Haneys Manual of Sign Carriage and Decorative Painting 1870
Haneys Manual of Sign Carriage and Decorative Painting 1870
Haneys Manual of Sign Carriage and Decorative Painting 1870
D0Dn777fl44
r""^HANEY'S TRADE MANUALS^
; I O IN ,
PAIlS^TII^a. { 1
FRESCO PA_I]SrTIT^G,
AND A VAST AMOUNT OF USEFUL INFORMATION
DERIVED FROM PRACTICAL EXPERIENCE.
By S. OIBSOIV,
PEACTICAL SIGN AND DECORATIVE PAINTEE.
New York :
?.il the new and popular kinds Recipes for Eouscteepers, Hundreds of Useful Ar
; I
tif^les which aro needed in every household, and a large number of articles thai
can be manufactured and sold at a good pfC'ai., Tljis is no cheap trash, liko manjJ
works that have been issued, bat a carci'ully-compiied volume of 100 pages, icj
neat form for preservation. It will be found of groat value for reference, as yocS
can find recipes on almost every subject on which you desire to bo posted. Price,
only 25 cents. A single receipt may prove worth the entire cost of the work.
The value of this book may bo ju.leed from the fact that single recipes contained
therein aro sold at from 25 cents to $o, and in somo instances even more. Thou-
sands of persons are making money by the manufacture ol articles, recipes for
which will be found m this book witness the success of Spalding's Glue, the
;
various roofing cements, indcUible inks, cordials, and the iiinuraerablo articles
which everybody needs and will buy, and which can be manufactured and sold at
a good prolit. Wo have no wish to exaggerate we do not offer anyone a " fortune,
for 25 cents"
but we d oB'or to tell our readers bow things ciu bo made at smallj
expense, which aro selling every day In all parts of the country for flvo or ten
times their original cost. A nianof o'lracqua.ntance in this city is making several
thousand dollars a year by making Lemon ;yr\ii>. " Secrets Worth Knowing" will
tell you how to make it. Wo might multiply instances, bul have not room.
for poisonous " doot!;red" liquors. It is a good book for reference, beinj evident-
ly prepared in good faith, ami should be in the hands of all interested in Its sub-
ject matter. Uaney & Co., of this city, publish it. l\ew Vorlcer. \
" Secrets Wortd Knowing." We have received this popular band-book of unl-|
versal knowledge. It contains over 2,000 valuable receipts. It is also a roliiblej
guide for the preparation of all ^inds of medicine. The remarkable cheapness oi'
the work places it within the reach of all. Price, 25 cents. Wm. 0. Hess has it
for sale. ColuviOia (l\nin.) 'pi/.
" Secrkts Worth Knowi.jg." A pamphlet with thjg title, containing over 2,000
recipes for articdes In various branches of manufacture, sonie of them extremely
valuable, all afforded for the low price of 25 cents, has been published by J. C
ILiNEY & Co., 1 9 Nassau street, N. Y. Ll.oi)kbjn Daily Union.
* * It contains over 2,000 receipts for making everything that one can con-
ceive of. Itseems to be prepared with great care, and is believed to bo reliable,
Tiipeka State lietoid.
" Secrets Worth K.n-owlno" Containing over 2,000 valuable receipts for the
manufacture of articles uf every-day use, anil a reliable guide for the preparation
of all tho popular Patent Medicines of the day. Orleari 2't,mes.
* * * The book should be in the possession of every one. Hanhcim Sent ml.
43" The book can be had of any Bookseller or Newsdealer, or we will send |
Dealers will And it a quick -selling work. Trade supplied by all wholesale botues.
Wholesale and retail cash orders will be atteixled to promptly.
,
HANEY'S MANUAL
OF
SIGN, CARRIAaE,
AND
DECORATIYE PAINTING.
COJTTAINING
sition, Groundwore:,
Tints, Shades, and
1. \ Shadows, with -.t^ut^-ic-
CARRIAG-E PAINTING-,
With Numerous Useful and Valuable Recipes, some op
TIIEJI never before GIVEN TO THE PUBLIC, INCLUDING THE
Secrets of the Celebrated Birmingham Japajstners.
" I consider this work invaUiablo and indispensable to the person engajicpd in
Paintinj^r, etc., andwrite from an experience of more than thirty years." JOHN
.SalisuUUY, Newport, R. I.
" It is a great little volume, and worth its weight in gold." II. E. IlAI.L, Sauls-
hurij, West Tennessee.
For tlie convenience of Painters. Lefterers, and others, we have oonipileil thn
following li.st, embracing so\ne of llie be,-i ks for their use.
I They are all in
good repute, aud each doubtless contains ^\ hat v, ill prove highly u.seful in some
cases.
Set of Alphabets of all the Varimis Hands in Hlodern Use, with Examples
in each style, designed as a Text Book. A colleoti^jn of most beautiful de-
signs which will be found of great service both to young and to inexperi-
enced draftsmen. Tlie mechanical method of constructing letters in various
styles is illustrated anil described in full, in a clear and deliiiite manner, and
special attention is paid to ciphers and monograms $3 00
PaIXTEH, Gn.DEIl AXD VAliXISHER's COMPANION, Containing rules and re-
gulations in everything relating to the arts of Painting. Gilding, Varnishing
and Ulass-.Staiuing, with numerous useful and valuable recipes 1 50
OF Oil Painting, for young artists and amafeurs in Oil Painting 2 00
II.^.NDIiOOK
PUANO's Alpuabets, a collection of plain, ornamental and illuminated 50 '.i
r.lcCjLEEs' Alphabets 2 50
"^5^ Any of the above will be sent, post paid, on receipt of marked price. Ad-
a . //<r'<
PREFACE.
Tee present volume has been prepared by the author in
the same spirit that ho has, during the past forty years,
imparted like information to apprentices who have learned
his art not only with success, but with enthusiasm, which
is essential to success.
aid, and no artist, with the true spirit of one, will sliglit
learn.
PUBLISHERS' NOTE.
Orii " Paintku's Mantal," was issued some iiioiitlis
wliicli
end. Wo feel a confident hope that tlie " Manu.vl of Sign, Cak-
KIAGE, AND Decor.vtive Paixtixg " will prove as acceptable and
OP
SIQN PAINTINa.
