2764. To Paint Whitewashed Walls

2764.    To Paint Whitewashed Walls. When the second coat of glue size {see No. 2763 (To Prepare Whitewashed Walls for Painting)) is dry, paint as? follows: Mix the first coat of paint in the proportion of 1 gallon raw linseed oil to 15 pounds white lead, ground in oil, and 1 gill of dryer. Second coat: 1 gallon raw linseed oil, 25 pounds white lead ground in oil, and 1/2 gill dryer. (The lead should he the best.) Then finish either in gloss or flat color, the same as if it were wood work with one good coat of priming. Shade all the coats of paint, as near as you can, to the color you wish to finish in. Mix the third and fourth coats the same as the first, that is, about the same thickness for a gloss finish, and a little thinner for a flat, finish.

2765. Flexible Paint for Canvas

2765.      Flexible Paint for Canvas. Dissolve 21/2 pounds good yellow soap, cut in slices, in 11/2 gallons boiling water; grind the solution while hot with 140 pounds good oil paint.

2766. Durable Black Paint for Out-Door Work

2766.    Durable Black Paint for Out-Door Work. Grind powdered charcoal in linseed oil, with sufficient litharge as drier; thin for use with well-boiled linseed oil.

2767. Green Paint for Out-Door Work

2767.      Green Paint for Out-Door Work. Add to the black paint, made according to the last receipt, sufficient yellow ochre to make the shade of green required. This is preferable for garden work, to the bright green paint generally used, as it does not fade.

2768. Paint for Iron Work

2768.    Paint for Iron Work. There is no production for iron work so efficacious as well boiled linseed oil, properly laid on. The iron should be first well cleaned and freed from all rust and dirt; the oil should be of the best quality, and well boiled, without litharge or any dryer being added. The iron should be painted over with this, but the oil must be laid on as bare as possible, and on this fact depends in a great measure the success of the application; for if there be too thick a coat of oil put upon the work, it will skin over, be liable to blister, and scarcely ever get hard; but if iron be painted with three coats of oil, and only so much put on each coat as can be made to cover it by hard brushing, wo will guarantee that the same will preserve the iron from the atmosphere for a much longer time than any other process of painting. If a dark coloring matter be necessary, we prefer burnt umber to any other pigment as a stain; it is a good hard dryer, and has many other good properties, and mixes well with the oil without injuring it.

2769. Painting in Milk

2769.     Painting in Milk. In consequence of the injury which has often resulted to sick and weakly persons from the smell of common paint, the following method of painting with milk has been adopted by some workmen, which, for the interior of buildings, besides being as free as distemper from any offensive odor, is said to be nearly equal to oil-painting in body and durability. Take i gallon skimmed milk, 6 ounces lime newly slacked, 4 ounces poppy, linseed, or nut oil, and 3 pounds Spanish white. Put the lime into an earthen vessel or clean bucket, and having poured on it a sufficient quantity of milk to make it about the thickness of cream, add the oil in small quantities at a time, stirring the mixture with a wooden spatula. Then put in the rest of the milk, and afterwards the Spanish white. It is, in general, indifferent which of the oils above mentioned you use; but, for pure white, oil of poppy is the best. The oil in this composition, being dissolved by the lime, wholly disappears; and, uniting with the whole of the other ingredients, forms a kind of calcareous soap. In putting in the Spanish white, be careful that it is finely powdered and strewed gently over the surface of the mixture. It then, by degrees, imbibes the liquid and sinks to the bottom. Milk skimmed in summer is often found to be curdled ; but this is of no consequence in the present preparation, as its combining with the lime soon restores it to its fluid state. But it must on no account be sour; because in that case it would, by uniting with the lime, form an earthy salt, which could not resist any degree of dampness in the air.