1. home and garden
2. home furnishings
3. rugs and carpets

Church's
Mabastine
how
and
to
to
best
the
it
use
advantage-
^
Illustrations
useful
The
of
relief
hints
for
decorating
practical
Alabastine
Paris,
Ontario.
and
workers.
Co.,
: vvi"
INDEX.
80
filler
wood
Alabastln"
fts
Alabastine
tire-proof
Alabastine
healthful
27
Alabastine,
Alabastine,
brushes
to
noninjurioua
similar
to
nothing
talk
painters who
Alabastine
pays
Alabastine
Sanitary
Alabastine,
To
Best
Brick
35
10
10
of
23
0
is
of
24
stippling
Fine
nexttit'e
colors
for
Tiling
work.
13
for
Y)
to
Ceiling
Blend,
Blend,
advantages
Samples
B.ithroom,
0
varnish..
What
Alabastine,
34
painter
the
Alabiistine,
Alabastine?
27
factories
for
11)
to
Frieze
.3;*
painting
U
Brushes
non-injurious
Brushes,
Alabastine
Brushes.
Care
of
Blushes,
Price
list of
Ceiling
Ceiling
Oolop
to
blend
to
canvas
3t
for
24
relief
Stippling
shades.
IS
10
Kepairing
plaster,
Darker
pajje
I J)
rooms
for
Tools
Cracked
last
2S
schemes
Combing,
34
to
10
for
12
Directions..
11
Directions,
Follow
Directions,
Special
Filler,
Filler,
Alabastine
20
aa
wood
37
Liquid
31
Oil
2d
Fillin^^
Frieze,
To
Homes
of
H"
blend
and
health
tints
Intermixing
Introductory
Lime,
Lining
.
Look
22
Id
d
out
for
35
!""
11
Mistakes
Mixing
Nothing
oiimiing
beauty
for
one
similar
coat
12
0
ae
Old
xrhite
ivory
28
-
Old
work,
Kecoiiting...
One*0(iat, Mixing
PaiDtiiiK
bii'.'k
Painting
wall,
Paint
....
13
lor
12
82
for
Prepaniliun
1(5
Preserver
Priming
82
shiiiL'le
for
o'd
Kecoaliiig
Relief
coniMng,
Kelief
88
roors
work
18
Tools
for
24
ouitius
Relief
work
R"'lief
work.
m
29
Sjiino'es
cracked
Repairing
92
plaster
10
for
18
schemes
Rooms,
Color
Rosette
tiline
.Sanitaiy
of
25
of
advantages
Second
13
I'liining
To
Stains,
Will
for
8.3
washable
fe'tiiiniug, Flati
ShiMis,
10
For
coat.
Shingles,
Alabustine
20
liide, with
color
dry
Alabastine
34
34
water
cover
Stencils
14
_.
of
Stencils,
List
Stencils,
Price
About
Stippling,
Stippling
Stippling
Fine,
13
For
work
best
darker
under
13
shades
1(3
10
paint
34
bathroom
for
24
25
Rosette
Tiling,
Intermixing
Tints,
Tints,
41
work
Sponge
Tiling
80
list of
Stippling,
for
with
work
nice
Samples
of
10
centre
forty
23
To.
Alabastine,
Varnish
pages
29
work
Tracery
...
Wainscot,
Wall,
Clieap
To
Washable
What
Whit.s
Wood
20
Flat
24
Wainscot
Wiishable
Water
23
staining,
Washable
10
painting
for
prepare
finish
24
Washa""le
stains.
is
Will
Alabastine
20
Ivory
fiUer.Alabajstine
84
9
Alabastine
Old
Cnver
as
30
Alabastine,
Church's
M
Powdmr
Dry
for
Ready
Usa
Cold
in
Water
If)
17
IJ
"J")
l.i
"21
U
13
."J
10
The
intended
also
thom
shades,
fctrong
for
for
stenciling
intermixing.
together
required
20, 33, 34, 35,
for
use.
dry
and
and
To
mix
avoiding
fo""
36, 07,
38
special dark
intermix
with
waste.
Cold
work;
tints,
Water
are
stir
as
Introductory.
Tills
.loRiprnod
;
liook
tht'l)t'.\'
u'latinK
liic
It
is
aim
nnr
the
ihedeuiandforartKsticwork,
tine
class
fresio
of
use
delif'ale
our
tints
the
by
cost
and
modest
both
in
high-
in
only
medium
of
art.
Alabas-
of
use
not
work
in
but
study
painter's
the
of
with
increase
t"'
spent
inconstant
bianch
i.i this
.eut
txpei''
Having
century
a
corators
De-
learned
have
we
decorating.
of
f|uarLer
things
Koinc
inti'iior
to
past
and
it of
nml
Pnintors
give
to
ous
vigor-
harmonies.
With
the
able
been
growing
to
inevpensive
of
every
of
dwellings
class
aids
the
in
Alabastine
with
of
samples
walls
suitable
of
would
our
and
that
and
of
in
and
smaller
tints
ten
school
or
ranged
armore
interiors
that
from
frescoing,
the
all
anu
of
each
But
now
are
cheapest
i/hich
sanitary.
to
plain
tinted
they
suit
to
order
obliged
be
prohibitory.
painters
In
have
must
or
made
designs
designs,
juauent
they
artists,
be
work
church
supposed
decoration,
fresco
special
decorated
sections
eight,
in
rooms
harmonies.
have
People
with
wallpaper
devoid
also
are
contains
also
series
six,
of
these
postp.ud.
rooms
a
ceding
houses
There
rooms.
and
our
Home
10c
of
also
tmts;
suit
to
for
reproduction
exact
of
"The
it
press,
furnished
of
series
a
by
latest
Price
letter
the
of
the
colors,
The
entitled
work
decoration
simplified
painter.
a
reach
the
The
Beautiful."
to
iliusfrations
in
is
and
addition
In
the
to
and
modest
within
is
greatly
been
press
Healthful
that
have
we
of
system
a
conununity.
the
in
has
of
system
now
inauguriite
decorating
Alabaetine,
of
use
will
room,
to
the
be
away
have
not
as
the
the
cost
of
help
artistic
execute
most
walls
send
could
with
able
to
to
dispense
elaborate
fashionable,
per-
Wo
(It) not
for
painlin^,
reafliiig
to
study
But
attempt
no
on^
It
become
found
tlie
ordinary
painter
woik
with
aid
the
Alabastine
takes
than
by
we
done
be
can
money
bv
with
""peiate
homes,
the
efforts
and
schools,
for
and
bv
wall
time
same
make
This
of
painters
make
the
ciiurches
usiny:
other
any
himself.
to
that
beautiful
more
him
the
number
in
us
expeiience
with
at
or
and
line.
much
pive
can
tht^
experience
past
do
can
fresco
from
artist
tliat
our
and
covering,
and
a
reputation
coating
in
of
art
an
both
proficient
liave
we
the
becotnc
can
books.
of
tea".'h
to
is
monstrated
de-
who
co-
walls
healtldul
of
om-
well
as
as
beautiful.
It
is also
willing
with
to
the
Our
aim
is to
which
of
in
wall
The
of
if
of
wall
when
wall
used
and
in
glue
readily
j^hat
menace
the
art,
facturer
manu-
has
to
on
manufacture,
used
to
and
the
of
it
beconie
health
in
tine
Alabasdid
who
upon
the
material
same
can
never
arsenical
the
the
of
ing
writ-
individuality is
do
to
duplicate
the
and
slick
the
istic
character-
done
which
account
his
to
it,
with
compared
endless
repetitions
the
is healthful,
bus
artistic
and
("harm
like
workman
the
procure
wall.
the
decay
coration,
de-
prices,
lost
less
or
and
amateur
paper
its
of
better
by
work
is truly
All
Alabastine
of
class
artist,
is to
on
it
material.
almost
him
more
ornamentation
work
it
paste
his
so,
of
done
paper.
all the
artists'
get
an
are
Just
man
neatly
stitf
the
of
paintings
is characteristic
and
to
other
aspires to advancement
material
peculiarly adapted
individual,
the
bastine
Ala-
paper.
a
any
better
from
because
who
Alabastine
of
a
reclaim
than
j".b. making
tlian
to
taken
workman
wants.
work
mor"
permanent
the
to
now
simply
the
painter
to
been
has
The
the
him
enable
to
less
stimulate
aid
to
and
with
better
UD
of
brilliancy
give
are
Alabastine
with
mixtures,
appearance
tmts
public
done
color
water
luminous
show
tlie
ff"r work
pay
other
that
fact
a
perishable
the
abode
home.
wall.
of
lost
the
and
be
said
poisons
paste
These
hacteria
(lecfiyno
which
of
change
the
stencil
it to
always
the
upon
it to
causine:
that
peel off, does
hardens
not
wall
moulds
wall
Ala-
injure
with
every
atuiosphere.
the
conveniencehas
are
otf, and
has
catalogue
by
up-to-date
rubs
it
allowing
paper,
liasiine
Our
that
kalsoniine
softens
which
Moisture,
of
addition
kept
been
prepared
to
been
revised
these
color
suggest
for churches,
kept
and
designs,
new
within
and
for
We
covers.
schemes
and
ings
public buildand
designs
dwellings free of cost, but where
in detail
and
the
are
required
drawings
working
and
the
size
quality of
price would
depend upon
suitable
the
work
We
us
ornamentation
desired.
be
will
regarding
will
glad
the
to have
use
of
Alabastine.
cheerfully giye suggestions
THE
ALABASTINE
correspond
anyone
To
when
COMPANY,
such
we
required.
