AN a painter be healthy? Yes, providing he observes a few simple rules. Turpentine poisoning and lead poisoning are the greatest of paint trade maladies. Their deadly mission is accomplished when breathed into the lungs, taken into the system in the form of dust, or by open sores coming in contact with them.

Turpentine is a severe toxic poison. It accomplishes its deadly mission when its vapor is inhaled. Urinary troubles, inflammation of the eyes, lung troubles, skin trouble, kidney disease, and many other ailments can be traced directly to the effect of turpentine poisoning. As turpentine substitutes are even more volatile than turpentine, giving off greater amounts of still more poisonous vapors, it is obvious that no remedy can be sought here.

But turpentine poisoning is not a necessity; it is a created condition. The painter himself creates that condition by bottling up the turpentine vapors. If the vapors are allowed to escape they are harmless. Provide plenty of ventilation when you work and you will never become affected with turpentine poisoning and the many ills resulting from it. It is easier to work flat color, on walls especially, with everything closed up, but it's your health against your ease. More men and more air on the job is the way out.

Even more deadly than turpentine vapor is the effect of lead on the human system. If used with care lead is not dangerous. Ordinarily, long and continued carelessness is necessary to make it poisonous to the human system. German chemists claim that one-sixth of a grain each day is sufficient to bring on the most violent forms

of poisoning. Only when the dust from dry paint is allowed to enter your stomach in connection with food or tobacco, or is breathed through the nostrils, does lead accomplish its deadly work.

The symptoms of lead poisoning are loss of appetite, foul breath, indigestion, headache, and constipation, then usually an acute attack of colic. A man may recover from these symptoms. If he does not return to work he probably will have no ill effects. If he returns to work chances are he will continue being careless and eventually become a victim of chronic lead poisoning.

The effect of lead poisoning on the nervous system is great. Paralysis is the most common result. This occurs in the muscles most used. Gradually it becomes general throughout the whole system. The primary and most common forms, are "the wrist drop" and weakness in the shoulders. Often the nerves of the eye are affected, frequently resulting in blindness, either temporary or permanent. Epileptic attacks, insanity or fatal convulsions also occur.

Ventilation and cleanliness will prevent lead poisoning. The greatest danger lies in taking lead into the system through the mouth. Keep yourself immaculately clean when you eat. Avoid lead smeared hands and overalls. Keep clean both your body and your overalls. Wash your hands and face and change your clothing before eating. Never partake of food or tobacco with lead smeared hands on the job. Be on friendly terms with the nail brush. Keep your hair and beard short, and wear a cap while working. Be temperate in your use of alcoholic liquors, or better still abstain from them entirely. Alcoholic drinks predispose the system to lead poisoning. Work

in rooms which are well ventilated. Eat nutritious food. Before eating rinse your mouth with cold water. Drink as much milk and eat as much fatty food as you can. Acidulated drinks are beneficial. Acetic acid or vinegar in water is a good drink. Drinks made from lemons counteract the effect of lead. A small portion of salad oil the last thing at night should be taken when using lead.-P. & L.'s "Varnish Talks."

A NEW RED DEVIL GLASS CUTTER.

The glass cutting trade, and especially all practical glaziers, will no doubt be interested to hear that the Smith & Hemenway Co., 150-152 Chambers St., New York, the manufacturers of the famous Red Devil glass cutters and glaziers' tools, have perfected and are now putting on the market an entirely new glass cutter to be known as the Expert No. 6 Red Devil.

As its name implies, it is an expert's cutter, being designed for the use of the expert glazier who cuts all kinds of glassart, plate, sheet, etc. This new cutter has a hard wood handle of special design and the manufacturers state it is the only handle that will "not pinch the fingers" while

in use. There are five extra cutting wheels in an air tight chamber in the handle, and it is further claimed that 25,000 feet of glass can be cut with this new style cutter without a skip.

This new six wheel No. 6 cutter has just been placed on sale with the leading hardware and glaziers' tool houses, and is meeting with an enormous sale, it being highly recommended by all the large plate glass houses as the five extra wheels enable the operator to make instant changes should one wheel in cutting become dulled or accidentally damaged.

