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.
