INDEX TO ADVERTISERS.

Pratt & Lambert[ix]
Chicago Varnish Company[x]
Murphy Varnish Company[xi]
John W. Masury & Son[xii]
Surrey Varnish Works[xiii]
Standard Varnish Works[xiv]
National Lead Company[xv]
Berry Bros.[xvi]
John Lucas Company[xvii]
The Western Painter[xviii]
Edward Smith & Company[xix]
William Sedgwick[xx]
John L. Whiting & Son Co.[xxi]
Geo. E. Watson Company[xxii]
Valentine & Company[xxiii]

INTRODUCTORY.

In many of its elementary principles the art of carriage and wagon painting as at present exemplified does not materially differ from the art as it was interpreted in the remote past. Processes and systems have changed and adapted themselves to the swifter modes of life, but not a few of the paint materials, especially those used in the foundation and surfacing coats, remain practically the same as used in former times. The P. W. F.'s, as surfacing agents expected to take the place of white lead and oil and their assistant pigments, tossed merrily upon the topmost wave of favor for a brief period some two decades ago, but the fiat of their decline went forth and at the present time the great majority of carriage and wagon painters still adhere to white lead, raw linseed oil, ochres, and regulation roughstuff pigments for their foundation materials, as did their instructors and predecessors.

The abbreviated time allowance accorded the painter for the painting and finishing of a vehicle has made necessary a readjustment of proportions of both liquid and pigment ingredients which, it must be confessed, has operated in a way harmful to the natural durability of the material employed. The painter, however, can in no wise be held responsible for the general lack of durability which is said to distinguish the painting of the present as compared to that of the past. The great inexorable Public is the master, the painter its unwilling but submissive servant.

Nevertheless, conditions of permanency and durability are still wrought and achieved in the modern field of carriage and wagon painting, conditions which conform, with a large measure of credit to the art of painting, to the other resultant durable effects obtained along nearly all other lines of industrial activity.

Our painting today fails to excel the painting of tradition simply because the exactions of a wonderfully fast age tend directly to promote failure rather than to aid success.

The job of painting which withstands fierce and continuous attacks of service for a reasonable length of time must be justly registered durable, regardless of what it would have been termed in the past. Past conditions and circumstances cannot fairly be used as yardsticks to measure what we at present call beautiful and enduring in the art of painting.

In the matter of tools, appliances for handling work, colors and varnishes used, carriage and wagon painting, amid the advances made in all the other constructive departments of industry, has enjoyed improvement. Brushes in greater variety, finer in quality, and better adapted to the practical needs of the painter, are in evidence. Colors of a wider range of hues, tints, shades, and incomparably finer as to quality than were obtainable formerly, are now at the disposal of the painter. And the varnishes—surely they have been improved, made more reliable, more uniform in quality, better behaved and more suited to the ever-varying requirements of service.

Carnage and wagon painting has become as much of a business as an artistic venture. Commercial conditions have of late years so shaped themselves that the painter, to successfully conduct a painting business, must of necessity study the profound science of business quite as thoroughly as he does the science of building paint structures and developing color effects. He imparts a moral, business, and mechanical force to the community. He now has available sources of education more easily within his reach than at any former time. Paint trade literature, so far as it is represented in magazine form at least, is at hand to render him aid and encouragement. He is rapidly becoming better fitted to meet the expanding limits of competition, to critically analyze both the theory and practice of painting, to become, in short, a greater power for good in the community as well as a studious and original mechanic.

In the inseparable community of business interests, the painting of the vehicular equipment has reached the level of a prominent industry.

Its chief attainments are, firstly, to preserve the structural parts of the vehicle from the action of the elements; secondly, from the remorseless and gnawing tooth of service; thirdly, to aid in making the vehicle really beautiful, a work of art.

The mission of the following chapters will be to record the systems, methods, and processes practiced in modern carriage and wagon painting, to the end that the apprentice—good luck to him, and may he pluck the peach from the sunniest side of the fence always—may be enlightened, that the already skilled workman may be interested somewhat, and that the trade of carriage and wagon painting may be welcomed as a delightful guest, worthy of enthusiastic entertainment.

CHAPTER I.
THE SHOP AND ITS EQUIPMENT.
"Give ample room and verge enough."—Gray.