Sign" Painting is an art of a very exalted character,
and when brought to a state of perfection, viz., true color-
and proportions duly balanced,
ing, fine, accurate divisions,
it is entitled to rank with frescoand landscape painting.
Indeed, I know of nothing more pleasing to the eye than a
sign where all the requirements are brought to bear in per-
fect unison " a true sense of color in contrast " a sweet
harmony of tone, a chasteuessof composition, upon which the
senses can rest with entire satisfaction. These are the
points which we wish the reader and learner to attain, and
which we shall strive to make intelligible and clear. Too
many men learn and hoard up, like very misers, and too
many die with the gainings of a lifetime locked in their
bosoms, rather than give such knowledge to benefit those
who succeed them. And it may reasonably be sui)posed
that the arts and sciences are scores of years behind what
they would have been but for this very selfishness.
In everyday practice how often do we SL^e attempts made
at sign painting by those who, through ignorance of the
first and most essential principles, who know nothing about
the true method of preparing grounds, the proper propor-
tibning of the letters, the divisions of distances, parallels,
contrasts of color, and other requisites to a good or at-
tractive sign how often have we seen such signs attempted
;
<C O Iv O 1^ @
Red Vermilion. This is a bright scarlet, a chemical
compound of mercury and sulphur. The best article now
in the market of English manufacture.
is
Red Lead. This is an oxide, of orange tinge, very
Terra de Sienna. This is a brigliter and deeper yel-
low than most of the other ochres. It is found principally
in Italy, and is a valuable color.
TuRPiTH Mineral. This is brighter in color than any
other yellow, except king's yellow. It works like veriniliou,
which it greatly resembles in strength of color, etc.
King's Yellow. Is a combination of sulphur and
arsenic. It is a strong poison, but has a deep, rich color,
although not durable.
Blues are principally composed of sulphate of iron and
prassiate of potash. These blues are generally called
Prussian blue, Antwerp blue, celestial blue, etc. They arc
all of a fugitive character in oil.
Ultramarine. This is the richest and brightest of all
blues, but is too expensive to be used in house, sign, or
ornamental painting, costing usually about twenty-five dol-
lars per ounce. But a very good and cheap substitute has
been discovered, manufactured from carbonate of soda,
sulphur, cobalt and kaoline. It works well and is durable.
Cobalt. This is the oxide of cobalt, but its manufac-
ture is too complicated to describe in this little work. It
is a beautiful shade of blue, and both works and stands well.
G 11 E E N S
Brunsavick Green is copper dissolved in a solution
of muriate of annnouia. It is a good, pure green and
stands well.
CiiROME Green. Green chromium is a compound of bi-
chromate of potash and flower of sulphur, but the manu-
facture is too intricate to find a place here. It is a rich and
splendid green. Chrome green, formed by a union of
chrome yellow and Prussian blue, can be made of any shade
by using more or less of one or the other of the colors.
They are very durable.
Verdigris. Copper reduced by a vegetable acid. It
can be used by the addition of a little chrome yellow. It
stands well, and is a good color for shading, etc., being
transparent.
A beautiful transparent green can be made as follows :
per), then put the two dry powders together mix them ;
WHITES.
Flake VfniTE. The best formerly came from Italy,
where the acid of the grape was employed in the manu-
facture, instead of common acetic acid. It is a pure white
but liable to change. The flake white made in England
and Germany retains the end.
its ])urity to
Kremmtze White. This is simply white, corroded in
a small scale in '' chambers " instead of l^eing done in
''
stacks," the old Dutch method. It must consequently be
free from any sulphate of hydrogen or ammonia, and hence
its superiority over the others.
Zinc White. An oxide of that metal, the result of
combustion, commonly called '' chemical wool." It is a
beautiful white, not quite so fall in body as white lead, but
possessing no affinity for either sulphide of hydrogen or
ammonia, or any other of the obnoxious gases. It retains
its brilliant whiteness longer than any white pigment known,
with the exception of a white prepared from antimony,
which has, however, never as yet become an article of com-
merce,
BLACKS.
Lamp Black, The soot collected from ])urniug animal
or vegetable matter. It should always be calcined before
using, as it will then dry better and make better color.
SIGX, CARRIAGE AND DECORATIVE PAII^TING. 11
BROYfNS.
Umber. The Turkey umber is the best ; the English
IS rated second. They are good drying colors. Tu their
raw state they also class as olive colors, but when calcined
arc a fine, rich brown. They are good and durable, and
also very useful to a sign painter.
Terra de Siexxa. When burned this is a very rich
color, much in repute with fresco, sign, and decorative
painters. It keeps its color well.
Purple Brown.
This is composed of prussic acid with
the oxide of copper. It is a very fine color, and produces
with white very fine lilac tSnts. It is also a good grounding
color, and stands well.
AsPHALTUii. This is a bituminous substance, of a deep,
rich brown color; transparent, and a good glazing or shad-
ing gold or any other work. It works well with boiled oil
or turpentine. It is found on the shores of the Dead Sea
and in Judea.
Note.
I would here mention the necessity of procuring
good, pure linseed oil. This is a very essential point, as
many of the oils in the market are adulterated with fish
and animal oils, and are, therefore, entirely unfit for use.
Patent dryers act very well, if pure, but as they are all
more or less adulterated with whiting, whit-h imparts a
toughness which destroys their fluidity or flowing qualities,
I would advise the artist to make his own.
Grind either sugar of lead or sulphate of zinc (white
vitriol) in raw linseed oil, or equal quantities of both to-
gether. One teaspoonfal will dry from twenty to twenty-
five pounds of color. This dryer will not injure the most
delicate color, even the purest white.
i2 HAXET'S ilAXUAL OF
DRYING JAPAN.
This dryer, if of a liropcr duality ami light in
color a
loaspoonful will dry from iwcuty-livo to 'thirty
pouiids"of
color.
FIRST OPERATIONS.
Tlicre are various theories respecting the quality of wood
to he used, as also in relation to the particular ''cut" of the
log. Some contend that the ceutcr cut is less lial)lc to
warp and shake," owing to tho grain running squarely
'
tj.jl'ii':m.'01s^' ,
TABLE OF TINTS,
Gray, White and lamp black.
Buff. White, red, yellow, an'd a little black.
Pearl, White, ultramarine blue, and carmine.
