ROM all indications interest in wall glazing and "Tiffany Finish" is increasing quite rapidly. This is not to be wondered at since this mode of decorating offers some very beautiful finishes at moderate expense. Where walls are large and unbroken the usual flat, one color paint is not nearly as attractive as the beautifully blended, mottled effects of Tiffany Finish or the graduated blends having darker colors at the bottom and shaded upward to disappear in the ceiling color.

This is best

Tiffany Finish, glazing, mottling and blending are all different names for variations of the same decorating process, by which a wall is painted to produce a beautiful, iridescent, mottled effect. understood by studying good examples of the work itself. Failing of this opportunity, secure samples of high grade wall paper imitations of Tiffany work and study them from a distance of ten feet or so as they do not fairly represent wall glazing when observed at close range.

Painters accustomed to working with stains and to painting walls can learn to do excellent glazing much more easily than will be imagined by looking at a beautiful piece of the finished work. It is not to be expected that a man can produce creditable work in one or two attempts, but he should be able to turn out very respectable work after making several panels for practice, or after trying out the glazing process upon some of his own rooms. The strips of wall board now being used so much in the building trade are excellent for practice work.

Any surface that can be successfully painted can be glazed. It must be dry, hard and free from suction. Glazing is done usually upon hard, smooth plaster walls, sand finished, rough-cast or stucco walls and upon wall board. It often completely transforms a plaster wall that has been repaired and covers completely fire cracks and small imperfections. Walls covered with canvas, burlap, muslin or cheese-cloth present an excellent surface for glazing.

Reds: American vermilion, Rose pink, Rose lake, Turkey red lake.

Yellow: Yellow lake, Dutch pink, Orange' chrome.

Do not use Ochre.

Greens: Chrome, medium, light, dark, Verdigris.

Blue: Prussian, Ultramarine, Cobalt.
White: Zinc oxide.

For very fine work decorators use colors that are of higher quality, being ground finer, in oil of lighter color, and from the highest grade of pigments. These colors are put up in tubes about 12x5 inches and cost more than ordinary tinting colors. A much greater variety of colors can be had in tubes, but the house tinting colors named above are entirely satisfactory.

Ground Coats

Apply one thin coat of lead mixed with 3 boiled linseed oil and 3 turpentine; add a little Japan drier if raw oil is used. Tint ivory white or lightly with the color that will predominate in your finished wallblue, green, brown or yellow as the case may be. Stipple.

Coat with weak glue size, just strong enough to be a little tacky or sticky on the fingers.

Mix second coat of lead flat with turpentine and boiled linseed oil and tint same as first coat. Stipple. This coat should dry flat or glazing color may run.

Stippling

The obje t of stippling is to eliminate brush marks and thus produce a uniform surface made up of fine pores. A painted coat to be stippled must be held quite stout, not too thin. Let it set a few minutes before stippling.

Stencil

If an outline stencil is to be used and filled in with various colors it should now be put on over the second coat when the paint is thoroughly dry, using raw umber thinned with glazing liquid to transfer the design.

Mixing Colors-Glazing Liquid

Have a separate pot for each glazing color to be used. Thin the color very little with a glazing liquid composed of raw linseed oil, turpentine and a little Japan drier, or boiled oil and no drier. If glazing a wall that has a high gloss, mix your colors with a glazing liquid composed of % raw

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linseed oil, 3 turpentine or benzine and a little Japan drier. Add one pound of corn starch to the gallon of glazing color to keep it from running. In hot weather use raw linseed oil in your glazing liquid and very little drier, especially in a small room where the color will set quickly; in a cold room and a large one boiled oil often is best. When the ground coat and stencil are dry some decorators put on a thin coat of white shellac which is an advantage, but not absolutely necessary.

Simple Glazing, Two-Color Schemes

In two-color work, the ground coat, which has been applied as directed above, provides one color.

Before applying the second color, coat a section of the wall about 6 feet wide and from picture mold to base-board with clear glazing liquid, without color, using a four inch wall brush or calcimine brush to spread it out very thin. Do not coat too large a surface as it may set too rapidly to permit of nice blending. Glaze a small surface at a time to begin with and do not cut a straight edge where you leave off in the center of a large panel or space, but rather leave an irregular edge which can more easily be matched up with the next section of color. Plan your work to complete one whole panel from door casing to window or from casing to corner before you let the glaze dry. Take advantage of the construction of the room in laying out your work so that you will have a stopping place that can readily be matched up when you begin again. It may sometimes be advisable to have two or three men blending on a large stretch.

While the glazing liquid is wet brush on the glazing color, the color that is to predominate in the scheme. For instance, the first color might be a sky or azure blue produced by brushing on Prussian blue in very light stripes. In the pot the Prussian blue

is dark, but when spread out thin it produces a light tint. Brush it on in vertical stripes about the width of the brush and about four inches apart. While still wet brush all of the stripes together by a circular motion of the brush, being careful to have a uniform color all over the panel without any dark spots. Brush in a semicircular manner; do not use any straight strokes.