It would not be fit nor seemly to lay down any arbitrary rules for the guidance of the painter in the selection or construction of the paint shop. Conditions and circumstances here control. But so far as the painter is able to have authority in the matter it should be directed in favor of large, roomy apartments, high ceilings, and a fine outfit of windows. Light is an indispensable commodity in the paint shop. And room—there is never an excess of it. To do good work at a profit invokes an easy, commodious working space. To this end, therefore, the painter may well direct his best endeavors. Nor should the ventilation be neglected. A ventilator in quite common use, old-time but effective when the construction of the shop permits of its use, consists of the regulation stove pipe, say 12 inches in diameter and extending 18 inches or 2 feet above the roof of the building, furnished at its upper extremity with a revolving hood or cap. The local tinsmith usually has an invention of his own in the way of revolving ventilators which is workable and nicely suited to the needs of the paint shop. Where ceiling ventilators are not practicable, apertures some 8 inches in diameter may be made in the walls well up toward the ceiling, one or two on each side of the room, according to the size and location, and into these apertures insert tin frames, both ends of which are covered with wire gauze, the gauze on the inside or room end of the fixture being fitted to a hinged lid frame. Into this tin and gauze compartment put clean curled hair or moss. Metal caps may be fitted to cover the inside opening of these ventilators, so that if necessary the air can be shut out entirely so far as entrance through these channels is concerned. There are numerous other styles of ventilators, but they do not call for mention, as local and individual needs will suggest the kind most feasible to adopt.

Fig. 1—Wheel Jack.

Fig. 2—Wheel Jack.

Fig. 3.

The mixing bench should be located in a light corner of the room. It should be furnished with a slab of marble or stone, preferably marble. A cupboard with tightly fitting doors should be over, or at the side of, the bench with specially prepared boards on which to wipe brushes near at hand. A first-class paint mill should be a fixture in close proximity to the paint bench.

Fig. 4—Long-Acre Body Trestle.

Fig. 5—Body Trestle.

Fig. 6—Body and Gear Trestle.

The varnish room (sacred temple of the painter's hopes shall we say?), over which men rarely fail to disagree, needs to be every inch as large as conditions will permit. It should have ventilators, such as above described or similar, in plenty. The gauze and tin funnel ventilators might well be used near the floor and ceiling, thus driving the room impurities up and out. The varnish room cannot well be too large, nor too light, nor too cosy. Nor can it follow too closely the Quaker's code as to furnishings, for "unadorned, adorned the most" strictly applies to this historic apartment. It is agreed that the northeast corner of the shop is the best location for the varnish room. The north light is the most restful and the easiest light to work by, and it is esteemed the best drying light. The room ought not to be placed immediately over the smith shop. It should have plenty of windows, north and east, and made to lower at the top. If possible, have a hardwood floor, and oiled, with ceiling and side walls of matched lumber, good quality and preferably painted white or some very light color, that it will reflect the light. Personally, I am in favor of blue colored shades for north windows and yellow ones for east and west windows. If possible, connect a "set room," provided with abundance of light, with the varnish room, into which the work may be removed the morning after finishing. The varnish room requires a small cupboard for holding varnish, cups, dusters, brushes, chamois skins, sponges, etc., a body trestle or two, a few wooden, low-cut horses for supporting the varnished work, a stove, if the shop be not heated by other means, a sliding door or two, and—that's all.

Fig. 7—Gear Frame.

Fig. 8—Seat Frame.

The colors, pigments, and brushes will be considered in their appropriate order as the chapters proceed. Many shop fixtures will be similarly presented.

Fig. 9—Frame for Bodies.

Fig. 10—Gear Horse.

The work-handling appliances here furnished have been observed, studied, and many of them used by the writer in his travels up and down the land of paint shops. The revolving wheel jack is an indispensable fixture in the paint shop. [Fig. 1] has a plank base, and an axle for a standard. The cut shows how it is made. Many shops use it.[ Fig. 2] is frequently seen in provincial paint shops. It consists of a hardwood scantling of the size noted in the cut, with a 5/8-inch or 3/4-inch round iron stuck into one end and projecting 7 inches out. A hole to nicely take the iron is bored through the floor into a joist, a floor plate is placed over it, and the upright is ready to revolve. A tapering piece of round iron 3/4 inch at the base is driven through the upper end of the standard, having a projection of 7 or 8 inches. A thick metal washer is then slipped over the arm, thus completing the fixture. [Fig. 3] is largely used in factory shops. It is the finest wheel jack extant. Observe the bottom. Almost any foundry will cast one at from $1.25 to $1.50 each. Weight, from 40 to 60 lbs.; diameter, 18 to 20 inches; hole for insertion of arm, 1 inch to 1 1/4 inches. Weld stub axle to the round arm. Have varying sizes of axle stubs, from 3/4, 7/8, and 1 inch to 1 1/4 inches. This is a particularly fine jack for wheel striping purposes. Can be easily transferred to any part of the shop, and runs true.