This new No. 6 Red Devil cutter is packed in a snap button glove kid case, which not only acts as a protection for the one wheel in use in the cutter, but also makes it a very practical manner of carrying the cutter in the pocket or tool bag.

Any of our readers who may be unable to obtain this new No. 6 Red Devil from their local dealer may secure a single sample by sending 30 cents in stamps to Smith & Hemenway Co., 150 Chambers St., New York, and mentioning the P. & D. The regular retail price is 50 cents.

Ꭱ Ꭲ in the

present day stands apart from life. So much SO that when we speak of men,

or of women, being artists or fond of things artistic, we are taken to imply that they possess a taste in which the generality do not and cannot be expected to share. This is badly wrong. Art should be part of every-day life; all living, vital art is so, always has been so, always will be so. Most modern art is dead, uninspired; pottering about how to say things and having nothing to say.

It may be, and sometimes is, argued that the vast majority of people are unable to appreciate the difference between good and bad in architecture. Of course they are, not because Nature rules it so, but because their sense of beauty has been blighted by being perpetually surrounded by ugliness. It is universally admitted that morals and manners are deeply affected by the influence of surroundings. It is just the same with the artistic senses. The man whose life is spent amid sordid, ugly buildings, who seldom sees a decent work of art, who scarcely ever hears a seemly note of music,

must become vulgarized, or at best indifferent, in his artistic taste. The horrible ceases to appear horrible when all is horrible. The ears into which rag-time is continually dinned not only lose the appreciation of anything better, but become so dulled that rag-time only is worth listening to. Custom makes blind men of us all. The dreary acres of our modern manufacturing centres, the distressful houses-and hovels -in which the vast majority of men are condemned to live, has brought us to the point when we almost forget what a beautiful city is like. It is a great stretch of imagination for the average man to conceive of himself dwelling in a city with parks and playing-places, and in a house in itself seemly and well-built and well-proportioned. What he has never possessed he ceases to realize that he ought to possess.

The architect is today the servant of the rich few; he ought to be the comrade and the helper of the people. But our modern system, sarcastically called civilization, says "No!" The many must be content to herd together in ugliness and to the few shall all beauty be confined.

OUBTLESS to most people, excepting perhaps those actively engaged in the lumber business, the best known part of birch is the bark. It is because of the striking appearance the bark gives to a stand of birch and to its frequent mention in history and fiction as serving some useful purpose, that birch-bark has become so generally known. It was in canoes of birch-bark propelled by Indians that the early voyages of discovery were made. For many years, as well, "birches" afforded the only means of communication between the early settlements of the whites. To the North American Indians, and to the pioneers, birch-bark was an article of indispensable usefulness. Today it serves commerce in providing the best known tanning material for Russia leather.

Birch as a wood for interior house trim and for furniture, although largely used, is not generally known. The explanation of this probably lies in the fact that much birch is supplied under the name of mahog. any and walnut, especially in the form of furniture. As a penalty for lending itself to substitution, birch does not receive all the praise or credit that rightly belongs to it.

In growth the birch is tall with many branches. Frequently the tree is so crooked that very little marketable lumber can be procured from it. It is essentially a tree of the North Country. In fact no tree grows farther North. In company with the spruce and fir, it is found flourishing in the snowbound "silent places." In Greenland. it is said to reach a height of only three inches, while its spread is three or four feet. Although the birch grows in Maine and northern Minnesota and Tennessee, North Carolina and Delaware, it decreases in size and value as it goes South. In northern forests of Canada, and in northern New York State, where it reaches its best growth in the United States, it is one of the most valuable of hardwoods. Under the most favorable circumstances, in cool, moist northern forests, it often reaches 100 feet in height and has a diameter of three to four feet.

From the architect, decorator and builder, the birch claims distinction by acting as a substitute for mahogany and walnut, now that these woods are becoming scarce

and prohibitive in price. The grain of the birch is close. The wood is heavy and hard and susceptible to finishes when properly treated which are a delight to lovers of fine woods. When stained to imitate mahogany and walnut the resemblance is so close that only an expert can detect the substitution. Birch wood because of its light tone can be stained silver gray to excellent advantage. It is frequently finished in white enamel.

Age has the same darkening and toning effect on birch as on mahogany. In no other wood which is used to substitute mahogany is this the case.-The Colorist.