After the color has been spread uniformly wipe out spots irregularly here and there with a wad of cheese-cloth or waste so as to permit the ivory white or ground coat color to show through and you have a two-color scheme. Begin now in one corner to stipple the panel with the cheese-cloth crumpled up in the hand so as to produce a dappled effect. Pat the entire panel lightly and deftly until you have arrived at a uniformly blended and clouded effect that looks quite like white clouds against a blue sky. Some prefer the clouding to be very strong and pronounced, while others want a fine, delicate effect. It is difficult to judge the effect of your blending except from the opposite side of the room. From there you can readily see where the panel needs a little more wiping out or a little more stippling to get a uniform blend. The more the glaze color coat is wiped with the cloth the more the ground coat will show through because the cloth picks up the color. The remarks about brushing in a circular manner rather than in a straight line apply equally well to wiping out with a cloth. Every stroke with the hand should be in a circular fashion and the wrist should be twisted while the cloth is on the surface. Blending with the cloth and the proper use of the wrist is the key to the entire glazing process. If the decorator will learn properly to blend with a cloth and will step away from the wall often to observe the effect his success is assured. After a satisfactory

blend has been secured stipple the glaze coat with a stippling brush, clean up the woodwork and allow the glaze to dry.

When Glaze Color Runs

If too little drier or turpentine has been used in your glazing liquid the color may run after you have it nicely blended. The remedy is to stay with the work until it sets sufficiently to "stay put." An electric fan turned upon it will hasten the setting. Glaze Sets Before Blending

If the work sets too quickly you have used boiled oil where raw is required, or too much turpentine or drier or the room is small and too well ventilated. A smooth wall requires more drier than a rough one. You must learn to manipulate your thinners according to the size of the room, the temperature and the amount of ventilation. The glaze can be made to set as rapidly or as slowly as desired.

When the glaze coat is dry it may be given a coat of thin corn starch, or a light colored interior varnish, thinned with turpentine or benzine.

TECHNICAL TERMS.

"Charlton White"-A permanent white pigment consisting of zinc sulphide and barium sulphate. It is not affected by various fumes, but is liable to decompose certain colored pigments, especially those containing lead. "Nottingham White"-A name formerly applied to white lead adulterated with barytes, etc. "Vermilion"-This well-known bright red pigment is a compound of mercury and sulphur, and is known chemically as mercuric sulphide. It is the heaviest pigment known, and hence is very liable to settle in the paint can. When mixed with oil it is usually regarded as permanent. "Nimbus"-The luminous circle around the heads of saints. "Lapis Lazuli"-Natural ultramarine used as an ornamental stone and occasionally in small quantities as an artist's color; but its great expense has rendered it practically obsolete. Artificial ultramarine is now almost exclusively used. "Zinc White"-When properly prepared is a fine bluish permanent white pigment consisting of anhydrous zinc oxide. It is easily dissolved without residue in dilute acids, as sulphuric, nitric, hydro chloric, and acetic. It is also known as Chinese white. A good example is not blackened by noxious fumes. The term is also frequently applied erroneously to such as Charlton white, Orr's white, etc. "Gold Paint"-Bronze powder mixed with a vehicle such as (a) a solution of hardened rosin or gum damar (which has been treated in order to neutralize the free acidity) in refined coal tar naphtha or petroleum

spirit; (b) a solution of celluloid in amylic acetate, etc., etc. The durability depends principally upon the quality of the bronze and nature of the medium employed. "Brunswick Green"-A pigment formerly prepared from the metal copper, now most successfully substituted by an intimate mixture of chrome yellow and Prussian blue on a base of barytes or similar white pigment. "Acanthus"-A plant called in English "Bear's Keech," the leaves of which are imitated in the capitals of the Corinthian and Composite orders of architecture. "Amyl Acetate”—A thick almost colorless liquid having a smell like the essence of pears, and used as a vehicle in many so-called gold paints, and also in the preparation of collodion and other varnishes.

A NEW "RED DEVIL."

The "RED DEVIL" Tool people, Smith & Hemenway Co., Inc., of No. 130 Chambers St., New York City, have added a new glass cutter to their large line of 40 styles of cutters, known as No. 3. This new cutter is of the magazine type, having three extra steel cutting wheels in an air tight chamber in the removable handle behind the head, in addition to a wheel in the head. In all it has four wheels. A new wheel can be instantly put into place by removing a piece of wire in the head.