Fig. 11—Rubbing Deck.

Fig. 12—Asphalt or Cement Deck.

The Long-Acre body trestle, a London production, is often met with in the paint shop. [Fig. 4] shows it in working order, on rollers, and the wheels connected with a wooden pin for a pivot. [Fig. 5] is a second body trestle, neat, easy to work, and the cut quite completely explains how it is built. Height, and proportion of parts can be made to suit the individual fancy. [Fig. 6] represents a combination body and gear trestle largely used in factory paint shops. Height, 3 ft., 2 in.; length of revolving frame pieces, 27 in., 2×2 in. in size. A 4×4 inch piece 9 in. long supports the frame. Inclined pieces are 25 in. long; size, 2×2 in. The trestle is of hardwood, or should be, bolted together. [Fig. 7], a gear frame, fits onto the frame of [Fig. 6]. It should be 4 ft., 6 in. long and 14 in. wide. It easily takes the shortest gears as well as the longest, and the workman is enabled to always obtain the best possible light. [Fig. 8] is a seat frame made to fit the trestle, [Fig. 6]. Make it of 1-inch stuff. Length, 2 ft.; height at rear, 9 in.; front, 2 in.; width, 13 1/2 in., to fit frame. This holds a carriage seat in capital shape for painting and finishing. [Fig. 9] is a frame for holding bodies while varnishing them or while rubbing the varnish. One-inch pine boards 6 in. in width afford good material for the frame. Let it be from 32 to 36 in. high, about the same in length, and 27 in. wide. At top of standards bolt 7×1-inch pieces 6 in. long, containing steel brads to hold the work in place. [Fig. 10] is a horse for holding carriage gears during the process of painting and finishing. Gear horses can't all be revolving ones, and this one is strong and handy to work around. Make the legs of 3×1 1/2 pine or ash and the bed piece, to which the iron standards are bolted, of ash 3×3 inches. Bolt the legs to the bed piece and stay them in the middle. The iron standards, 5/16 in. thick and 1 1/2 in. wide, are cranked over at right angles, as shown in cut, bolted firmly to bed piece, and at upper ends are hollowed out to hold the axle arms. Height of horse, 30 to 34 inches; width, wide enough to take a gear from 4 ft. to 5 ft., 4 in. Let the iron standards go 30 inches long, cranked at the middle. A rubbing deck for roughstuff and varnish rubbing, washing up work, etc., is a necessity even in the small shop. [Fig. 11] explains an inexpensive one. A A is the shop floor, D the wall, B B the false or double floor inclining to the center, where a shallow metal gutter is let into the floor opening to a waste pipe which conveys all the waste matter outside the shop. The outer edges of the double floor rest upon stoutly-secured blocks of wood. [Fig. 12] shows an asphalt or cement rubbing deck in general use in many leading shops. G is the shop wall, F the waste pipe, E the deck. The asphalt deck is not an expensive fixture, neither wears nor rusts out, and, like [Fig. 11], is a practical time saver. And along with the rubbing deck the painter should adopt measures for securing a plentiful supply of clean soft water for shop uses, and, if possible, have it piped directly to the rubbing deck. These are days of hard-fought business battles, and any aid that will out-foot one's competitor is an effective aid. A good water supply right at hand helps mightily. [Fig. 13] is a deck barrel for holding a ready supply of water for the rubber; also for holding certain styles of carriage and cutter bodies while rubbing. The slit cut at an angle lets a buggy, surrey, or other carriage seat in, and holds it fast while the rubbing proceeds.

Fig. 13—Deck Barrel.

Fig. 14—Varnish Room Stove.

The varnish room stove, when one is forced to use such a fixture, gives the painter much concern. In [Fig. 14] is to be observed a way of enclosing the stove in sheet-iron, after the fashion of the railroads once upon a time. Cut an opening in the wall separating the varnish room from some one of the other apartments, set the stove just inside the varnish room, inclose it in the sheet-iron cylinder, making the cylinder fit close into the wall opening, and have the opening to the stove, and the stove door, reached from the room adjoining the varnish room. Even when wholly located in the varnish room such a cylinder, enclosing the stove all over, is a practical reducer of stove dirt, etc.