SOLIDIFIED ALCOHOL.

One of the most wonderful discoveries of modern chemistry, says the Spatula (Boston), is solidified alcohol, the purest grain alcohol in a solid form, molded for the convenience of handling in various sized cubes and irregular chunks. It is easily handled, non-explosive and the containers are hermetically sealed. Being in solid form, there is no spilling, breaking of bottles or injury to the hands by broken glass, no lamps to fill, in fact, no trouble whatever. It is nonexplosive, therefore involves no danger of burning fingers or property, consequently no worry. It is packed in neat metal containers and is molded in cubes of suitable size, to perform the work for which it was designed. When used by jewelers and silversmiths for soldering and brazing, or when used by the artist for heating the pyrographic needle, there are no lamps to put out, no wicks to harden, no waste by filling, no refilling and nothing left over, therefore no added expense by evaporation, etc.

Solidified alcohol is put up in metallic containers, and each container is hermetically sealed; there is no evaporation during transit, no waste, no bottles to be left uncorked, and it will last until used. It contains from 80 to 96 per cent of the best methylated spirits of 190 proof, according to the use for which it is designed. Solidified alcohol is made in chunks or cubes for every use and purpose, compounded and packed for that particular use, thus there is a small cube for soft boiled eggs and a larger cube for hard boiled eggs; still other sizes for coffee percolators, chafing dishes, etc.

Ph. Morton Service Fair.

L. U. No. 224 and the employing sign painters of Cincinnati have reached an agreement and work has been resumed. The agreement provides for a closed shop and a minimum wage of $4.50 and $4.75, according to class of work, an increase of 50 cents a day. The agreement runs for two years. The fight was vigorously pressed, each side doing its level best to win. Now it is over, good feeling and mutual respect reigns.

Glass men win.

The members of L. U. No. 740 (Glaziers) of Portland, Ore., have won all they asked for-including an increase of wages-and have returned to work.

Peace in Seidel-town.

A satisfactory agreement has been entered into by and between the Milwaukee Building Trades Council and the Milwaukee Brewers' Association, and all men have returned to work. The members of L. U. No. 781 were involved in the dispute. The agreement provides for fifty cents an hour for the next three years.

They all come to it-it pays. After trying the other plan for some years, Mr. I. C. Stoner, of Des Moines, has signed an agreement with L. U.'s 246 and 686 which covers both his house painting and paperhanging business and his siga painting establishment. This puts about 35 men in the union. The two locals worked together in bringing about the pleasing result.

Enough is enough.

The men who dropped out during the old strike in Cleveland are coming back and with them are many new faces, young fellows who have graduated as journeymen and new comers to town. Applications are being filed in bunches and before long every shop worth while will be in line. The fight

has been long and been stubbornly fought, but the victory pays for all the time, money and energy expended.

CELEBRATED THEIR TWELFTH

ANNIVERSARY.

"Take it from me, that was some blowout." He was speaking of the celebration of the twelfth anniversary of Local Union No. 207, of Middletown, N. Y., and everyone of the members and guests who were present joined in the sentiment.

It was one of the most enjoyable affairs ever held in this city and to show the good will and harmony which exists, the Master Painters were given a hearty welcome and their presence was appreciated. There was a full representation of members of Local 207 present.

The reception committee was composed of Chairman J. McRobbie, H. H. Stewart, W. O. Halcott, F. Patterson and William Gannon.

An informal program of vocal and instrumental music was given and refreshments were served. Following this came addresses by the members of the Master Painters Association and a number of the members of Local 207.

Sec'y, L. U. No. 207.

A. M. PHILLIPS.

SMILES.

By John Galsworthy.

Once of a mazy afternoon, beside that southern sea, I watched a shoal of sunny beams come swimming close to me.

Each was a whited candle flame a-flickering in air; Each was a silver daffodil astonished to be there; Each was a diving summer star, its brightness come to lave;

And each a l'ttle naked spirit leaping on the wave. And while I sat, and while I dreamed, beside that summer sea,

There came the fairest thought of all that ever came to me;

The tiny lives of tiny men, no more they seemed to

mean

Than one of those sweet seeds of light sown on that water green;

No more they seemed, no less they seemed, than shimmerings of sky

The little sunny smiles of God that glisten forth and die.