Orange. Yellow and red.
Violet. White, ultramarine and carmine.
blue,
Purple. Same above, only
as in different quantities.
Gold. White, stone and a
ochre, burnt umber.
little
Oliye. White, yellow, ami
black, red.
Chestnut. Red, black and yellow.
Flesh. Vermilion, white, and yellov*^.
LETT li: It S
their proportion, etc., and take as an alphabet the most
beautiful one the world ever knew
the Roman.
The Roman Italics differ from the capitals only by being
slightly inclined from a perpendicular, and tbis inclination
should not vary much from an angle of sixty degrees, al-
though natural taste has much to do v.'itli governing it.
The letter A is generally formed with more faults than
any other in the alphabet, and in nine cases out of ten it is
occasioned by spreading its angles too much. It should
not be wider than li or N, hair lines included.
The upper part of B, E, F, and R should take up a par-
ticle less space on the main line of each letter than the
lower part, and the upper, horizontal projecting curve of
B and R should in the same proportion be a trifle the
smallest.
The connecting bar of the letter H should be a Irifle
above the center of the letter.
The perpendicular width of the curve for P should lake
up just half the length of the main limb of that letter.
The bottom curve of J is allowed ; handsome sweep, so
SIGNj CARRIAGE AND DECORATIYE PAINTING. 19
that the projecting horizontal line at its top and its curve
will occupy the 8amo space as G or S.
The upper curve of S should be smaller than the lower
curve, and for this reason
the bottom of all letters should as
uear as possible form the base of their apparent structure.
The middle top line of AV is dispensed with, and that
center lim.b terminates in a peak or point.
To form a curve to the last of 11 is preferable to a flat,
straight termination, provided the curve be made full, and
the letter seems to stand firm.
The last limb of Gshould terminate at seven-sixteenths
of its hight, or a little less than half its bight.
Eight letters, B, D, E, G, 0, P, Q, and T, will oc-
cupy the same space from left to right as they do in
hight.
Six letters, C, F, J, L, S, and Z, will take one-sixteenth
less width than higlit.
M and W, one-sixteenth more' width than hight.
I, one-half its hight wide.
If two lines are drawn upon a sign or sheet of paper,
say half an inch apart, auvl eight compartments set off,
half an inch square, B, D, E, G, 0, P, Q, and T, each
will fill one square and be well-proportioned letters.
Then divide off six compai-tments, one-sixteenth part
narrower than they are high, for C, V, J, L, S, and Z.
Then make nine compartments, one-sixteenth wider than
they arc high, for A, H, K, N, R, U, V, X, and Y.
For M and W, allow one-sixteenth more width than
hight ; for I, one-half its bight for &, one-eighth more
;
o I j^ i> I rv ci' .
against the use of gold size, sold at most of the color stores.
They are generally got up from recijies ])ublished by men
who are totally ignorant of the nature and i)roperties of a
permanent gilding size. My own experience amply con-
rirms this assertion.
Let every paint.'r make his own size, and tlicn he will be
less likely to be a stranger (o what lie wauls. If it be too
SIGK, CARRTAGK AXD DECORATIVE PAINTING. 21
pot, to put out the flame, and it will then be like syrup or
thin tar.
This done, strain it through a silk stocking or handker-
chief into a bottle and keep it closely corked. When you
wish to use it, thin it with turpentine, but be careful and
not use it too thin.
ANOTHER RECIPE.
Another good size for gilding may be made in this way :
Procure some pure old drying oil, the older the better';
grind into it some ochre and a little of the best quality of
red lead then thin it to a proper consistency
; form your
;
letters carefully, laying it very even and thin, and let your
work stand until so dry as only to have sufficient " tack "
to hold your leaf. Apply the leaf with a gilder's tip
carefully and lay it smooth with a flat camel-hair brush
or a ball of fino cotton wool, but do not brush off all
the superfluous gold until you arc sure that the under size
is perfectly dry and hard. This gives the gold its full
brilliancy and stands the weather well.
lliai: anitni and (o])al aro oiio and the saine, 'out such is not
more durable, it gives more luster to the gold than any other
size, and has the very singular property of retaining the
" tack " longer than any size known.
This is the '* secret size," used by the best artists in Lon-
don and Paris, and the one used by the justly celebrated
japanners of Birmingham, who produce the finest work in
decoration to be found in the WM)rld's market.
The artist must be furnished with a gilder's cushion, with
])a!-chment back and ends ; a knife to cut liis gold a " tip,"
;
itSO that you can set your own tirae for the gilding. few A
experiments in this connection will enable you to master and
regulate the nature and operation of size
DRYING OILS.
as described.
To manufacture drying oil without heat: When linseed
oil iscarefully agitated with wliite vinegar of lead (tribasic
acetate of lead) and the mixture allowed to clear by set-
tling, a copious, white, cloudy precipitate forms containing
oxide of lead, wliile the oil is converted into a drying oil
of a pale, straw color, which makes an excellent strong dry-
ing oil or varnish, which ought to dry in about twenty-four
hours. It contains from four to five I'-er cent, of oxide of
lead in solution.
When
the points of contact between the lead solution and
the have been frequently renewed by agitation of the
oil
mixture (three or four times per day), and the mixture is
allowed to settle in a warm place, a limpid, si raw-colored
oil rises to the surface, leaving a copious white deposit.
The watery solution, rendered clear by tiltratiou, con-
tains intact all the acetate of lead originally employed, and
which may be used next operation, after the addition
in the
to it as before, of eighteen ounces of litharge. By filtra-
tion through paper or cotton, the oil may be obtained as
limpid as water, and it can also 1)c bleached by exposure in
the sun.
If thisoil requires to be absolutely free from lead, it may
be so rendered by the addition of dilute sulphuric acid to
the above, when, on being allowed to stand, a deposit of
.sulphate of lead will take place, and the clear oil may be
obtained, free from all traces of lead.
ZINC DRYEE.
This dryer is prepared from the oxide of manganese and
raw linseed oil.
The manganese is broken into pieces as small as peas,
dried, and the powder separated by a sieve. The fragments
are then placed in a bag made o^ iron wire gauze this to
hang in the oil contained in the iron or copper vessel- -
and the whole heated gently for twenty-four or lliirty-six
hours.