Limited,
Paris.
$'^
with
Ontario.
IS
ALABASTINE
Alabastiiie
is
WHAT
The
base
of
c.ystaline
"ock
calcined,
boiling
driving
off
large
kettles
in
mixed
w'^h
w.itt
crystalization
the
known
again,
tiiis
original;
Avhich
hold
it from
without
base,
a
harder
disintegrate
This
a*
from
crystals,
and
machinery,
color
to
enough
this
hide
the
that
the
semi-transparent
or
to
opaqut.
the
naked
and
separated
microscope
they are
are
other
small
chalk
black
appear
way.
The
whole
is
proportioned
and
processes
patent.
the
by
1
of
of
machinery,
B.
but
of
and
making
using,
that
fifty patents.
he
No
(hat
other
it is
compound
ev"D
similar
while
such
as
same
perfectly
machines
inventions
not
are
been
and
only
and
compounds
having
the
and
These
the
arid
NOTHING
poweiful
a
in
mixed
mainly
tl'e
crystals
materials
proc'"ss.
Church,
appears
transparent,
examined
intimately
patent
it
minute
white
when
are
M.
be
plained
ex-
crystal,
a
under
to
above
as
though
to
not
due
is
reality
examined
seen
and
ci-ystals.
wall
when
eye;
particles
the
combined
coating,
by
the
automatic
used,
are
is iu
pared
pre-
mixed
by
the
on
coating
not
made,
and
of
lustre
and
made
will
separating
only
Alabustme
base
crystal
po
colors
purpose,
The
that
is
tinted
ai-e
pure
of
tfxture
these
to
itself.
and
poli"bing
and
mixtures
ad-
forming
r.)ck,
ground
is
as
oiir
the
Alabastine
which
process,
by
nnxt'ues,
rock
the
hard
stv^ngth.
or
original
described,
above
patent
atomic
soon
oi
water
as
for
e
by
proportions,
enough
these
the
stone
a
exact
textu
than
as
base
as
The
long
setting
changing
setting, absorbs
in
in
be
must
its
np
retarded
is
setting
its
mass
a
e-forniing
i
is
when
This,
heat.
taking
by
set3,
r,
which
crystali/jition
of
great
white
a
gypsum,
water
at
from
made
us
tlio
V
tbi-
on
processes
granted
moi-e
SIMILAR.
made
to
has
any
Alaba^stine.
right
to
claim
The
Sanitary Advantaues
of Alabastine
it beinga pure, porous, non-decaying
iinpo""(",ant,
stone-like surface ; does not decay and allows
the air to pass through it readily,
consuming or
later
or
burning the germs of disease that sooner
and I'emain un
lodge in the walls of livingrooms,
til they prop-igateand become dangerous, if thet
lodge in a sui-face that will act as a culture ground
as with animal
glue, flour paste and paper, and ii
the air is excluded bv materials of such an
structing
obThe Michigan State Board
nature.
of
Health
considerable
in years past made
effort
then
was
through Prof. R. O. Kedzie, who
dent
presiof the Board, on this subjectof san'tarywalls.
The
State published a book entitled "Shadows
from the Walls of Death,''and placedit in all the
Public Libraries of the St.ite. The
Professoi
lectured on the subject,
illustiaUngto his audience
of a blow-pipe,how
by means
readily air passes
when
it is simply white-washed,
chrou^h mortar
and how the passage of air ("wall respiration
") is
obstructed by painting,kaNomining or papering.
Noticingthat these efforts had been made, we
called the Board's
attention
to this material.
After investigating
it,the Professor indoi'sed it in
of the
strong terms; and now, after the members
Boai-d have used it many
reaa
years, a paper was
of their State sanitaryconva^tions, and
in one
waa
printedin a supplement to their a:;nual State
Board of Health
Report for 1888, recommending
why the old laetLods
only Alabastine, and telling
Are
are
unsanitary.
U. S. Department of Aorriculture Bureau of
Chemistry in their annual report of 1904,deal with
The
the subjectof arsenical poisons in wall paper and
cite many
instances of such poisoning
from
both
and old papers, showing thcit the arsenic was
new
tiot limited to greens but might be found in any
tint.
Alabastine
L"
decoratinga
room
Pays the
with
Painter.
Alabastine,the cost
of the materialii small in proportionto the
10
coat
of the
be
labor.
worth
For
$15
would
$12
not
the
IS
who
one
where
and
do
then
woik
always
there
dnugei
the
used
of
in
its
rubbing
in using
mistakes
1.
Letting
it
use
2.
mixing
with
for
anyone
to
off
goods
are
than
any
do
firstit is
As
cold
water,
than
more
be
will
there
up.
no
Some
of
trying
to
"
and
night
over
claim
to
mix
rubbing
or
they
We
water.
as
and
takes,
mis-
because
by
stand
it
thin
as
hours,
five
replace
make
Alabastine
mixed
when
make
if you
work.
good
doing
qualities for Alabastine
could
hardly expect
ready for use
is no
necessity
be
can
we
dealer
can
in
covering
greater
but
alsomine,
class
You
directions
read
not
condemn
succeed
not
the
Directions.
the
do
less, and
decorations.
Follow
Painter8"who
wnll-paperthe
dimes,
make
the
83.(jO
tliJin
with
money.
now
you
Alabastine
with
paper
niakes
the
aud
labor,
his
more
or
would
Alabastine,
cost
decorating
ar(K)ni
day's woik
painter gets one
that
room
for
in
dollars
a
with
fi;etabout
Alabastine
Wherein
for
decorate
to
would
painter
instance
day,
next
it
Putting
3.
Rubbing
in putting
on
would
do good
on
over
first coat
up
or
green
second.
with
Use
work.
See
jilaster.
damp
a
of
stub
brush
a
fjood brushes
if
you
Brushes
Alabastine
ir
index.
4.
Adulterating
to
change
as
its texture,
on
the
5.
Putting
6.
Mixing
tints,
Not
before
too
8.
Leaving
paper,
then
in
coloring
spoiling
its
under
it.
or
This
thin.
is most
trying
matter,
lust:
s
likely
to
well
occur
surfaces.
old
removing
using
thus
glue size
non-abcorbent
7.
it with
kalsomines
from
the
walls
Alabastine.
old
paste
putting
on.
Alabaetinr
t!
after
on
removing
such
8tu"u
old
ing
directions
regular
See
siz-
direct.
we
as
carefully
without
Alabasline
ViiinishlnK
9.
avoid
to
mistakes.
above
DIRECTIONS
We
of
below
Kive
which
tints
Fill
work
from
kalsomine,
tlie
walls
oil
paint
To
free
Mixing
for
until
should
work
add
be
it will
as
a
is the
Work.
one
full
the
measure
of
nieasure
(not
if
and
on,
cold
more
therefore
used
staVid
the
not
having
it
water
the
more)
and
it
try
does
at
To
a
not
time
to
when
mixed
get
thick
in
the
second
after
long,
for
nor
result
b.'8t
used
coat
one
case
second
a
within
relief
it
with
cover
a
too
be
then
or
is formed
to
body
receive
it
heavy
so
as
appears,
Alabastine
should
mixed
thin
brush
;
first
jellied mixture;
any
too
for
well
is not
it
use
been
such.
heavv
hs
soread
with
ca.-e
Do
used
cold
Bi'ing
hour.
little
iequir*^d,*a
good
is
coat
when
u.,ed
be
to
over.
it does.