This cutter is fitted with genuine hand honed cutting wheels, used for stripping plate, sheet or cathedral and rough glass

It has a scientifically shaped handle with a small end and a large finger rest which will not tire the hand. It is handsomely finished, having a polished head and a red enameled handle. This cutter retails for only twenty-five cents and is a high grade tool, despite its price.

PHILIPPINE MAHOGANY

A new wood is being imported into this country and promoted extensively, so that its use is growing rapidly. This wood is Philippine Mahogany and is said to almost equal the ordinary commercial mahoganies and yet is no more expensive than best quartered oak. Like most oriental woods, Philippine Mahogany has some fine pin holes, which must be overcome in finishing.

Philippine Mahogany comes in two shades, one alm st hite, the other of a reddish cast. If mixed in a job as they often are, the result would look patched if they were finished natural, but when finished in the dark effect the result is entirely satisfactory. However, the natural effect is beautiful when the wood is all of one color.-P. & L. Varnish Talks.

A NEW INVENTION.

No More Paint Dust.

Dear Brothers:

I take great pleasure in announcing to you my invention of a new method highly improving the process of abrasion. My claims are all allowed and I am now in possession of the official papers.

Description of Invention.

BE IT KNOWN, That I, George Virneburg, residing at Chicago, in the County of Cook and State of Illinois, U. S. A., have invented certain new and useful improvements in Abrasives; the following is a part of my specification:

My invention relates to abrasives and is particularly concerned with sand-paper, or sand-cloth, and other forms of abrasivecoated fabrics.

It is the object of my invention to produce an abrasive fabric which may be used effectively in a wet finishing, smoothing or rubbing process.

My invention assumes particular importance in the removal of paints, shellacs and varnishes from woodwork or other articles, where such removal is effected by the abrasive processes. In work of this kind, the hardened shellac, varnish, or paint, or other coating, is frequently removed by the ordinary sandpapering process and, in fact, this is the method heretofore almost universally employed. However, the work is extremely unhealthful, since the fine particles of shellac, varnish or paint, or similar material, which are dislodged in the process are naturally thrown into the air and are constantly inhaled by the workmen.

The chemical properties of these materials are extremely injurious to the lungs and certain diseases have been prevalent among men employed in the finishers' trade, due to this cause.

It is well known that if this work is done "in the wet" the dislodged particles are kept from being thrown into the air and the danger is greatly reduced. But another difficulty is immediately encountered; the water which is employed disintegrates the sand-paper or sand-cloth so quickly that a great deal of paper or cloth is required for a particular piece of work and a great deal of time is lost in constantly employing new pieces of paper or cloth, and the annoyance of this is great.

However, my invention steps in and cures both evils by the provision of a sandpaper or sand-cloth, or other abrasive fabric which may be given prolonged used in the "wet" process without disintegration. In other words, the abrasive fabric which my invention provided may be used as effectively wet or dry, so that the safeguard as to

health may be employed without incurring any difficulties.

By "fabric” I mean paper or cloth, etc., and I use this meaning in the appended claims.

The removal of varnish or paint is effectively carried out by using comfortably cool water and a sponge. The surface to be worked should be kept wet and the abrasive fabric used upon it at the same time, with considerable pressure. The fabric, due to its manufacture as above described, will not disintegrate, as I have found by test, and will be an effective abrasive for the accomplishment of the work. At the same time, the work will be dustless and the workmen will be free to breathe pure air instead of air mixed with the harmful particles which a dry varnish or paint removing process necessarily forms.

Further Details.

With one sheet of my sand-paper you can do the same amount of work "wet" as you do in the old dry way. There will be no danger any more of sand-papering any color; to do your sandpapering "wet" will be a pleasure.

It is time that we do all we can to help our fellow sufferers; my invention stops those calamities incidental to our trade. There are no pills for you to swallow, it is a helping "medicine" in the form of a new method to do your work.

The Bulletin of U. S. Labor Department "Hygiene of the Painters' Trade," on page 63, says: "We have found again and again that the greatest danger in the use of lead paints and other paints comes from the dust caused by dry rubbing.

Fraternally yours,

GEORGE VIRNEBURG.

UP TO OUR FINISHERS.

A reader who is in doubt asks for pointers from well informed finishers and wagon painters. There are several popular methods of polishing bar tops and while "ye editor" has his own ideas regarding this branch of our trade he prefers to be silent and give the floor to men of wider experience. Let's have the disputed points settled by the authorities. Answers will be printed in the January number.

The Questions.

(1) There is a dispute about the way to finish bartops so that they will stand liquors and beers. Some say they can finish a top over Saturday night.

Will you please state the different ways to finish bartops?

(2) Will you state how to finish a wagon wheel from the raw wood, as there is also a dispute about this?

A. PAINTER.

Brother D. P. Vanderbergh, his wife and their nine children. Bro. Vanderbergh and five of his boys are members of L. U. 186, of Minneapolis, Minn.