The
oil, however, nmst not be allowed to boil, for there
is great danger of its running over. When tlie oil has
acquired a reddish color it is to be poured into an appropri-
ate vessel to clear.
For one hnudred ]tarts of oil, ten parts of manganese
may be employed, and which will serve for several oper-
ations when freshly broken and the dust separated.
Experience has shown that when fresh oxide of mangan-
ese is employed, it is better to introduce it into the oil on
the second day. The process occupies a longer time with the
fresh oxide. Very great care is required to prevent acci-
dent, and one of the jirincij)n] ]mnx< to be observed is that
the oil bo not overheated. If (he boiliu'j: should render the
26 IIAXEY'S MANUAL OF
First jMethotl.
Draw your lines upon tlie glass at the
proper distaucos for the size of your letters, etc., witii a
piece of hard soap, which will make very distinct lines.
Then form your letters accurately, and in true distances or
space, cue from the other, being satisfied that all your pro-
portions, etc., are correct. You will now bo ready to com-
mence your gilding.
Second JMethod. Ilaveyciir let tors, etc. .drawn ou ion fine
paper prick with a pin the outlines of your letters, scrolls,
;
etc. Next take a bag made of muslin, filled with fine ]>ow-
dered cliarcoal 5 lay the paper carefully to its i)roper place ;
ihcu pounce the charcoal bag against Ihc paper, and you
can then trace the outlines in full with black japan. To
make all secure bo r.eccssary to give the work
it will
two or three coats, and when
dry, wasli or rub oil" all super-
fluities with a sponge or soft cotton rag.
N. B. This method is only used after gilding, where the
leaf is placed full with.out any outline.
Third Method. To get accurate lines upon glass, pre-
paratory to gilding. In the first place, clean the glass
thorougldy then witli a mixture of whiting, water, and a
;
little milk, brush carefully all over the outside of the glass.
V/hen dry, draw your i>arallel lines, letters, scrolls, etc., with
a pointed stick.
For small work, turn the glass around, <ind letter back-
ward. If inside of a window, work upon the same prin-
ciple. This is an easy and a true method of forming your
lettering or ornamentation, a-< any fault in the drawing can
be easily corrected.
sign bonrd, and, wlicn dry, again insert 1lic strips of tin into
the slots in tlie board, taking tliem np in tlie same order
in which tl)ey lay when painted upon.
This is really a magical sign (three signs, in fact), and
changes as the observer changes his position, at one angle
showing one tbing, and at another quite a different one.
They arc coming much in use now-a-days, and it is a good
branch of the art to make one's self iicrfect in.
<.f ivory l)lacic, A'andxkc lu-owii, raw iuu\ ])nr;it nraitcr, as-
]ilialtura, etc.
Always kee;) ia vievvMlio tone (.I'lhc pToniid, for ihat lia.s
rAixTiX(; OX
^
('i/)Tir ok silk.
For ^[asonie or Oddfellow's apnms. batmers, or any
work of like nainre, a few words may 1)C useful.
First have your material ])ut it])on a stretcher, and the;i.
complete your lettering and disign. Prepare a size as fol-
lows J)issolve bleached shellae in alcohol, and thin as
:
will soften up. and v;ith an old chisel ov a piece vi' flat,
sliarpened v.'ood yo;i can si'rape cfi' (he (ild color with ])er-
fect case. The best way of doing this is to cover a foot
or so at it lime v.'ilii tiie (urfientine. and ))roceed as above.
TIk-u rub off with pumice and v.'ater.
SIGX, CAKEIAGE AND DECORATIVE PAIXTIXG. 33
sash tool fill in all the spaces then witli smalt dust all the
;
but for large signs it will have a better elTcct to shade the
letters after smalting. Mix the shading color with very
little oil, mostly japan and turpentine, and draw with short
quill tools or Frencli fitches.
FLOCKS.
Flocks are laid upon the same princiide. These
grounds are very beautiful and chaste looking, but Ihey are
very unsuitable for signs that aro ex]ioscd to the weather,
as the colors do not stand any length of time, black l)cing
llio only one that can be depended on.
Instead of smalts, colored sands are sometimes used.
These retain their colors well, and if taste is displayed in
arranging the hue and tints, very beautiful work can be
produced.
Lay a coat of size over the face of the pearl and then
put it in its proper place in the letter. Press it hard upon
SIGX, CARKIAOE AND DECORATIVE PAINTIXG. 35
iiulustry ;
notliing is to be olitaiued withdut it."' Depend,
then, whi/lly up-ou your own exertions, and listen rather
to the criticisms df the judicious than the praises of those
who will tlatter you with assurances that you ])cssess in-
tuitive excellences which may render a]>plication ninu'ccs-
sary. To reconuneiid a i)ropcr course of study will be tlio
most useful ])uriiOse to which these ])ages can be devoted,
for it cannot be dis|iensed with.
Before any attem|)t ben;ade beyond copying, the student
is enjoined to accpiire a clear view of the leading priucii)les
of perspective on pain of con;mitting al)surdities, for which
no beauty of color can atone it will be found less difricult
;
Here the pupil vrill find a larire field fiir study, aujj we
vronld strongly recommend thar those various orders should
be copied from some g-enuine prints, in parts and in v/lnde,
so as to familiarize the eye aiid cultivate the mind to all
i!u> varieties therein contained.
Those lessons are the mo.t ready me-
iu colored cb.alks
thods for Imowledg'C in shading-, etc., so as to raise
graining;
any object upon a jilain surface, to represent that relief or
effect vdiich is wished to be obtained previous to attempt-
SIGN", CAKRIAGE AXD DECORATIVE PAINTIXG. 41
the first into l)ed molds, or the jjart under the corona; co-
rona, or jilain face; and cyniatinni or r.|iper inoldinji-.
'J'ho capital into neck or i)art [)elo\v the ovolo; ovolo
or projecting;' round molding j and abacus or lile. The
fiat upper molding mostly m-arly square.
'I'jiese divisions of llie capital, liowever, are less distiuci
liian ihosci of tlieother parts.
'i'lie cornice into bed mold, or pari belov/ the corona;
the corona.
Ik'sides these general divisions, il. will be proper to no-
tice a few terms often made use of.
The ornamental molding running round an arch or round
door.s and windows, is called an architrave.