Note.—Figs. [3], [5], [6], and [14] of this chapter, and Figs. [1], [2], and [3] of Chapter II. are published by permission of the Hub.

CHAPTER II.
BUYING AND SELECTING BRUSHES—CARE OF THEM—SOFTENING HARD BRUSHES—BRUSH KEEPERS—PRESERVING LIQUIDS—BRUSHES USED IN VEHICLE PAINTING, ETC.

One conspicuously famous brush maker has declared the art of brush making to be "an art preservative." The carriage and wagon painter is deeply concerned in the achievements of that art, because every distinct advancement made therein makes possible an equally distinct advancement in the art of painting. To a greater extent, perhaps, than any other class of painters, the carriage and wagon painter should be interested in making up his brush equipment of tools of the best quality. The brush made of reliable stock, having the proper "hang" and point, and which balances like a "thoroughbred," is an economical tool to buy, regardless of the price. The vehicle painter requires a brush made scientifically, by the outlay of honest workmanship, and of material that is wholly above suspicion. A brush that has simply the price to recommend it is usually an unreliable article and worketh evil, like a thief in the night, unexpectedly. In making choice of a brush for putting on priming, lead, and roughstuff, and for such other features of general use as require a round or oval bristle brush, the painter may properly look at the filling of the tool. Deception, if practiced at all, is usually placed where it shows the least. The first-class brush is distinctively the brush that shows good quality—uniform quality—from center to outside. Other things being equal, the brush that is made up uniformly as to its bristle equipment will develop a good point, and all carriage painters are alive to the importance of this virtue in both paint and varnish brushes.

Fig. 1.

Fig. 2.

Fig. 3.

Much of the usefulness of a brush depends upon the manner of caring for it when it comes into the paint shop. The bristle brushes used for priming, lead, and roughstuff require bridling until worn down somewhat. There are many patent brush bridles now procurable at a nominal cost which tend to give a brush much better shape than the shop-made bridle. If these are not at hand, the painter can take "tufting cord" (our friends, the carriage trimmers, keep it) and wind the brush securely but not too tightly; or he can take a piece of light weight rubber cloth and, extending the piece well down on the handle, tie it at the proper distance around the bristles. The rubber side of the piece should be fastened next the bristles. Then, from where it is tied around the bristles, fold the piece back onto the handle and tie securely. Trim off, and a bridle is furnished that is perfectly water- and paint-proof, the cloth side of the rubber being folded inside. For a shop-made bridle the writer finds this a serviceable one. After bridling, drop a little oil paint into the heel of the brush and set it away in a dustproof compartment for a few days. Then use the brush for a time in oil paint, suspending the brush when not in use in raw linseed oil. In the course of two or three days the brush may be put into other paint if desired and suspended in water. Suspend the brush just up to the butts of the bristles, or so they are just covered, and invariably keep the water up to that point. Under no circumstances permit a brush to rest upon its point when not in use. It destroys the form of the tool and lessens its spring and elasticity. The bristle paint brushes require a clean storage quite to the extent that the color or varnish brushes do. Therefore, the receptacle in which they are kept should be fitted with a cover and should be tight enough to keep out all forms of dirt. A common tobacco pail procured of the local grocery, painted inside and out, fitted with a cover, and having nails driven at certain distances apart all around it, one-third of the way down from the top, on which the brushes may be suspended, makes a cheap and excellent keeper for the ordinary paint brushes.

Complete Set of Finishing (Flowing) Brushes.

Camel-Hair Flowing Brush.

Coach Duster.

Chiseled Paint Brush.

Camel's hair color brushes may well have a little paint, one-half oil and one-half turpentine, dropped into the heels of them. These brushes, used in japan ground colors, need to be kept suspended in water. Change the water frequently and make sure that it is clean. A brush keeper such as is recommended for varnish brushes is one of the best possible keepers for color brushes. It insures cleanliness. And vehicle painting without cleanliness is like unto a landscape painting with the beauties of nature left out. The brushes kept in water do better in rain water than in hard water. During the cold months, especially in shops where freezing is liable to occur, it is advisable to add a little glycerine to the water. The glycerine delays the freezing point and does not injure the brushes. Never soak a brush in water before using it in paint. Animal fat circulates in the capillary tubes of all bristles and hair, and if water is soaked into these arteries, the spring and elasticity of the brush is not only destroyed, but it speedily becomes a very much water-logged tool. To swell up a brush which for some cause has become dried out and shrunken, part the bristles so that the end of the handle is exposed, and pour in a small quantity of water, say three or four teaspoonfuls. Then stand it away, bristles up, handle down, for two or three hours and the brush will have returned to its normal condition. If a brush handle gets smeared with paint or varnish, a wire scrub brush dipped in a solution of sal soda will clean off the sticky substance in short order. To test the bristles in a brush, remove some of them and submit them to a smart flame. Bristles, the real animal product, will curl and writhe and emit a peculiar odor. No known adulterant burns this way.

