Like sublimed white lead, as it was first placed on the market, zinc lead was of a coarse, harsh texture, difficult to mix in oil and to grind fine and required a larger percentage of oil than a mixture of sublimed lead and domestic zinc oxide in similar chemical proportions, and when ground into a medium stiff paste in oil it was very apt to settle quickly, when thinned for use as a liquid paint and on standing about in that condition, exhibited a strong inclination to cake hard in the bottom of the paint pot. This was in a measure overcome when ground with a certain percentage of whiting, kaolin or asbestine, but was aggravated when gypsum or barytes was used. Another bad fault was its tendency to act on certain tinting colors, especially those not alkali resisting. Zinc lead, ground on roller mills, never made a fine paint and was rather hard on paint brushes. House paints made from a base of zinc lead did not make good primers for raw wood, and, used as finishing paints for exposed work, were very apt to crack and scale. Hence, the desire to correct these faults by combining it with more or less inert mineral pigments, as mentioned above. The average proportion of pigment and oil, when zinc lead came first on the market to produce a stiff paste was 86 1/2 per cent pigment and 13 1/2 per cent linseed oil, while later on, when the pigment consisted of nearly equal percentages of lead sulphate and zinc oxide, it was 88 per cent and 12 per cent respectively.