An ornamental molding hir an art-li to spring from, is
called an impost.
The stone at the top of an arch, which (iiien piojec'ts, is
called a key -stone.
The small brackets lUider llie corona in ilie cornices are
called mutules or modillions if they aie sipuire or longer
;
to the fresco painter, as his drawing will 1)0 about the first
point of criticism to which ho will tind himself liable, eveu
more so than to his shading or coloriug. For it matters
little ho\Y well coloriug or shading may be executed if the
drawing is deficient. Therefore let 11)0 pupil persevere ia
this branch of the art.
lu drawing flowers the center should l>c drawn first, as
by spreading outward, the graceful and ever varying
forms of nature in every stem aud leaf nuiy be more easily
expressed.
Ju the subsequent operaiit)n of coloring them they require
much more attention than any other part of the work, so
as to produce a soft and accurate eflect; but not an equal
degree of skill and experience to produce a beautiful whole.
In this kind of drawing, as in every other, the first lesson
should be obtained by following the draughts of the most
skillful masters, com])aring their productions at the same
time with nature. As flower pieces are inspected with
almost microscopic attention the fibers aud figure of every
leaf must be distinctly expressed. Flowers which do not
blow at the same season of the year should never be grouped
together.
In drawing fruit great care is to be taking in assorting
or arranging them so as to produce the most imposing
effect. 8o ]dace them as regards color, size, etc., with an
easy carelessness that they may by such freedom of position
aid the pupil in producing a good haru;onious painting.
SIGX, CARRIAGE AXD DECORATIYE PAINTING. 45
FIGURE rAIXTIXG,
As Leforo staled, ro(|nircs correct proporiions, g-(!od
coloring, great ease,and a general softness tlironghout,
to be graceful and mellow in tint, avoiding cold or harsli
shading, etc., having always in view the fact that this par-
ticnlar branch of the art demands consummate skill and
great truthfulness.
to corne from oi^c side, Riurald 1)0 a litrlo sluuled; ilic next
portion sliouUI exhibit the stroii<j:cst liirhi, wliich in water
color will be almost tbe ground color unless the ground
be dark, then have to be run in almost pure white.
it Vv'ill
Then will come
the deepest shade, and lastly a shade
for the fiirtb.er side somewhat deeper than the one on the
side nearest the light. Those shades duly softened into
each other will give the idea of a round body.
Titian declared that the best lessons lie ever received on
the distriI)ntion of light and shade N\ere derived from
studying and drawing bunches of grapes.
Having as briefly as possible laid down the most useful
preliminary studies in the art of fresco painting, as far as
architecture, light and shade, etc., elc, are concerned, we
will now proceed with an oulline of tlio method of prepar-
ing ceilings, walls, etc., and also the proper mixtures for
laying the grounds, stiles, etc., preparatory to running in
the lines to furm ])anels, ornaments and decorations.
If the walls and ceilings are new i>laster (th.it is clean),
I would in-efer giving them a good coat of i>aint previous
to nsiniz; the distemper colors, and for the best of reasons,
for by so th)ing you insure against stains or a striking in of
your distemr-er coats, which is very apt to w.cnv if not
painted.
The first coat of paint should bo mixed al)out two-thirds
turpentine and one-third linseed oil, witii as nnich japan
drier as will dry it hard too much oil would be liable to
;
light, more color. When you have got the tint to your
mind, take your melted glue and put in enough to bind
the color very hard so as not to rise or wash up with your
second coat. This you can also test upon a piece of paper
before you lay the color u])on yom- plaster, ceilings or
walls, for by neglecting to have sulTicient size or glue in
your color your second coat will mix up with your first,
and the two will roll and gather thereby spoiling your
work the result of which will be that you will have to
;
sponge otF both coats with water, thus loosing your time and
materials, and suffering disaptpuintment and mortification
besides, for your neglect.
If all goes well you will find that two coats will be suffi-
cient in the most of cases, and ought to be made a rule as
far as possible to manage ceilings with two coats.
Having now got the ])Iane of your ceiling or wall done
you now proceed to mix up the color for the stiles or hovd-
cr, and carry out a similar i)roccduro with them until all
looks smooth and solid, and if satisfied with the color and
its covering qualities you next proceed to mix up all your
sliades for drawing your moldings as above directed, viz. :
run all your light lines first, tlien the secondaries, deep,
etc., relief, etc., until the molding yields a just resemblance
to the order required the corner jiicces can now be acted
,
upon, all cut in with the same colors when the last touches
;
ai'c put in let the edges be cut sharp and crisp, and do not
FLOWERS IX RELIEF,
much, to use the vulgar term, '* ginger bread style." Yet
some i)artics will have such work, and to please sometimes
the ariist has to give way; but always suggest, where it
is safe to do so, if for uo other reas(m than to put yourself
in a proper position l)efore the jjublic on such uiatters. It
is the duty of an artist to state what is the right harmony,
etc., whether adopted or not liy the emi>loyer.
CHURCH COLOUS.
In referring to church decorations, much difference of
opinion exists. Many hold as a fixed rule that churclies in
particular must have a somber monastic gloom. Such
take the idea from visiting ancient buildings, the relics of
l)ast ages, which, on account of their walls being generally
built of stone, and that stone work being the interior finish
without plaster, such churches do, no doubt, while lighted
by stained glass and heavy stone work in their windows,
etc., cast a dull, melancholic gloom. But this result by no
means claims it as a necessity that such cold, forbidding
colors should be a standard to Ihe present age.
And further we take the ground that dark somber colors
have nothing to do with producing religious feelings or awe.
Decorations, colors, etc., style or order, ought to be care-
fully selected and in good keeping, which should be such
as to cherish a true sensibility of christian feeling, altoge-
ther free from all depressing circumstances or causes such
as cold, raw, uncongenial mixtures have the natural ten-
dency to produce ui>on the mind.
50 HAXET'S MANUAL OF
DWELLING iroUSES.
52 l; MAXUAli OF
ci'.llcd '
]mrple hrowii, burnt oclier, burnt
cokuithef''),
sienna, etc. Burnt .sienna aiul ultramarine in mixture a ;
NECESSARY IMPLEMENTS.
A marble slab, to g-rincl all the colors not to be had
ground at the color shops.
A good pallet knife.
A stopping knife.