Round Paint Brush.

A brush that has been allowed through accident or neglect to get "soggy" may be limbered up nicely by soaking in heated turpentine. Hardened brushes may often be softened into workable condition again by soaking the bristles in hot linseed oil. A simple soaking in turps or benzine will sometimes effect the needed softening up. Brushes, however, that have dried up, saturated with quick drying colors or paint, can at best never be restored to a first-class working condition. The best form of economy, therefore, is to throw such brushes away. Remedies in impressive array have been marshalled wherewith to restore varnish brushes that have become lousy, but the vehicle finisher recognizes no reliable or economical remedy for the purpose named. A dirty varnish brush can be cleaned by washing in oil first, then in turps, and lastly worked in for putting on first rubbing coats, and thus gradually brought back to its original cleanliness. But the varnish brush once lousy, look you! always lousy. Better

"To the fire I now consign thee,

Peace unto thine ashes be."

When a varnish brush is accidentally dropped on the floor while being used, pick it up carefully and, holding it at an acute angle, bristles down, pour a small quantity of turpentine over it, thus flooding the accumulated dirt completely off.

Camel-Hair Color Brush.

Oval Chiseled Varnish Brush.

There is a considerable diversity of opinion as to the best preserving liquid in which to keep the varnish brushes. Local needs and requirements are probably the safest guides in the matter of choosing preserving liquids for varnish brushes. When the brushes are used daily, as they are in big shops, it is a very good way to keep them in raw linseed oil. Then, every morning before beginning work, the brushes may be rinsed out in turpentine, wiped out clearly over the edge of the cup, and an elastic brush full of life is assured.

Badger-Hair Flowing Brush.

Brushes used daily upon clean surfaces are, or should be, clean, and rinsing in turpentine can do no harm to a clean brush. But in the case of brushes used every two or three days or occasionally, different treatment is needed. Such brushes are liable to be used upon surfaces and amid surroundings less cleanly than those which obtain in the fine factory or custom shop, and the rinsing in turps, consequent upon preserving them in oil, would merely serve to loosen and set in motion the dirt and flocculent matter gradually collected and forced up into the body of the tools. For this reason it were better to keep them in finishing varnish or, preferably, brush keeping varnish, i. e., varnish minus its driers. Whatever the preservative, the brushes require the most watchful attention. If kept in finishing varnish, the liquid should be changed frequently. So delicate a tool, of which so much is expected, makes imperative the observance of gentle, cleanly treatment. Varnish brushes ought never to be left lying around for any considerable length of time when not in use. Dust is never idle, but always moving and, like the dew of the evening, it falleth upon the just and the unjust, varnish brushes included. Have a stiff, partly-worn brush to clean the handles of varnish brushes. Wiping them with cloth distributes lint.

Spoke Brush.

Chiseled Fitch Tool.

In [Fig. 1] is shown a double compartment brush keeper. It can be made of tin or zinc and is not expensive. Attach lock and key to it, and the brushes conditioned to a peerless trim are secure. Make the keeper 8 in. long, 5 in. wide, 9 in. deep; outfit with spring fasteners, run wires through 3 in. from top, and 3/4 in. from bottom of the can locate a rack made of small wires criss-crossed on a light wire frame. The dirt which collects in the keeper goes to the bottom beneath the gauze rack, and should a brush fall into the preserving liquid it is held aloof from the dirt accumulations. These are regulation brush keepers, clean, durable, and cost in the neighborhood of $1. [Fig. 2] represents the famous thirty-cent brush keeper, several times illustrated but still deserving a place here. It is claimed to be made upon scientific principles, namely, the break between the body of the keeper and its lid or cover occurs at the bottom and below the point of brush suspension, instead, as in the ordinary keeper, at the top and above the point of suspension. It can be made of any size to meet individual needs. Such a can affords a splendid keeper for camel's-hair color brushes and for color-and-varnish brushes. [Fig. 3] displays what has been somewhat widely heralded as the western idea of a brush keeper, although the gentleman who first published a cut of the keeper and who, I believe, was the inventor of it, has seldom, if ever, been given credit for his ingenuity. My veteran brother of the brush, Mr. V. B. Grinnell, is deserving of the thanks of the trade for his invention. It consists of an ordinary glass fruit can (a metal top with rubber attachment is best), in which is located a tin cup, having a heavy wire soldered to it and projecting up to near the top of the can. This allows the cup to be easily removed from the top of the can. A second wire is soldered onto the first one so that it projects out horizontally over the cup, allowing for the suspension of the brushes in the liquid contained in the cup. The illustration shows how the keeper is made completely. Two or three brushes may be kept in each can, and they may be kept air-tight, too, a matter of moment to the vehicle painter.