It
it.
lumps.
surface
or
until
smooth
thoroughly
Before
it much,
thinning
Slir
well,
Coat
One
get
to
Alabjisline
of
Alabastine
put
to
one-half
in
Alabastine,
coats
all wor!-,, stir
for
from
spread
to
right
water.
the
on
Old
all
Alabastine
cold
of
basline
Ala-
dry
some
entirely removed
applying
conting.
are
mix
dry
cheap
quick,
to
musfbe
etc..
before
perni;ment
a
brush
same
fill cracks.
old
All
the
For
mixed
little
a
with
touched
be
may
water.
have
or
applied.
is
in
cold
in
cracks
large
(ont
brush
the
to
to
in
surface
the
as
work
to
work
nice
First,
Chacks
V"y the aid
Alaplain basline
directions
mixed
white,
or
THE
thick
do
can
one
any
brief
some
work
is
coat
one
as
often
r
r
is needed.
it
stiffens
add
fresh
the
mixed
five
hours,
only
about
from
mixed
bastine
Ala-
and
one
For
The
thin
second
for
except
one
and
if
rub
the
in
up
mixing
the
applying
of
water
dries
with
^about
one
Alabiistine,
coat,
coat
of
Fine
done
to
and
first
at
work,
good
a
coat
before
mixed
one
it
heavy
half
one
of
above), and
change
any
as
and
x
uf
4 x8
to
with
best
in size.
A
piece
a
fastened
"
piece
bat
k
ll.e
lA
is
of
plush
on
of wood
can
"
block,
a
fastened
of a
help in the way
tack
handle.
It is best
the Moquette
to
carpet on
the block,
inch
letting it project, say one-half
over
["lock
the
leave
the
flexible.
".f
to
the tdges
edjjjes
tlie
to
block
and
wallstippler,
is the
caipet
6
brush
a
Work.
Best
the
oiuinary
in I'eu
Moquette
3
it
cover
Alabastine
Stifpiirig,
It is donewilhan
say
brush
desired.
tint
be
and
heavy
produce
to
Work.
Alabastine,
water
mixing
will
coat
one
of
old
of
cup
one
too
Old
old
tbe
on
water
second.
over
re-coating
of
cup
first, as
above);
it
will
thin,
not
at
is not
first coat
comparatively
one
thiok
Re"coatinQ
For
used
be
stippling (about
powder,
ot
Bhould
coat
Coat
Second
a
a
out
scraped
occasionally
washed
when
while
and
using
through
easily
very
and
cheap.
are
tints,
to
they
change
very
or
work
will
of
coat
one
Very
stippled
frequently
work
will result
if a priming
well, Itutbettei
cover
is pi;t on
coat
first, as this will form
ground
a back
solid
in its full strength
that
tint will be seen
the
so
These
and
stipphrs
be
can
uniform.
Stippling.
About
Painters
understand
sometimes
Are
To
space
feet square;
with
surface
of
the
asked
stipple
witn
what
a
a
wall
begin
with
then
the
eyenly,
to
brush,
wall
bristles
Still
stippling is.
it is done.
explain how
flat
will
as
face
up
brush
13
and
corner,
from
the
pick
the
atone
twenty
of
the
and
brush.
distribute
is worked
coat
inches
stippler strike
we
to
the
Tbe
tbe
about
a
two
wet
ends
bastine
Alaover
wet
the
sharp
edge of
its becoming
acrosa
stippling brush
to
board
prevent
occasionally
li"atled.
heavily
by getting too
Draw
surface.
the
a
clumsy
low
stippling will
relief
according
thm
or
The
the
be
light
theappearbright
a
of
Alabastine
is characteristic,
onlyin
dull
comparison.
kalsomineare
or
it obliterates
is that
of stippling out
etfect
that
lustre
paper
Another
that
marks
brush
only
cases
work.
class
show
to
aliflost
and
the
the
and
of
is
should
paint shop
have
pair of
a
in
inches
flat. iix8
ends
Every
size
For
them.
fit
to
the
showing
brush
the
is
stippler
cheaply.
sell is made
we
as
ings,
ceil-
blended
to
face
bristles
For
very
reflections
the
fuch
is
.light
grounds,
work
quickly
Brush
the
hand,
no
are
(irst-
get
harsh
wall.
nearly
in
to
frieze
necessity
a
Stippling
A
there
the
are
that
the
work
in the
defects
up
panels,
of
and
softened,
much
great
so
is necessary
stippled
In
avoided
be
well
very
Alabastine,
coat
one
with
but
surfaces
clean
On
coating.
properties of
covering
has
tints
not
can
in
all
or
mixed
thick.
wall
in AlaVKistine
Astippled
of plain or ingrain
ance
paper,
wall
high
is
Alabastine
the
as
in
heavy
or
price
index.
see
Brushes.
that
best
results
Our
seven-iiich
especially
is
make
adapted
as
possible for
it
include
must
15c.
hive
all to
ordered
When
with.
of
source
a
lo
uo
for
extra
order
to
We
Alabastiniug.
for
-L
niateri
any
made
brush,
the
get
can
with
produced
be
can
workman
no
kalsotnine
them
sell
not
tools
good
Without
do
but
to
profit to us,
good tool 'o work
a
remittance
by niail
Fen-
postage
prices
indev.
see
Stenciling.
done
Is best
or
with
lound
a
or
oval
paint
size
used
brush
6-0
7-0 in size.
Put
a
plug
quart
bind
the
length.
or
cork
bottle
bristles
This
will
in
about
the
centre
about
tightlv
make
the
a
14
of
the
in
brush.
two-thirds
first-class
siencil
an
nary
ordiThen
their
brush.
The
directions
to
govern
not
as
not-,
have
down
the
briiahiug, so
the edges.
Do
against
surface
apainstthe
but
the
across
or
will
of
manner
brush
colors,
oil
stencil
full.
too
the
of the
openings
strongly
brush
pound
in
requiied
and
too
the
not
the
extent
some
work
to
Do
of
work
tlie
surface
as
freely
arm
the
keeping
up
wrist
stiff.
These
hints
will
be
understood
better
they
as
are
practised.
Liuiug.
More
stencil
with
to
lining is usually done
work.
Every
painter
less
or
bronz(4
run
For
color
or
small
where
to
snapped,
easiest
line
artists
bristles
wide.with
wide,
one-eighth
will run
edgewise
an
A
edge
To
straight
line
a
thick
inch
an
long
as
less
is
the
from
move
hand
edgewise
along
the
For
lines
and
gilt
in the
line
Alabastine
If
a
oyer
to
a
thick
less.
or
This
one-fourth
beveled
line
it
will
part
of
sharp
between
the
the
A
Use
line
very
put
and
aiuminiuu
dry
again.
15
dead
on
extreme
againststraight
of
two
tarnish,
not
that
so
the
at
paste,
it stirred.
room.
as
that
is
brush
as
steadily drawing
straight edge.
powder
dry bronze
Bronze
gold leaf.
portions of the
well
one-half
plaster.
proportion
Keep
mucilage.
will
use
mucilage
water
A
is the
and
than
with
edge
edge
one
charcoal
held
the
along
is away
the
use
common
off.
fitch
or
lining brush, grasp
and
forefinger
point of the thumb
fiat side of brush
end
of the handle,
edge
is
wide.
inch
it
A
"
line
dusted
is best,
tool
about
of
and
when
are;
the
be
color
or
tin-boiind
a
inch
of
able
make.
to
Procure
used
When
"-hauld
bronze
in
required
line.
charcoal
surplus
fine
very
tools
the
bronze
the
run
be
should
with
of
c'.}arcoal
JMidapiece
indicate
line f'U- snapping
to
twine
strong
color
the
to
which
connection
lities.
bronze
lining in
in
the
mixed
and
water
small
this
looks
the
without
brush
w'.tli
with
thin
to
of
one
quantity
over
way
nearly
same
as
way.
gloss
go
By
intermixing
";ustomers
each
other
of
one
and
special
a
tlie artist
and
thousand
other
have
can
room,
tints, each
our
for
as
Nos
plain primary shades,
13 (black, blue, yellow and
red).
many
He
mix
can
12, making
2nd.
Mix
3rd.
Two
4th.
one
peiirl tint
a
one
13 und
of
Three
of
18
and
one
of
5th.
Three
of
14
and
one
of 18.
6t,h.
Three
of
14
and
one
of
7th.
Two
8th.
Four
of
of
Three
9th.
Now
the
and
of
givv^.'a oiie-hundreth
possible fr")in
the
with
possibilities
have
we
not
combinations
nice
shades.
when
A
"
the
of
croud painter,
Alabastine
effects, to
[Note.
yet
ones,
from
shades
beautiful
part
four
14.
of 12.
ten
simple
most
18.
one
made
13.
of
one
and
13
13,
ot
one
14.
of
one
14.
of
rne
12 and
have
we
of
13
of
Throe
10th
and
18
13.
of
one
and
two
of
three
and
simple.