A small trowel.
A square.
A set of straight edges.
A T square.
One pair compasses.
One scale for measurement. (Gmither.)
One foot rule.
Chalk line.
Colored chalks or crayons.
Charcoal for drawing lines.
Flat nailed stock brushes, or tin bound.
Round wire bound brushes for cornices, etc.
Sash tools, six sizes, from No. 2 to 8.
Flat French tools for drawing lines, etc.
Roiuid quill or tin bound tools, various sizes, from small
to large.
Sable pencils, long and short, to use on scrolls, flowers,
center pieces, etc., and various other purposes.
An assortment of wood pails.
Stone pots, large and small.
Tin cups, large and small.
Tin cans, one dozen or two, assorted in size
Step ladders.
Tressels for scaffolds, assorted bights planks, etc.
;
STENCIL1NG.=*=
is simply' to put ill the shade linos along with tlie others.
]\rany ornaments are done in this manner, and to the fresco
])ainter is a <:reat economizer of lime. Every appliance
tjiat can be adopted ouj^dit to he hiought iido recjuisition
to lessen lahor, and therehy add to tlic! remunerative in-
terests of ])hysieal action.
In conclusiun, 1 would say, ix-rseven^ and the result is
sure.
ORDEllS OF AUCUITEC'J'inM:.
'I'he painter of interiors lias c(nstant nse for pillars,
rolunnis and ])ilas1ers. We
}^iv(!, therefore, a specinum
Ovolo
3
I
/ Apopliyges
5
L ) Astrngnl
Bead, No. 1
^Jj
^ Bead, No. 2
T Ci'ina nc(!ta
Opop, or C'yinii
Keversa
10
V Scotia
11
^ Quirk cd Ogco
12
_y Quirked Ovolo
13
"^
14
Facia
59
TXTSo.A.5sr onrjEn.
T Cavetto
OvoU)
?^Cavetto
J_
I Facia
5 ^ Abacus
s Astragal
Torus
I'liuUi
60
laortia onrsEpi.
Gl
/,
Cyuiatium^
Corona
Modillioiis E^^IJgL-mSI
Deuteumnujji
Torns
riiuthr
lou'ia OFt.n'E'R.
d Cymatium'^
Echimis
Corona
BOEDERS.
Gt
SIGX, CARPJAGE AND DECOKATIVE PAIXTIXG. C.>
COMBINATION SCROLL.
G6 nA?;ETS MANUAL OF
COKNEKS.
SIGN,- CARKIAGE AND DECORATITE PAINTING. G7
^^
SIGN, CAKEIAGE ANT) DECORATIVE PAIXTING. 69
WALL DECORATIONS.
^^^^i^^^^^
70 HAIfEY'S M^LNUAJj OF
'^
SIGX, CARRIAGE AND DECORATIVE PAINTING 71
72 HAKEY'S ilAXUAL OF
SIGN, CARRIAGE AND DECORATIVE PAINTING. 73
74 IIANEY S MANUAL OF
A COMPLETE SYSTEM
COACH PAINTINQ
Tins is a Ijnuicli of the art, of groat importance, yet one
but very imperfectly kuown to the masses. One reason for
this statement is that coacli painters geueraily keep a very
close surveillance over visitors, few, if any, are allowed to
enter iheir W(rksh(ps, and no class of painters are so un-
v/illing; to communicate any of the principalb- or theories of
their business.
House painting, sign painting, etc., are branches of the
art that cannot be well concealed from the ])ublic gaze, for
the operations are so common, and of every day occurrence,
that any perscm of moderate ability can soon oI)tain sutli-
cient information to enable them to do a jiassahle piece of
work, esjiecially in house ])ainting. draining recpures not
only good judgment, a true sense of the various woods and
marbles he wishes to imitate l)ut also the organ of imita-
;
MATERIALS REQUIRED.
White lead, B. B. brand, ground in oil.
Black Japan.
Body copal varnish (flowing).
Body (hard), for bringing up the work, for rubbing down
and using in the previous coats, then finish with the body
flowing.
Carriage varnish, Nos. 1 and 2.
Drop, or Frankfort black.
Chrome yellows, of all shades to orange.
Indian red.
Vermilion.
Venetian red.
Orange mineral.
Red lead.
Scarlet lake.
Crimson lake. ) n ,
i i
i
^"^'' ^^'^^"^^'"^ ^"^^^ ^''''^-
Purple lake. }
Yellow lake.
Carmine
Purple Brown.
Burned Umber.
Raw Umber.
Burned and Raw Sienna.
Chrome greens, assorted shades.
Olive, or quaker's green.
Ultramarine blue.
Prussian blue.
Cobalt blue.
French yellow (ocher).
Whiting, best quality.
Ground pumice.
Pumice in lump.
Rotten stone, very fine.
76 haney's manual of
Tripoli powder.
Granulated zinc (putty powder).
Fine wheat flower.
Olive oil for polishing.
Brushes of suitable sizes, short f(r painting.
Oval hound varnish brushes.
Sash tools, assorted sizes.
Pencils, large and small (sable).
Long liners for striping (camel hair or sable).
F(tr fine lines, long black sable.
tSand paper, assorted numbers.
Emery paper, for rubbing old work, viz. : iron, springs,
bolts, shackles, etc.
Dusters.
Afew tressels to stand bodies upon of a suitable hight.
Awheel stand, which is an upright mortised into a
square block of wood, about two inches above the half
diameter of the largest wheel have a pin of iron put
;
through the upriglit, a little less than the size of the axle,
and long enough to hold the wheel while painting or when
striping. And another, made witli a block or stool, with an
upright bolt or i)in from the center, so as to place a wheel
upon a horizontal j)Osition.
A bench for the flag and muller. A small paint mill
attached to the bench for grinding colors.
Asquare putty knife.
A
diamond pointed putty knife.
A ])allet knife.
A flat flle. ) f ,
bir cleaning
. 11 ,
work.
A half
.
1If
round
/!
1 }
file, j
^ did
Flat broad chisel.
Flat scraper, or old plane iron, used when firing off old
paint.
Varnish pots (tin), with a win; a(;ross the nioulli to
wipe the brush over.
J\iint cans, assoi'ted sizes.
Oil cans, etc., marked for boiled and raw.
Turpentine can.
Japan can.