Pear Flowing Varnish Brush.

The vehicle painter's brush equipment should consist of a good assortment of round or oval bristle brushes for putting on priming, lead, and roughstuff. For the best grade of carriage painting, the chiseled brush is advised for the priming and lead coats. In size they should run about 4.0. For working upon large surfaces, however, larger brushes will be needed, hence any exact size cannot be advised to meet all cases. Spoke brushes, dusters in plenty, flat chiseled bristle paint brushes, extra thick camel's-hair color brushes, varying in size from 1 in. to 3 in., camel's-hair flowing brushes, 1 1/2 to 2 1/2 in. in size, for applying color-and-varnish of some kinds, chiseled badger hair brushes, double thick, 1 in. to 2 in. for varnishing gears, oval chiseled sash tools for cleaning up surfaces and painting when needed certain parts of a vehicle, chiseled fitch tools for cleaning up panels, and lastly not less than four sets of varnish brushes for varnishing vehicle body surfaces, along with some oval or round chiseled varnish brushes required especially in wagon painting.

The painter needs a set of at least three brushes, 1 in., 1 1/2 in., and 2 1/2 in. in size, for varnishing the inside surfaces of bodies, these to be used for no other purpose. Then, properly, he should have a set of brushes for putting on first rubbing varnish coats, consisting of a 1-inch chiseled badger hair brush, and a 2 1/2 in. and one 3-in. bristle brush. Then another set of the same number for the remaining rubbing coats.

Long-Handled Spoke Brush.

The finishing kit of brushes may properly consist of five chiseled half elastic flowing brushes, as follows: One 1-in., one 1 1/2-inch, one 2-in., one 2 1/2-in., one 3-in. Some finishers prefer a 1-in. badger hair brush for flowing the edges of the panels, but the set of flowing brushes herewith illustrated answers every purpose fully and completely. The art of fine brush making has so far advanced within recent years that it is now possible to get varnish brushes which require but very little working in varnish to prepare them for flowing on the finishing coats.

To clean a new varnish brush preparatory to using it as a finishing brush, first draw the stock of the tool through the fingers, continuing this operation until the loose dirt is quite fully worked out. Then repeatedly submerge it in clean linseed oil and wipe out over the edge of a cup, after which use it for a week or two in rubbing varnish. The brush may then safely be used for applying finishing coats of varnish.

Oval Chiseled Sash Tool.

All brushes not specially mentioned in the foregoing as round or oval brushes are assumed to be flat, this style of brush being the one chiefly employed in vehicle painting.

Chiseled Flowing Varnish Brush.

In the matter of camel's-hair, badger hair, and flowing varnish brushes, the painter desires said brushes to be tough, durable fibre, having soft ends, elastic, and which wear soft until worn out.

In selecting the brush equipment, it is a most happy mental exercise to remember that the highest type of brush, if not mightier than the sword, at least hath its victories.

The numerous accompanying excellent illustrations of brushes specially adapted to the needs of the carriage and wagon painter are the result of valuable and courteously extended assistance tendered by that celebrated brush making firm, John L. Whiting and Son Co., Boston, Mass.

CHAPTER III.
PRIMING—LEAD COATS—RUB LEAD—KNIFING LEAD—PUTTY AND PUTTYING—SANDPAPERING—ROUGHSTUFF, APPLYING AND RUBBING IT—MATERIALS USED IN FOUNDATION COATS—MIXING FORMULAS, ETC.

Fine and durable carriage and wagon painting cannot be accomplished upon foundations in anywise weak or unstable. The supreme aim of the painter, then, should be to begin at the base of the foundation and, with patient toil and skill, aided by materials of recognized value, bring up a surface of uniform excellence and quality.