; very
18 and
of No.
cup
13
of No.
cup
18,
four
18, 12, 14
four
1st.
No.
a
customers.
Take
and
on
than
more
combinations
good
tint
beautiful
have
will
thousand
a
in delicate
acquainted
once
combinations
and
shades
highest
the
appreciate
in all these
half white
binations
comusing about
we
give above]
if a
be
Each
time,
shade
du|"licated at any
can
is kept, as every
do, of each
record
painter should
bookforthe
he decorates
a
room
purpose.
; having
and
delicate
tints
mixed
the
more
By combining
the
ten
than
tints
made
be
given
can
complicated
the Forty Tint
above.
For
see
example,
pages
will
advise
Mne
Fresco
shades
and
painters,
for
white
fine
Combinations.
d"^corating,
from
should
at
any
used.
be
be
kept,
alone
tints
to
strongest
the
which
cannot
do
know
the
record
so
20, 21, 13
produced
who
A
Nos.
use
colors
the
beautiful
produce
to
can
these
With
ranging
delicate
shades, can
by others
duplicated
proportions
wish
who
that
time.
If
not
of
the
they
can
exact
be
numerable,
inmost
be
exact
tions
propor-
duplicated
Schemes
Color
The
number
be had
can
The
with
selection
diaf^ram
to
of
use
harmonious
is for
selection
our
understand
the
various
the
and
a
ceiling field, style
over
pattern on dado.
Meze,
field
mixed
16
mixed
for
the
frieze
line
or
to
divide
wall
all
other
[Note"
No.
each
15 and
both
a
stencil
No.
19
the
field
mixed,
would
tints
When
16
in the
used
we
mixed
above
in
white
dado
on
the
we
mean
white
16
15
and
wall, No.
used
on
19
the
pattern
a
either
use
No.
or
look
two
name
style
all
(mixed)
for
and
19, No.
course
patterns
over
is
No.
use
of
pattern
has
an
it. No.
the
and
and
16 and
No.
white
or
or
dado
and
line
of the
If
that
whfte
16 for
No.
frieze,
the
divide
white
For
surrounds
either
19 and
bronze
style that
dado.
use
15 and
above,)
for
and
dado,
wall
(see diagrauj
the
for
the
which
in
used
are
TakeNo.
Combination;
the
frr
for
combination
room
a
1st.
otherwise
use
we
wish
who
not
terms
white
tints
our
those
of
The
useful.
would
who
and
of
found
be
room.
first describe
three
practically uDiiraited.
benefit
technical
parts of the
We
is
pive will
we
that
combinations
tints
these
below
Room^
for
No.
white;
or
to
both,
15or
a
well.
No.
use
16
or
any
room.
tints
in
as
for
equal
example;
parts
of
following combinatioiis.]
and
(8
To
As
of the
Rotfie
work
in
have
combinations
here
we
this
do
to
Ceiling.
a
room
field
the
method
Blend
and
de8criV)e
obtain
blended
easiest
the
perfect blend.
a
is desired
For
from
No.
14
it
to
example
sav
I ^old blue) at
to No.
of field
(cream) in the centre
dishes.
the margin.
Mix
each
tint in separate
wall
A
work.
best
No.
14
the
No.
Coat
and
to
and
coat
work
then
add
is much
instead
the
to
other
of
the
of
centre
If the
stippler
the
the
centre
then
other
go
eighteen
length
frieze
lay
Then
the
frieze,
colors
h"
but
be
be
if
even
with
towardi
in
can
a
more
made
just
with
well
as
respond to the
produced
color
changing
a
in
a
the
dish
Suppose
the
that
other,
a
tint
light
thirds
two
the
color
freely
the
other
brush
on
repeat
wet.
third
tint
this
Frieze.
separate
and
the
fully
light
are
one
towards
will
result
cannot
Blend
wide
take
take
the
of
room.
than
remaining
into
tint
mark
brush
to
material
color
inches
and
one
brush
wall
colors,
shades
the
stronger
tint;
each
from
ing
coat-
Alabastine.
each
or
the
end
than
ceiling
To
up
around
as
to
.
a
off; the
such
as
blending
Mix
on
careful
same
that
careful
fresco
delicate
dainty
be
blended
distributed
so
blending
being
forth
keep
with
laying
in
or
quantity
is necessarv;
than
is done
stippling
paint
and
the
ceiling.
work
perfectly
and
and
the
cup
The
corners.
back
more
any
out
in
the
of
I to
if it is necessary
margin
with
and
finish
the
blue
by stippling,
the st'ppler the
wi^h
goes,
end
half
increase
of
in
No.
strip around
improved
around
go
1
with
aeupof
narrow
the
depths
No.
half
anolhor
toward
the
tint
a
for
in ihecentrr
space
add
needed
tools
the
are
is reached,
margin
added
secure
full
circular
a
14 mix
the
of color
stippler
stipple it, then
previous
until
and
brush
blend
and
use
the
and
around
work
should
(9
frieze
tint
one
brush
to
this
the
of
color
and
brush
middle
c"at
blend
to
third
of
while
room
begin
in
the
suction.
overcome
in dark
for
yard
a
width
the
be
darker
is
coat
to
to
needed
is
and
of
sufficient
at
a
corner.
the
the
If the
frieze
stippling
may
the most
woik
is
used
keep
as
it
the
on
tint
have
it
pattern stenciled upon
not
be
a
necessity, uut
stippled
if only one
beautiful,
stippler is
to
the
on
whi""
and
5
white
for
line
frieze; if the
matter.
No.
i
No.
4
Take
5
up
eacn
for
stvle,
"'o. 4 for wall, use
ground,
below
fleld, and
style and
be*^ween
frieze
for
one
Room:
No.
field,
frieze
for
(mixed)
very
Pink
end
same
simple
a
for
the
stipplers
two
a
mixed
tint
strongest
C'umbination,
and
a
ceiling, but
perfect work
make
2nd
is
is left
it will appear
plain
be
to
blended.
Combination,
3rd
frieze
No.
blorded
4 for
35,
the
or
No.
from
kI\.
\
Pink
a
Stencil
frisze
made
No.
Ceiling
to
No.
on
frieze
decoration
be
may
Room:
above
4
No
in
No.
by mixing
5
below,
5
4 and
5.
Combination,
4th.
17
ceiling. No.
for
No.
and
17
19
or
18 mixed
18 and
1 mixed
stencil
in".% No.
side
beiow
frisze
No.
use
iise
12
or
To
No.
or
18,
bronze
No.
divide
on
TakeNos.
frieze.
below
No.
side
for
No.
frieze
or
ceil-
for
line
stencil
to
on
shellac.
Room:
No.
5 for frieze.
style
wall
17 for
wall,
bronze
bleached
and
divide
to
and
17 for
No.
frieze
stencil
frieze
Combination,
Terra
Cotta:
ceiling
18 for
either
use
16,
No.
or
bronze
white,
use
with
side
white
or
16.
8th.
inar, No.
16
white
No.
bv
or
making
then
the
for
the
one
result
behind
stencil
the
once
lines
13
fourth
be
design
with
No.
inch
downward
uniform
20
20
wall,
or
and
use
in
the
18 shifting
resembling
Nos.
ISforceil-
side
pattern
or
with
a
No.
for
stenciling
or
first inioression
again
will
No.
frieze.
18 for
stencil
pattern
or
field
stencil
18 for
Room:
15
12
thin
"(th Combination,
Grey
field. No.
Ifor style, No.
wall.
ing;
divid-
17.
Buff
No.
use
No
for
wall, for line
frieze. No.
J4 for
frieze.
for
Room:
Grey
ceiling, No.
for
for
white
shellac
Cool
frieze
on
mixed
use
No.
tints:
frieze.
below
for
Straw
walls,
for
Combination,
(Ml.
frieze
white
Combination,
17 and
or
19 and
bleached
thin
wall
on
5th.
and
mixed
Use
lines.
frieze
Fawn
or
to
white
hand
36
the
high
fresco
mixed.
use
both
white
stencil
right
light
work
0th
Combination,
12 and
white
9 for
mixed
9
No.
for
or
frieze
and
ceiling
margin.
Mix
for
Divide
frieze
to
Nos.
white
and
15
wall
mixed
Nos.
wall
or
ornament
14, 18, 85, or
Combination,
No.
14, frieze
Ceiling
12
and
stencil
white
stencil
No.
use
35
13th
these
from
if blend
is not
14 and
38
Green
Nv". 4
in
required
use
white
and
wall
white
No.
wall
or
i8
use
field.