Cloth, double milled, for rubbing the varnish coats.
Sponge and chamois skin, etc.
STGX, CARRIAGE AND DECORATIVE PAINTING. 77
i'irst, take and dust all the machine carefully before tak-
ing it into the paint room. Have two boards like small
table tops connected by a bolt in the center, so as to re.
volve when wanted. Place these upon the tressels, then
take the body off the under carriage and set it upon the smalV
tressels before mentioned, then take off the wheels and let
the carriage rest upon the asle on a tressel of a proper
flight, same as the wheels ;take the wheel stand and place
upon it one of the wheels, then the work will be all easy of
access and ready to commence i)ainting.
In coach painting very little oil paint is required, and
here is the difference that occurs between house and coach
painting. Only two or three coats of oil paint is sufficient
in bringing up the work. This we call priming. Just give
as many coats as will carry out a slight gloss, no more.
The best oil for this purpose is good drying oil, say two-
thirds oil and one-third tur])entine, and have a little of the
fine lithargeground into it, about two ounces to twenty
pounds of paint. The litharge causes the paint to become
bard, and rub down better than if only drying oil alone
was used.
We mention litharge because it is the best dryer for this
purpose. Patent dryer is, no doubt, convenient, l)eing al-
ready ground, but it never dries paint so hard as litharge,
nor rul)s down with the sand paper so well, being more apt
to hang to or clog the paper-, and roll or draw upon the
work.
r After all is first coated and dry, take your sand paper
and rub down very smooth, making sure to cut down all
inequalities, ridges, or deficiencies in finish by the coach
builder, otherwise by neglecting to do so on the first coat,
you would have the mortification to find that those places
would cut through in your second coat, thus losing your
time to a considerable amount.
You now dust your work carefully, and mix up some
putty (b(!tter make your own) v."ith whiting and oil (raw
oil)and about one-fourth part white lead, and work into it
while kneading it, a little pulverized litharge to make it
78 K.-U^ET'S MANUAL OF
red lead will also improve it; take your dryiug Japan and
pour in as much as will nearly mix it; put in a very little
drying oil, very careful not to have too much, otherwise the
filling will be soft and tough turpentine to thiu to a
;
yon have done all that is required. Take your sponge and
wash off all the work wring out your wash leather (cham-
;
ois) and dry off the Job then if all is perfect, all filled.
;
80 nANF.Y'S ART OF
tlio wnrlc will feel like a piece of ivory, (juiic smooth and
level.
A
panel or piece of coach work cannot, he got level or
fit without heiug filled up hy this method, for
lor finishiuji'
the p-rain of the Vv'ood will ahvays l)e more or less seen un-
less done so.
We now come to the next stage of operations, viz.
color.
Whatever color the carriage is to be painted, the color
must be fresh ground, as it is a mixture that drys very
(piick.
If you want a dark green of the oliv(^ shades, you take
deep chrome yellow and drop black have your black
;
the bench mill and grind it into a clean pot (always wash-
ing out the mill, to keep it clean), then see if the shade is
of tliG kind dt'sired if too dark, you want more yellow,
;
il" you
do, you will not got the color you anticipate. But
for dark clarets, use considerable rose pink. The student
must pay attention to these important hints.
For the light shade, have some scarlet lake grind in a
;
flowing varnish and put in the lake; mix well, and pro-
ceed to coat very carefully. This color sometimes takes
three coats, but with due care, and a good brush hand, it
can be attained with two coats.
DARKER SHADES.
Use more rose jiink in the ground. Then, instead of
scarlet lake, use the best crimson lake, and in the same
maimer as for the lighl^ claret; tvro coats will be enough
if carefully laid. In all those colors got, the princii)al
idea is to have a solid, true body, not sliady but fair.
'^
JAPAN BROWN."
Grind drop black in japan; add to it a little vermilion,
just enough to see it. This makes a very rich color, and
looks very well with vermilion lines, or an orange line ;
OXFORD BROWNS.
Take a little chrome yellow, white lead, India red, l>cst
ocher, burned umber, just white enough to bo seen yellow ;
brown tone.
Many varieties of Oxford brown con be made by the
adding more or less of the leading colors of the compos-
itions.
FAWN COLROS.
Yellow, rod, a little black, or a little burned umber may
be added, even burned terra de sienna is sometimes put in
the mixture. Coach colors vnry from the shades in gen-
eral use by house and sign painters. They are strictly a
class of colors peculiar to that branch of the art, and are
S4 HANET'S :\rAXITAL OF
DUABH.
Any variety can be made to suit the most fastidions.
Composition draljs, red l)lack, and yellow, nniber also
;
ANOTHER.
; Vermiliou and dir.j) black nudces a cheap ])lum brown,
or claret; covers well, and looks and stands well, although
far deficient to the claret got up by glaizing witli crhnson
lake, already mentioned ;hut for low priced work looks
very well indeed, and will r.ot cost one-half the price; as
much time is saved, and the materials moderate.
Having given a general outline of colors, we propose to
next ])oint out to the student the n;;inner of "breaking
out," or ' picking out," as the trade term lias it.
That is, laying in the lines or stripes, "blue ground."
If a large carriag'e, with heavy wheels, draw lines (with
SIGN, CAEFJAOE AND DECORATTYE PAINTING. 85
GREENS.
Generally ])ick out with black, and if a light green,
black lines will be enough. If a little more expense is to
be gone to, run u]> th(^ center of the black lines with a
white, and not too line. This makes a good neat finish.
If a dark green, pick out with black, and run very fine
line on each edge of the black, three-eighths of an inch olf
the black. With a very bright green, that looks very nice
indeed, or any other color to suit the taste of the artist.
CLARETS.
Almost all colors of this class are picked out with blac-k.
Fine side lines are either vermilion or a rich orange; or
and a vermilion line run
side lines of orange, not too dark,
up the center of the black or one large black line, with a
;
OXFORD BROWX.
rick out witli l)lack, fine lino vermilion or medium tint
of chrome yellow with a perceptible touch of red in It.
Sometimes part the black line with white down the center.
PURPLE.
Pick out with black, fine line with a bright line of orange
or lilac, or with vermilion.
These remarks api)ly to most of the colors in use by
coach ])ainters, although there can still be a greater var-
iety of work done than we can enumerate, which can be
put in practice at any lime.
