( 'liiiieHe
Prussian blue.

lilac lilack B. — 1!) jtarts ilrop l)lack,auil 1 part I'nissiaii blue.

Brifht Mineral. — f) parts li^^ht Venetian ml, au«l 1 part red
lead.

Biilliaitt (freen. — parts i-iiit'i'aM i,n'<M'ii. auil 1 pari ( '. 1'.
chrome j^reen, \h^\\t.

Bwnzp (rreen, Li'jht. — H parts raw Turkfy uniln-r. an<l 1
part HH'(linni cluonic ydlow.

Bronzf (irrcii, Mrdinm. —5 parts nic<liuni clii'onif yclldW, '.\
parts Ijurnt Turkey uu)lx'r, and I part lanipl)lack.

Bronze Green, Dark. — 20 parts drop l)lack, 2 parts iiidiuni
chrome yellow, anil I part ilaik oran;^;!' chrome.

Bottle (frecn. — 5 parts comnici'cial chronu' Ljrt'l'M, nifdiinn,
and 1 part drop black.

Brown Stone. — 18 pai'ts burnt unilirr, 2 parts dai'k ;;uld«'n
ochre, and 1 part burnt sienna.

Chcrrji lU'd. — l-vpial pai'ts ot' liest imitation \ eiinilimi and
No. 40 carmine.

Citron A. — 3 parts medium chiome yellow, anil '1 parts raw
umber.

Citron B. — parts burnt 'I'urkey undtei-. 2 parts I'reiu'h
chrome, and 1 part burnt sienna.

Emerald Green. — Use emerald ^reen alone.

Flesh Colour. — 10 parts French ochre, and 1 part deep
Enfflish vermilion.



74 MIXED PAINTS.

Fern Green. — 5 parts lemou chrome yellow, and 1 part each
of light chrome green and drop black.

Foliage Green. — 3 parts medium chrome yellow, and 1 part
of ivory or drop black.

Foliage Broion. — Equal parts Vandyck brown and orange
chrome yellow.

Golden Ochre. — 14 parts French yellow ochre, and 1 part
medium chrome yellow, for the light shade ; and 9 parts Oxford
ochre, and 1 part orange chrome yellow, for the dark shade.

Gold Basset. — 5 parts lemon chrome yellow, and 1 part
light Venetian red.

Gold Orange. — Equal parts of dry orange mineral and light
golden ochre in oil.

Indian Broton. — Equal parts of light Indian red, French
ochre and lampblack.

Mahogany, Cheap. — 3 parts dark golden ochre, and 1 part
of dark Venetian red.

Maroon, Light. — 5 parts dark Venetian red, and 1 pai't drop
black.

Maroon, Dark.— 9 parts dark Indian red, and 1 part lamp-
black.

Olive Green. — 7 parts light golden ochre, and 1 part drop
black.

Ochrous Olive. — 9 parts French ochre, and 1 part raw umber.

Orange Brown. — Equal parts of burnt sienna and orange
chrome yellow.

Oriental Bed. — 2 parts Indian red light in oil, and 1 part
dry white lead.

Purple. — 2 parts rose pink, and 1 part ultramarine blue.

Purple Black. — 3 parts lampblack, and 1 part rose pink, or
9 parts drop black, and 1 part rose pink.

Purple Brown. — 5 parts Indian red, dark, and 1 part each
of ultramarine blue and lampblack.



\II\I.I> I'MMs. 75

Jiot/um Ochre. — 2'A piirts Kiviicli <K'hn\ ami 1 part »'ii<'h of
burnt sienna and burnt unihcr.

lintfal niii/'. Dark. — 18 parts ultraniariii'- l»lin-, ami 1 part.s
I'russiaii lilue. To li^^liten, use as nmcli wliiti- N-ail mi- zinc
■white as is re(|uire<l.

lioyal Purple. — 2 paits ultraniaiiin' hluf. anil 1 part cannine
lake.

Russet. — 14 parts <)raii;^'t' tiirdiiir yt-liow, aiwl I jiart ( '. I',
chrome n^reen.

Seal Brown. — 10 parts hunit uiiilifr, '1 parts ;^ol<len ochre,
li^ht, and I part burnt sienna.

Snuff Broicn. — Equal parts of burnt umbei- an<l ^(jlden ochre.

Terra Cotta. — 2 parts white; lead, and I part burnt sienna,
also 2 parts French ochre to 1 part Venetian red.

Turkey Red. — Strong Venetian red or red o.xide.

Tuscan Red, Ordinary. — 9 parts Indian re<l to 1 j)ait rase
pink. Brilliant. 4 parts Indian red to I part red .Mad<l('r lake.

Violet. — 8 parts ultramariin' blu<' '2 ])arts ro.se lake, an<l 1
part best ivory black.

Yellow, Amber. — 10 parts nu'diuni chronic yellow. 7 part.s
burnt umber, and 8 parts burnt sienna.

Yellow, Canary. — 5 parts white lead. 2 jtart-s perniaiient
yellow, and 1 part lemon chronn' yellow.

YellouK Golden. — 10 parts Icnion chroiiir yt-jlow, :{ partes
deep oran<i^e chrome, and ') pai-ts whitf h-ad.

Yellow, lirimstoM.—'^ |»arts white lead, 1 part lemon ehrome
yellow, and 1 part permanent yellow. 12

BLUE TINTS.

Azure Hhi<\ -.')() part> whit.' lea.l, and I jiart ultramarine
blue.

Blue Grey. — 100 parts whiti- lead. S parts I'lussian blue,
and 1 part lampl)lack.



76 MIXED PAINTS.

Bright Blue. — ^20 parts zinc white, and 1 part imitation
cobalt blue.

Blue, Grass. — 7 parts white lead, 2 parts Paris green, and
1 part Prussian blue.

Deep Blue. — 15 parts white lead, and 1 part Prussian blue,
or Antwerp blue.

French Blue. — 5 parts imitation cobalt blue, and 2 parts
French zinc white.

Green Blue. — 100 parts white lead, 5 parts lemon chrome
yellow, and 3 parts ultramarine blue.

Hazy Blue. — 60 parts white lead, 16 parts ultramarine blue,,
and 1 part burnt sienna.

Mineral Blue. — 5 parts white lead, 4 parts imitation cobalt
blue, 2 parts red Madder lake, and 1 part best ivory or drop
black.

THEATRICAL GREASE PAINTS.

The base for grease paints is two parts of lard or cocoanut
fat mixed with one part of white wax, or vaseline or paraffin
wax may be used. Grease paint is put up in cylinders about
4 inches long and f inch in diameter, and in making a stick
of flesh-tinted paint pigments in the following small quantities
will be required : No. 1 tint, deepest. As much vermilion as
will cover a sixpence. No. 2 tint, medium. One-third larger
quantity of a mixture of equal parts of vermilion and zinc
white. No. 3 tint, palest. Same quantity as No. 2 of a
mixture of one part of vermilion and two parts of zinc white.
In mixing tiie colours with the base, warm the latter and rub
in the pigments with a palette knife, force into a tube, which
is to serve as the mould, and when cold, push out the grease
paint with a round piece of wood and wrap in tinfoil. An-
other way of making flesh-tinted paint is to mix together 3
drams of vermilion, 2 drams of tincture of safl'ron, 5 drams of



\l I \ 1.1' r \1N I s , I

powdered orris root, 20 tlrains ol* tincture of .siiU'roii, ."> driiiiiH
of {xjwdereil orris root, 20 diiims ol" procipitiited olmlk, 20
iirauiH of oxide of ziiie, 20 ^r. of camphor, 20 iiiiiiims of oil
of pcpperiMiiit. I diMiii itl' li<iii(|Uet esscuce, and sufiicieiit
ahiioiid oil to I'tinn a paste.

BROWN THEATRICAL GREASE PAINT.
Melt six i)arts of cacao l»utter or otliei- l»ase. mix in <>ne
part of l)unit und)i'i-, and when neai'iy cold a<ld five clrojt> of
oil of nei-oii.

DEEP RED THEATRICAL GREASE PAINT.

.M.ike into a |)aste with sullieient almond oil, 1.') drams each
of oxide of zinc, suhnitrate of hisinuth .iml phnnhate of
alumina; colour with 'AO <^r. of carmine dissoKed in NO minims
of linuor ammonia, an<l [)eifume with 12 minims of (jil of
peppermint, 12 ;^r. of camphor, and U, drams of houipiet
essence.

ROSE-COLOUR THEATRICAL GREASE PAINT.

(•olour.i lard and wax hase made from 2 Hi. iai'd and I Ih.
paratHn wax with sullicit-nt Madder lake to tint it.

WHITE THEATRICAL CREASE PAINT.

Mi.x toj^ether 1 o/. each of oxide of zinc, suhnitrate of
hismuth. an<l phnnhate of alumina, and .') or (I drams of
almon<l oil. This paste is perfumed hy incorpoivitin;; with
12 i^r. of camphor 12 minims of oil of pei)penniMt and 1
dram of l)ou.|uet essence.

YELLOW THEATRICAL GREASE PAINT.
Incorporate e<|ual parts of yellow ochre, precipitated chalk.
<ind oxide of zinc, and make into sticks with nnitton suet or
white vaseline. For ]):ile yellow use more oxide <»f zinc.



78 MIXED PAINTS.

PAINT REMOVER.

Eosin ....... 14 lb.

Caustic soda . . . . . . 6 lb.

Soft soap ...... 4 lb.

Crude carbolic acid (30 per cent.) . . 7 gallons.

Water ....... 4^ gallons.

Method. — Dissolve caustic soda in 2i gallons of the water,
then add rosin, and turn in soft soap when the former has-
dissolved. Keep heating, and stir well, then gradually pour
in the remainder of the water, stir, add carbolic as above, and
cover over to get cold, as the carbolic is apt to volatilise.

A NEW PAINT REIVIOVER.

Not injurious to wood or the user's skin.

Caustic soda ...... [28 lb.

Spent tan or peat moss . . . . 24 lb.

Water . . . . . ... 14 gallons.

Petroleum ...... 3 gallons.

Method. — Mix water and oil, then grind all together.

COMPOUND FOR REMOVING VARNISH, PAINTS. ETC.

Place in a suitable wooden trough 15 gallons of water,
and add thereto 10 pecks of unslaked lime ; let it remain
until the lime is well slaked, then add 15 gallons more water,
so as to produce a milk of lime, to which when cool is to be
added from 80 to 35 lb. weight of treacle. These ingredients
must be well stirred so as to become thoroughly mixed, and 70
gallons more water added. The liijuid may then be drawn
off and strained into a copper or boiler.

10 stones of flour (mixed in from 85 to 40 gallons of water)
are to be added to the lime water in the copper, when the
whole mass must be well stirred for about half an hour, and
then boiled or heated to about 200° F. for some twenty



MIXKI) rviNTs. 79

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