9, 4,
18.
frieze
upon
white,
or
To
or
any
Ceiling
No.
for
the
To
or
ceiling field
frieze
in
Stenciling
l)oth
in
Nos.
frieze, No.
divide
lines.
bronze
field
margin
at
5 mixed,
white
lines.
shellac
5
4 and
around
or
bleached
and
gilt
white
use
or
38
bronze
or
use
to
No's
use
style, Nc^s.
Willis, for ornament
for
ceiling,
the
Room:
centre
for
5
wall
mixed,
the
No.
Room:
well.
Combination,
blended
and
mixed,
look
will
very
14
or
thick.
Blue
coat
style
frieze
mixed
not
and
to
frieze
For
white
decorate
.and
white
and
and
12
to
use
38 and
Nos
mixed.
light
mixed
between
all of
or
20
Nos.
field
between
38
Cool
If it is desired
85
Ceiling
14, frieze
shellac
12th
To
"
bleached
or
Smoke:
No.
No's
u-e
Nos.
wall,
bronze.
No.
or
Blue
18
styles,
side
9, 18
at
both,
or
or
16
to
for
white
with
the
9, 15 for
9 mixed
Old
white
lines
No.
divide
to
or
centre
at
either
frieze
mixed,
12.
Use
walls.
Blend
white,
and
with
style
and
ornament
and
No.
ceiling, No.
Room:
9
of
parts
Nos.
Combination,
20
frieze
No.
full
from
frieze,
field
11th
on
Lilac
equal
Divide
either
for
No,
either
for
mixed
ornament
Combination,
field
9
12 alone
12
and
Use
wall.
lOth.
No.
35
Room:
No.
or
frieze, No.
white
Lilac
look
would
well.
14th
No
mixed
for
lithet
white
15th
or
9
No.
18
or
No.
and
for
and
Terra
walls
No
ornament
9
and
use
one.
15 and
mixed
white
14
of frieze
each
or
Ceiling
Nos.
mixed,
ornamentation
Room
19
for ceiling
10
Room:
Grey
white
For
No.
mixed
whi(e
16th
walls.
Fiwn
ceiling
9 and
No.
17,frieze
and
Pearl
Combination,
mixed,
frieze, Nos.
white
for
the
frieze
in
for
19
white
21.
Cotta
field. No.
Room:
16
for
2t
Nos.
6 and
style, No.
16
19 for
mixed
frieze
13
N.)
walls.
tor
Jo* divide
13.
for
both,
Of
dado
for
divide
stencil
to
pattern
below
and
mixed
20
Nos.
frieze,
16
field and
divide
and
10
divide
Stencil
The
10
form
a
first in
Nos.
19
of
this
Combination,
19th
mixed
ornaments
38
20th
mixed,
for
37
ff)r dado
in
No
ceiling, Nos.
moulding.
Combination,
21st
mixed
for ceiling,
10 and
white
mixed
for
all
walls.
No.
dadc
on
black
white
and
No.
17 to No.
9 and
Nos.
edge,
stenciled
frieze
and
bronze,
T7
No.
in
35.
15
patterns
from
bottom
at
for
a
Nos.
tint
Nos.
No.
Ceiling:
blended
frieze
mixed
walls,
on
ptencil
in No
dado
either
with
tints
Dado
85
whita
walls,
for
4mixed
over
No.
in
21 and
Cotta;
36 "
wall,
lower
oi-
34, divide
or
in No.
10.
No
well
No.
21
Terra
with
35
blend..
the
and
or
No.
or
look
to
with
Stencil
tints.
or
also
all stencil
Combination,
4 mixed
tints
10
hite
\^
for
Stencil
16 and
with
20
over
5
all three?
of wall
top
at
No.
at
mixed
wall.
Green:
ceiling, Nos.
for
ind
In
and
for
without
Ceiling
full white
to
16
would
mixed
I wlnte
the
Shift
Boom:
centre
sani"!
mom
white.
in
Nos.
wall
with
or
tone
with
and
frieze
on
an
hne
ornament,
to
with
or
lines
wall
mixed
style
white
and
10 at
10
mixed
16
frieze
field
20
and
with
impression.
style,
for
5
\
1 mixed
No.
without
Olive
No
Nos.
left
this
over
from
N
margin,
a.
ing
ceil-
I for
Ptylc,
mid
21
moulding
picture
then
field blended
to
frieze
a
for
style
be
to
Combination,
18th
No.
Nos
and
slightly for second
stencil
3T
or
for
or
No.
n)ixed
frieze.
fie.d
stenciling, trieze
or
1.5
walls
Room:
white
for
divide
walls,
No,
iTse
No.
use
the
on
Blue
18 and
mixed
6
style
87.
field. No.
and
and
friez".
pattern
over
an
field
and
Combination,
17th
18
wall
ho
t
No.
Ube
divitle
To
35
and
4
38
mixed.
of
Homes
may
the
Health
This
Couibinations
of the
Many
be
they
writing
seen
as
bv
room,
and
work
now
will
us
and
Beauty"
is
and
Health
in
Beauty.
we
have
appear
for our
n
press
the
on
book
encl("sing
the
here
and
"Homes
the
given
walU
of
of
10c.
price
will appear
about
November
our
"Decorators
the
most
it
Aid"
that
costs
and
us
is
work
has
invaluable
an
only
combination
for
Hall,
rooms,
school
Kitfhen
and
stencil
work
caoable
of
We
that
preferring
the
the
Alabastine
The
tints
demand
inttrior
for
work
of
painter
he
paoer,
has
if he
can
need
wishes
abie, artistic, sanitary
Use
very
not
go
spot
quart
made,
has
Varnish
fine
white
strong
very
and
To
been
of
soak
readilv.
the
reduce
size
the
thoroughly
five
use
looks
well
look
brush
well;
a
few
hours
soft
brush
avoid
the
glue
it
have
be
be
melts
quickly
the
let
work
stand
it
gloss is desirable
dries
work
and
plain brush
should
one
Alabastine,
and
a
to
no
should
going
the
this
crinkled
that
when
coat,
Finish"
size
it
as
luiiving
second
gelatine
lightly
or
of
strong
as
varnish,
it
wall
desir-
ensure
ounces
recoating
If
vai-nishing.
".mder
the
to
more
to
to
before
dry
that
slave
work
twice
a
Oil
light "Hard
stipple or
heavy
Very
quickly.
combing
work
stippled
to
does
take
out
marks.
A
This
these
for
hor.rsbef.ire
a
not
to
simple
and
a
preferable
quite
with
surface
themselves.
izinglass
or
Two
trlue
Apply
the
over
is
which
profitable
glue
missed.
water
designs
Alabastine.
surface
the
over
one
any
so
be
do
also
in
to
much
to
to
and
it is
as
by
lend
readily
style of chaste
no
b"t
harmonies,
great,
The
decoration
fresco
so
for
rooms,
etc.
suitable
color
so
Vdv
today
Bathrooms
elaborate
this
is
Dining
reproduced
plain tinting.
showing
simpler
The
suitable
in
tints
be
good
sanitary
charge
painter.
we
the
to
with
can
doing
avoid
price
Libraiies,
church,
but
published.
give the
and
best
iuterior
aid
not
for
the
'with
the
only
been
than
more
combination
on
ever
illustrations
Bed
In
it is not
practical
decoration
work
lstl9()6
be
can
is
Varnish"
to
Flat
produced
size
which
in
can
be
two
then
kbove
as
Finish.
Washable
had
23
ways
apply
of any
first of
The
coat
pamters
of
"Flat
supply
The
best
white
light hard oil
light tiling.
when
the
for
hard
will
do
cil
well,
Coach
very
varnish
Alabastino
surface
varnishing
light
round
from
brush
the
of
these
against
and
present
flower,
resette.
center,
or
this
be
can
without
of them
a flat washable
furnish
for
wall
white
shellac,
through
Relief
will
metal
need
plain
all
for
have
be
of thin
coat
a
By
wall.
to
clear
cut
the
shellao
of wood
potato
steel
or
turnip,
or
nicely,
purpose
like the
teeth
the
made
of
slice
a
the
long
as
which
mav
coarse
it is drawn,
made
undercoat,
from
or
or
comb
for
tooth
to
be
can
Combs
answer
not
of
on
graining
first, then
coat
comb
the
hand,
by
will
that
a
darker.
make
and
tUe,
Combing.
through
clear
the
show
to
the
crinkling first; the varnishing
finish Ts done
usual.
as
cutting
giving
of
in
tile, and
the
steel
the ordinary
combing
is good, taking
alternate
out
every
Inclinethe
forward
comb
";omb'ng.
the
is soft,
kind
put
the
it
push
a
be
For
prevent
every
Fill
surface
may
over
surface
and
forms
cover
all
directions
them).
crinkled
to
then
in
Alabastine
of these
done
Tools
to
eu9
Take
the
against
This
enough
and
all
we
the
One
in
obtainable
slowly.
more,
prepared,
be
full of
tile, while
it b"ck
except
tile asfollows:
spread
not
brushes
the
draw
course
the
the
pushed
may
for
and
place,
first
(as above)
of
will
when
centre
not
TILINO.
all
or
that
bruslies
(these
one
part
do,
verv
work.
first crinkling
by
ornamenting
a
is
good
for
except
will
B08ETTE
Is made
but
preferable,
is
they
as
comb.
To
enable
OXB
MAN
brush
walls
a
help for
"uctioD
this
coat
of
heavy
it must
will
make
work,
be
it
it comb
but
of
if
penetrated
25
the
with
of
On
Alabastine
wall
an
a
the
some
is
has
oil
the
pass
ahead
smooth.
the
of
then
dry,
just
water
ALONB
ahead
little
a
ahead
water
8PACE
let
to
cold
it with
over
combing;
enough
not
combing,
LAROB
A
Alabastine
heavy
the
apply
COMB
TO
a
much
filling*
Washable
Flat
First
put
stipple,
on
,
stain
ill sho\^
T^
beautiful
a
the
to
way
Alabastine
work
Any
of
the
may
be
used
in
Put
lower
of
part
in
it is worked
color,
using
off the
a
with
lightly
shadt-d
most
is to
on
get
should
likely
a
varnish
Another
good
Alabastine
is not
use
the
tions
indenta-
surplus
to
dead
flat
of
out
that
stained
"ut
be
can
colors."
the
on
white
pure
surface
varnish,
applies
sh"llac
washable
work
with
and
filling, if
dentations
inThe
this
doing
fresco
white
the
itrush.
a
fill
of varnish
coat
is done
"oil
;
in
then
finish,
the
without
A
with
satin
is to
way
direct
way
it
very
graining
wipe
on
brush
this
ordinary
as
w.inted.
this
When
call
well
as
in
; the
color
dry.
we
made
be
a
on
leaving
without
to
u.uch
too
ahnost
be
washed
in
but
and
varnish
brush,
a
mistake
the
rub
^
before
to
way
work,
rub
apply a
gloss is wanted
it
it is entirely dry, rubbinjr
well
as
possible with
as
If
them.
dryer
washable.
iittlo
a
the
cloth,
a
dado
dry
would
little in
very
nice
wanted.
are
raised
c-her
or
surface
in
WHITE.
grainer
a
as
a
or
for
as
the
or'japanor
This
is a good
when
tileing, then
little oil color, preferably
with
size
wanted
is
on
oil
wall
a
than
effects
IVORY
combed
the
on
are
varnish.
the
OLD
^
they
colors
ordinary
the
u)ake
effects
washable
the
This
washable.
color
the
producing
lustre,
a
ye^
get stonger
tints, where
where
and
and
l)ehind
tint
with
through
flat effect
or
flat
with
it
stain
diT.
Alabastine
The
varnish.
Copal
when
then,
etc
comb
and
Alabastine
of
coat
a
Staining.
made
is
with
any
japan
well
desired.
color
Filling.
Oil
Penetrate
thinned
the
with
oil and
with
wall
turpentine,
if
a
little
necessary
to
stop
of
light
suction.
Agiin
shades,
soft
on
think
that
call
we
that
they
tones
other
people
should
attention
to
and
select
beauty
delicate
contnists
Painters
pa""es.
want
the
striking
a
26
tint
are
contrasts,
for
as
likely
that
scribed
deto
is,
stenciling, etct
prominent on the groundwork, but
better pleased
it has been found that people are
that are
used for "that purpose
where
tints are
like the tint of the ground they are put un,
nearer
though the paintermight like to displayhis tacite
in contrastingcolors and have them more
proriunent.
that will show
Alabastine
is Fire
Proof
tor
FactorieSt
And is an excellent and cheap material to ccat
be repeatthe interior of factories,
as the coats can
ed
from time to time on wood, or sChysolid surface
as long as desired, if applied lightand
according
to directions,without danger of scaling off to fall
on
machinery, etc.,and is always ready foundation
it be desired subsequently
for paintingon, should
to paint the interior of the building.
SpecialDirections.
but directions
is very simple,
be followed to get the best results,and
in addition to regular directions we have this to
Plain Alabastine work
must
say:
Do
not try to
use
it after it has
stood
over
night,though it might remain soft,as there is not
time in fiftythat it retains its strength that
one
long.
Notice what
is said
on
other pages
about
takes.
mis-
(Seemistakes, in index.)
To get gest plain work, brush it out, do not
leave it flowed on with a sweeping circular motion
Use the first coat as heavy as
as with kalsomiiie.
it will binish out smoothly, so that the second coat
will not cut through (ittv illstand more
brushing
water
than painters'
mixtures). Always use the
one-half
five and
as
More
of dry
be applied if this does Dot work
water
can
easilyunder the brush. Always use the coats as
ation
th'n,in all repeated coatingsafter the firstfoundwell, to f^et
is laid,as it can be and cover
the most durable work for repeatingfrom time to
time as long as desired to keep the buildingin
repair,
year after /ear as long as the wall aHnds.
second
parts of
coat
water
as
thin
to four
27
powdler.
to dry by circulation of air as
too
it is applied,and not have the room
hot while applving. Bear in mind that in giving
instructions to get perfectwork, we
these specific
it understood
that this plainAlabastma
do not want
intricate than ordinary tinting
woilc is any more
that paintersdo with their mixtures or as much
A good kalsoininer wlio produces the best
so.
work
possiblewith his kalsoniine, takes more
precaution than we do and then gets,in most cases
to himself,while with
work that is unsatisfactory
Alabastine he should always get good work, with
proper cAre in following our directions, except in
stained
rotton
where
walls are
are
so
cases
and imperfect that nothing can make them new
Oive it a chance
soon
as
again.
will cover
stains and
more
old kalsoniine, etc. than
better over
colors paintersmix, we do not re*
will t'.iewater
such surfaces.
couituend using it over
Although Alabastine
dirt and work
the stains killed
the best
orate
results foi plain work, as well as heavy and elabwork, as explainedon other pages. All old
kalsomine
and
the like should always be taken
off before applying Alabastine, as it will make
a
properly handled with
permanent coating when
old or temporary coating netween
the
it and
no
originalwall. Again we say, never
put glue t'^e
it or in it.
under
Badly stained walls should
first,the
TO
CANVAS
have
stopped,etc.,to get
suction
A
CEILINO
FOB
AI.ABASTINB.
in too bad
the joists
instead of boards get some
it
chea|)muslin, sew
togetherthe size of the ceilingand fasten it on the
outside edges of the ceiling only,preferablywith
the treks
a littlequarter round
luoulding'to
cover
then coat it with Alabastine, white or tinted,and
ifthis is done in plain brush work, itwill be hardly
possibleto tell it from the plastered ceilings
; the
centre will sag slightly
but will not be nolioM from
the floor,as the sag will be even.
Where
a
a
condition
ceilingis
co
made
paint or
of wood
tillit
28
or
and
to cover
Relief
Church's
for
the
kinds
various
much
of
relief
lead
with
known
fact
oil and
to
with
their
the
Probably
with
and
less,
much
very
For
is
be
can
with
for
should
and
0"*"
to
does
very
than
the
doing
even,
nicely
for
insect
powder
kind
with
charcoal
Wall
Iheir
colors
This
a
; or
are
prickea
cloth
in other
by
as
patterns
to
the
wall.
the
for
be
and
nicely.
work
Alabast-
Some
in this
is
blended,
is
wire
syringe
expensive
more
used
through
oowderon
the
apply
jpainters
of
in
paper
the
over
is [touncea
fresco
it
a
patterns
made
background
the
most
especially
lighter
using
way,
work.
tracery
can
ne
can
store
filled with
words,
same
and
rubDing
hag
the
friezes
is
The
wall
with,
^
box.
the
to
small
gun,
thiough
A
bag
but
or
such
cups
stirrJ.'d until
lumps.
work
of
air
of
water
work
colors
drug
strained
this
ings
ceil-
on
this
two
"
precisely
beautiful
where
mixed
or
done
work
an
do
can
is
beautiful.
fresco
any
the
material
powder
in
all the
conveveyed
pattern
one
which
after
time
more
with
insect
of cold
remove
this
with
done
cents
be
cup
and
smooth
cloth
ten
free
ornamentations
or
done
practice
little
Alabastine
and
WORK
easily
squirting
bought
a
tine
TRACBRY
time
work
oil.
raised
is called
usuallv
for
used
far
the
room
of the
cost
is what
It is
gold.
with
long
a
and
This
and
lead
effect
frieze
are
the
beautiful
ornamental
that
with.
the
the
most
Alabastine
work
well-
a
painters
of
leaves
it
lead
by
nothing
for
occupancy
and
is performed,
work
made
of
smell
It is
with
done
to
and
with
done
clieaper.
say
Alabastine
injurious
prevents
be
compounds
dry, to
repairing them
in
done
from
far
comb-
as
modeling,
can
work
relief
various
the
spent
oil and
that
weeks
take
and
such
and
work
adapted
is well
work,
work
oeautiful
more
than
ed
AUbastine
stippliuKt flower
ing,
as
Water
Gold
'
Work.
done
rapidly
f"ractice
ined with
gold
as
or
by anyone
as
the
colors.