The next operation is to varnish. Xow, it appears a
SIGN, CARRIAGE AND DECORATIYE PAINTING. 87
aijaiu witli your pnnnce, clotli, and water wash and dry
;
upon the fineness of the pumice as sold, but, for this pur-
pose, take and mix with water, then grind it upon the flag
very fine, then there will be no danger of scratching.
Hub just enough to bring all to a perfect smooth state,
rdl brush marks removed, then wash very clean and dry
\\'o]\ then dust carefully.
: But always before washing,
drying, etc., sweep out your floor, and sprinkle with water
to lay the dust. The same precaution is necessary always
before varnishing, for dust getting into the varnish will
cause ilie work to look ''seedy," or lousey, as Iho paiiiters
call it.
all the work np pretty smartly, and if all has been don(^
right and with care, the work will have a very fine, bril-
liant gloss.
Some finish with putty powder, and olh.ers use Tripoli
instead of pumice. But the above i)rocess answers every
])urpose tliat is recpiired. But when the work is intended
to have a ])olish and hurnish finish, always give au extra
coat of varnish, as it is not good policy to attempt polish-
ing on two coats of varnish, for such work is generally
left from the brush if clearly varnished.
SIGN, CARrvIAGE AND DECORATIYE PAINTING. S9
REMARKS.
In paintini? ilie Ixxly of any coach or machine, tlio same
order in regard to lines, colors, etc., must be strictly at-
tended to, so as to have all in keeping. The black part
of the body is done with drop black in japan and spirits,
and the lines must be introduced, if there is any number
on the body, suitable.
The black of the body will require two or three coats to
make a sure cover, and never attempt to varnish on a poor
ground.
I cannot account for the method that is practised in this
country by coach-painters in bringing up the black wor
of a coach. In England we give a coat of dark lead color
as a first coat, then give a good full coat of drop black in
japans, as directed for grounding. Then we take the best
black japan and give two or three coats of that, rubbing
down with ground pumice and water, every coat same as
far a coat of varnish after this we give the body one coat
;
home manufactures.
There is some particular secretin varnish making, known
to but few. Penny's body varnish, Noble & Hoar, of Lon-
don, for carriage varnish and black japan Kersley
;
&
Sons, Eipon, England, and Williamson & Son, Ripon
these are tiie most celebrated makers, and supply most of
the United States, France, and other European countries.
Lawrence Bradley & Pardee, New Haven Wood in
;
90 HANET'S MANUAL OF
fact all our coach builders of any iiotc use lliosc varnishes,
aud Ihey cannot rely on any other.
FIRING OFF.
Firing off is a term used b.y painters. Some use a
gas burner attached to a rubber hose pipe, so as to di-
rect it to any portion of the work required to be cleaned
off. The heat causes the paint to soften, so that it can
be easily removed by the blunt chisel, or plain iron
then can be reduced to evenness by rubbing down with
lump pumice and water. Another method is to take a brush
with turpentine, lay on a coat upon one ])art. then, with
a match or candle, set fire to it. When the old paint
becomes soft enough, blow out the flame, aud remove with
the chisel, etc. Another way is to hold smoothing irons
to the part, and, if very hot, the paint will soon soften
so as to be easily removed.
member any number of words after one reading how to remember a series oC
;
words from different pages of a book, so as to be able to tell the page how to re-
;
alter hearing them once how to remember dates how to remember poetry,
; :
prose, reporting, extempore speaking, chapters and verses from the Bible re- ;
interest on the subject. The foregoing gives but a slight outline of the contents of
the work, which will bo found a valuable one for all who desire to improve their
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dents, especially when preparing for examination, will find it a valuable aid. The
information in regard to " speaking without notes" will often save clergymen, lec-
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forget," and though this last accomplishment is given more as a curiosity in mem-
ory it may sometimes be of use. Price Fifteen Cents.
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;
do not know that we can maie a better paper than we have already, if wo CAf
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scone described and every statempnt made in tho work is slricHy truHifiU in every
particular, and we bclicvo uo wort of fiction ia moro dd'ply and thrillin;;ly inter-
tttuig. lUuslraldd. iTioo 'f wv.jty-livo couti.
ROGUES AND ROGUERIES.
A revised, and enlarged edition of this work bag
j'5w,
just been issued, including:, in addiliou to its former ex
posures of fraud and rascality, full descriptions of all
the new humbugs and swindles, so that the work bow
includes all the principal " dodges" by which the thought-
less or unwary are victimised. " Rogues and Rogueries"
has been the means of putting thousands upon their guard
against the sharpers who so skillfully set their snares, and
who so persistently prey upon the public. Fraud often
lurks under the most innocent guise, and even the wisest
and most cautious persons cannot always be certain that
they will not be defrauded. Read this book before you
send your money to any unknown person. Read it before
you embark in any scheme, however plausible it may ap-
pear. There will be no harm done, and you may, thereby,
[earn something of which you were not aware, and bo
saved the mortiiication and loss you might otherwise incur.
All the tricks and traps of groat cities, all swindles through
the malls, jewelry and gift schemes, petroleum and mining
swindles, quack doctors, lotteries and '' policy" schemes,
fortune-tellers, gamblers' tricks, patent safe dodge, matri-
monial advertisements, pocket-book dropping, thimble-
rigging, couceri". saloons, love powders and dangerous cos-
metics, situation agencies, sewing machmc swindles, travel-
ing swindlers, conlldence operators, professional beggars,
coimterfeitcrs, and many other classes of sharpers too
aumerous to mention. The book is both intereiiing and
valuablt in a rare degree.
" Its perasal will be attended not only with pleasui'c, but
with profit." Jersey City American Standard
'
Avaluable and entertaining work on the tricks, traps,
dangers, and temptations of the great metropolis.
To the uninitiated in mysteries of life in a large city, the
" Rogues and Rogueries" will prove of unfailing interest."
Watchman, Monticello, N. Y,
" New York and other citips are full of traps for the
" green 'uns," and it is much better to know all about ihem
than to Incur the liability of buying tke knowledge by ex-
perienoo at a high figure. We therefore command ckw
book to the uninitiated. Yankee Blade.
]Uustrated.
Price, orAy Tv7enty-five Cents.
>
Self Cfre of Debility, