The Uses of Woodwork in 
Interior Decoration 
(Continued from page 375) 
lead, ground in oil; the zinc, French 
oxide of zinc, ground in oil; the oil, raw 
linseed oil ; the turps, pure spirits of tur¬ 
pentine; the dryer, best pure turpentine 
dryer; 
Priming Coat.—100 lbs. lead, 7 gals, 
oil, 1 gal. turps, 94 pint dryer. 
Body Coat. — 75 lbs. lead, 20 lbs. zinc, 
2 /4 gals, oil, \y 2 gals, turps, pint dryer. 
Finishing Coat (Flat Finish). — 50 lbs. 
lead, 40 lbs. zinc, 2 qts. oil, 2 gals, turps, y 2 
pint dryer. 
Or, 
Finishing Coat (Dull Gloss). — 50 lbs. 
lead, 40 lbs. zinc, 1 gal. oil, 2 gals, turps, 1 
pint dryer. 
We have taken the equivalent of 100 
pounds of white lead as our standard, and 
when we have introduced zinc, have al¬ 
lowed for its greater bulk. These pro¬ 
portions are not at all absolute; no two 
painters agree as to the exact proportions 
of pigment, oil and turpentine, and dif¬ 
ferent woods require different treatment. 
We have assumed it to be either white 
pine, whitewood or poplar ; if cypress, for 
instance, slightly less oil should be used 
in the priming coat. 
In general, the more oil in relation to 
the turpentine, the stronger and more en¬ 
during the paint, the glossier, and the 
greater tendency to turn yellow indoors; 
the more turpentine, the more easily 
marred, the “flatter” the surface and the 
less tendency to yellow. Of course, if a 
cream or buff color is desired, the yellow¬ 
ing is unimportant. If a higher gloss is 
required, part of the oil in the finishing 
coat is replaced by a light or “enamel var¬ 
nish” ; if a very high gloss, all the oil can 
be replaced by the varnish. It is then 
called an “enamel.” Floor paint is simi¬ 
lar in composition to the last. 
All this bother and responsibility in 
making the right combination can be 
avoided by using the ready-mixed paint of 
a reliable house, for such a paint is ex¬ 
cellent. The ingredients are properly 
proportioned and much more intimately 
mixed than possible by hand; a matter 
of great importance in the durability of 
the paint. 
The owner should see the cans before 
the painter opens them, to be sure there is 
no adulteration. He might buy it him- 
(Continued on page 342) 
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339 