29
who
ornament
It is not
has
had
could
a
little
be
out*
expected
that
tracervwork
attptnpt this elaborate
who
for
have
taste
a
iiainteis aiul those
willflnd
this style of orna"1
decoi'atioiis
not
only jittractive, but more
profitable
will
amafpiirs
but
fresco
tliiskiiiil
njentfiiioM
th;"ii
them
to
used
liy
not
men
buib
Alabastine
I.uib
using
relief
^\ork.
How
do
to
r.iinters
| oor
kind
The
high
very
stencils
they
do
not
brush
will
show
Saturate
work.
wall
; do
over
the
little practije
for
Do
wish
you
requires
if mixed
in
as
pi.t
one
mixed
tliin
so
but
in
basswnod
or
the
for
a
tlie
one
of
is that
call
we
bv
anply
finished.
hnlf
it
of
pores
the
wetting
an
The
even
with
coat
work
will
unsophisticated
natural
finish.
e"e
grain
nil
Alabastine
the
these
will
Mix
\"ood
as
work
solidly white
will
appear
to
face
sur-
popla.r
character
turn
30
it is
on
of such
the
that
Alabastine
Pine,
Alabastine.
to
a.
work.
reason
wood.
of
with
filler
needed
woods
soft, the
btit coat
good
of
The
not
IS
the
Woods,
pound
water.
dealsUalsamand
what
raised
and
and
do
is white
Such
Mix
and
to
and
imperishable
olT?
follows.
thin
a
color,
quickly,
can
little
a
hand
brush,
Natural
firsf-rlass
ruhbinji
no
and
smear
resenibles
with
the
on
Soft
for
a
trie
stencil-
applying
amateur
an
Filler
a
hard
tf)o
even
well
before
out
lightly
stencil
As
it
bear
not
closely
brush
the
wipe
thoiouTThiy
and
well,
np
apt
are
have
in
a'-e
apt to
frequent I'',and
cfjusequenctj
for
Mix
Alabastine
the
stencilinj^
edges.
for ordii.ary
than
thinner
as
wall-coaling,
coat
or
Stencils.
used
best
special
should
which
brush,
pound
for
this
work..
exclusively
tlie
into
color
to be
dipped
have
bruslies
in
rubber
a
for
us
with
because
ripbt
in;^ Is a medium-size
be
bridled, and
kept
Sirall
Write
never
brusues.
of
of
consists
Work
have
work
times.
Alabtistine
KlJic
who
t'l make
outfit
nozzles.
for
instructions
thick
five
ations
ornament-
Outfits.
relief
with
fitted
style of
the
to
up
Relief
Our
old
the
follow
to
be
not
he-
above
tobe^
and
to
ruined
As
soon
as
the Alabastine ia thoroughlydry itis
ready for thn next coat.
is requiredcoat the woric
If a cheap Varnish finish
\vith a coat of pure boiled
oil or a mixture of oil and varnish.
This coat will
the Alabastine to totallydisappearand the
cause
oil will sink out of sight also. When
this coat
dries thoroughlyit will bear up the finishingcoat
of varnish and give an even
gloss, the end wood
of tne doors will be justas glossyas other places,
all will bear up alike.
Stioald the soft wood
be stained in oil
of the Oaks, the value
of this fillerwill be apparent as the oil stain will
will be the same
TAKB
as the suction
on
EVENLY,
the end wood as on the face of thedoorand
allwill
out an
come
even
depth of stain and the usual
cheap looking pine growth will not appear. A
great saving of time, stock and labor is effected
the result is also a superiorqualityof work.
Cherry, Mahoo'any
or
requireto
any
In all exterior and interior paintingAlabastine
if used as a fillerwill be found to produce smoother
ion
and more
enduringsurfaces. If used in connectis
other pure paints, its w^rth
in an expensive residence as on
perishedclapboardsurface.
with
apparent
A
Liquid Filler, Best
in
Rubbed
the
World,
just as
badly
to
be
Off.
Take
equalparts by weight of a package of white
No. 17 Alabastine and pastry i-uller process flour
of the very best quality. Mix them
togetherdry
and we
have ten pounds of the base of our filler.
What
vehicle it is mixed in depends on
how
soon
the work must be finished up,
or
If for an^ ordinary job of oak or chesnut filling,
house pamter would mix
it to a stiffpaste with
oil and a littledrier and thin it with turpentine
or
the wood
and
It would
be brushed
on
benzine.
be
where it bloomed
to the right stiffness would
i-emained in the pores of
rubbed off clean; what
would be allowed to harden for several
the wood
it is used on some
days before varnishing. When
grades of furniture,chairs for instance it is mixed
a
3(
"orbed and flattened,producingwhat
has never
finish where pure
'been made
a dead
before,i.e.,
This not only
oil paint is the last coat applied.
durable and
maKesa
very cheap finish,but a more
be
pressed brick finish than can
better-looking
of coats of paintalone and
done with any number
be completed in one day. This coat of presercan
be allowed to dry out well, however, as
must
yer
the oil in the paint must go through it to be durable.
If the brick is porous,
Alaas is usual, thn
of
bastine should be used as thin as one
measure
powder to two of water; then the paint must be as
It
the red Alabastioe.
thin as it will cover
over
be necessary to have a littleAlubastine mixed
may
thicker to brush on the hard brick that are UEunlly
found in all brick walls,so hard that they would
tAke up enough of the thin coat to absorb
not
enough oil from the coat of paint to deaden it.
of brick buildings
number
paintei*
that have stood five ysars and seem
and with the same
rich lustre
to be as good as over
Where
in their dead surface.
lightpaintingis to
We
have
a
in this way,
be done, such
yellowbrick or white, where it ia
the paintstand out it will
coats of paint;the second will always
as
usuallydesired
require two
to have
stand nut well, where
good lead paint are used.
Emulsion
paintsshould never be used oyer Alabastine,neither the flatbrick paintsnor the quickdry*
ing paints,such as are sometimes used on floors.
A lightcoat of Alabastine with a coat uf pure
oil paintover it makes the best floor paintpossible.
Priming for Shingled Roofs.
Or
Alabastine, the paintpreserver, appliedto new
old shingled roofs,very
thin, with a coat of
Venetian
Red
or
any
oil,being careful to
mineral
use
paintin pure linseed
plentyof oil in the oaint
most durable roof paintand
has proven to make the
the
much cheaperthan any other way of paintin|(
roof in oil. They should only have enough in the
shinglesto flU them, not to make a solid coat on
the top of them ; it should at least be as thin as
two measures
of water to one of the preserver.
33
to
Manyhava found that an old root ^wmed
after paintinffthan before { this comes
leak worse
from the fact that tbe shinicles,
having been painted
heat
with oil paintwhen curled and checked bj*
When
would
wet.
stay in that positionwhen
in water, as
they are coated with Alabastine
as the
described, it flattens them down the sama
first shower
does, closing the little cracks, etc.,
then when
this coat dries it holds them down
until
which
from rethe oil is applied,
turning
prevents them
to the old position.
.
Care
of Brushes*
keep brushes clean, that is,
washed
will adhere to the bristles
out, as particles
that they require to be washed
so
occasionally
and warm
with 8AL 80DA
water, and they will re*
main flexible and in splendid
shape;never use soap.
Hot water
will damage the bristles. Alabastine
from
wood-work
is easily removed
with
cold
when
be dry
water
it is firstdone, although it may
but under no circumstances
should soap be used.
It is necessaiy
Alabastine
to
is Not
than
Injuriousto
Brushes
kalsomine
other water
or
any
be washed
out after use.
They should not be left soaking in water, as it
would soon
swell ihe wood-work, and
when
dry
the brush would be likelyto fall to pieces. Some
ers
unscrupulouspainters,when asked by their customto use Alabastine, have reported that it would
spoiltheir brushes. Persons makii^g such state*
and suit for damages.
ments areliable to prosecution
Any
more
color, but
they should
Sponge Work,
A very
nice effect is made stippling
with thin
Alabastine
in a spouge over
plain,stippledor finecombed
surfaces,using tints nearlyliKe the ground
work.
This is a good way to treat a wall or ceil*
ing that has driedout a littleuneven.
Will Alabastine
Is
a
ire answer
Cover
Water
Stains?
often asked, iind to which
that Church's Cold Water
Alabastine
questionwe
are
34
win
fcp""r water stainsbetter than any other water
color known, but we do not guarantee it always
stains, which are
to, be a perfectcur^ for water
often very trbuolesoaie. Coating them over
with
the purpose
shellac generallyanswers
well; but
should be taken that no dampness remains in
off.4 Usually
the shellac may come
the stains with a little oil paint
coating"over
will answer
the purpose
very well ; hut what
care
tbe
wall, or
.will answeralnother.and
wall sometimes
will not
on
infallible rule can be laid down.
If stains should show upon the newly Alabastined
vurface, and they are not of a very pronounced
character, they can be made to disappearia a ver"
The surface made by coating with
fiimplemanner.
Alabastine is very porous.
Take a small quantity
of dry Alabastine
the same
tint as the surface
coated and rub it into the pores
the stain.
over
from
The dry powder will take up moisture
the
atmosphereand fn a short time become permanent.
This method
of hiding stains can
he us"!d only
with
Alabastine.
Painters
will appreciate its
on
one
no
"alue.
Look
Out
For
Lime.
It Is unnecessary
to warn
paintersagainst
the use
'made
of whitewash
from
lime
tor
interior decoration.
But
of
aware
very few are
the fact that numerous
brands of dry powder sold
under the name
of Cold Water
Paint contain
a
large percentage of unslacked lime. This is used
.togetherwith dry curds of milk to bind them upon
th(e walls. All,such stiiffis liable to peel,and
the
lime \^illspoilthe walls for future decoration.
^
Painters Who
Talk
an
Alabaslm?
Th" beauties of Alabastine
can
easilybe
seen
on
Have
Advantage.
and
stippledwork
samples of paper, which
every
should providehimself with to show his
Painters who have taken up this line
customers.
invariably
^et the largestshare of the work
and are makmg firm friend.sof their patrons,and
decorator
95
( .ave
feu-
no
for
question
in
the
wall.
than
recommending
ever
are
before
to
who
those
in
sleep
the
We
of
he
to
may
invite
cordialry
able
up
advise
noW
ccd
arrangements
this
on
with
places,
business
and
will
subject
not
which
wall-paper,
is
disease.
and
ready
which
difficulties
and
vermin
always
are
read
are
from
attentleu
more
sanitary
that
removed
be
to
paying
covered
rooms
refuge
has
homes
their
of
material
some
time,
People
construction
and
of
lapse
short
a
into
taken
being
honesty
their
v"
to
arise
help
in
correspondence
to
the
any
overcome
use
of
that
the
goods
may
we
you.
Address,
THE
ALABASTINE
LTD.,
COMPANY,
PAUia.
Ont.
The
Alabastine
Decorator's
Stencil
Catalog^ue
m
WItH
Illustrations
D"coratin^
Klats
for
and
of
ReltoT
useful
practical
^vorRers.
10-12
Ifi-VV
18-21
9-11
i^j^^
16-18
33-10.
5-17
9-19
l,r\V
19-20
18-5
20-^t
lS-38
19-W
10-W
20
36-4
37
20-30
k4-10
21-W.
15-20
35-a8
mtk
118
14
x24
6B
119
10
x22
45
Ua
15
X
30
76
120
14
X
17
46
X
10
16
X
20
U
130
18
131
A-
1 " A
alioD)
2
(Gombin-
two
parts
1
J
(fuU8izda6x40)
1 26
a
w
"
*
21
**
50
X
16
10
X
18
25
200
IJ
5J
8i
201
6
X
202
8x8
203
6
X
la
25
204
5i
X
11
25
206
8
X
14
80
206
6
X
10
25
207
10
X
10
20
11
x
14
26
200
12
X
17
30
210
10
X
17
30
211
a
x22
212
12
x24
213
2
214
13
x23
215
19
X
34
216
12
X
26
217
16
X
21
218
10
X
10
20
219
lOJ
X
11
20
16
x
2!?
76
221
lOi
X
2^
40
222
21
X
23
65
M
Q
208
220
(Corner
Background
Piece)
Sten
10
3J
X
20
18
15
X
36
not
cut
26
10
7
50
not
cut
25
60
not
cut
25
223
li
X
18
15
224
8
X
18
30
225
23
X
23
X
18
x
25
X
26
23
x
28
not
cut
90
231
37
X
40
not
cut
60
232
20
X
22
76
283
11
X
28
00
228
227
6
(All-over
Pattern)
228
229
25
5i
Background
Sten
42
not
cut
26
36
not
cut
30
30
S34.
6
X
21
30
286.
9
X
12
40
230.
6
X
9
20
2S7.
13
X
16
60
238.
13
X
14
60
13
X
18
80
13
X
80
26
241...
9
X
20
80
243..
3
X
16
16
244...
3
X
17
15
245..
44
X
17
20
246..
3
X
15
16
247...
10
X
16
36
248..
17
X
17
60
mAI******
240
not
"
"
"
"
cut
"""
X
10
6
X
8
10
10
X
12
16
X
14
20
74
X
251..
44
252.,
253...
7
2=4..
15
74
64
250..
255...
13
X
16
30
256..
14
X
19
40
257..
10
X
14
30
258...
14
X
20
60
259...
11
X
17
50
260..
8
X
20
40
261...
7
X
16
30
301..
12
X
18
Border
this
60
302...
16
X
16
Corner
forms
60
303.
9
X
14
Break
a
304..
5
X
18
306..
10
X
21
60
306
11
X
24
60
307..
12
X
24
60
10
X
10
corner
and
308.,
25
.
Extens'n
set
"
.
"
20
.
piece...
25
"""""""""
extension
10
309..
24
X
22
310.,
7
X
21
SO
311..
14
X
10
10
312..
6
X
24
30
313..
14
X
20
60
600..
15
X
20
60
501..
15
X
20
7i
602..
15
X
20
40
X
10
ao
"03..
6
""""""
48
In
filllug
them
by
ordered
which
are
likely
pay
express
ones
Purchasers
Stenci,s
mail
or
cils
sten-
the
mail,
by
sent
crushed
be
to
small
only
be
can
send
usually
we
where
excepting
express
are
large
for
orders
the
in
mail.
charges.
TERMS.
All
with
if
cash,
to
go
to
post
or
must
express
remittance
Express
must
charges
from
discount
all
oflQce
mail
by
postage.
A
Stencils
for
orders
the
can
list
price
accompanied
money
order,
include
paid
of
to
and
cover
delivery.
on
33|%
is
made
painters.
Cut
Alabastine
Are
made
coat
of
from
oil.
of
length
given
be
be
a
coat
heavy
They
time,
of
will
but
shellac
Tag
Stencils
stand
will
use
wear
before
44
and
Manilla,
for
a
much
using.
given
a
reasonable
long"r
if
0^
%
^
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y
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No. 125"
Stencil(37x 40)
Background
is the largestpattern we
show on this
is
intended
work
It
for
on
panel
catalogue.
churches and other public buildings. This is too
largeto cut by machine, and must be cut by hand.
This
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k.' N*i
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B.
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Free
Belongs
kind,
It
the
to
it
m
high
be
ly
and
gives
Hand
with
he
able,
Relief
plainer
the
sive
progresthus
want
patrons
Decorating,
to
this
doing
proficient:
his
when
the
By
enables
become
theless
Never-
work.
with
effect.
and
to
of
in
worked
practice,
is
class
ai't
good
painter
Relief
odate
accom-
them.
is
Jflabastine
Relief
or
work
best
the
goods
Decorating,
that
can
ooly
by
be
skill
of
photographs
bastine,
are
the
intended
and
be
to
workman
and
THE
be
may
man
work-
done
with
tive
sugges-
enlarged
the
ability
to
Ala-
They
shown.
merely
from
taken
are
upon
of
design
execute.
CO., Limited,
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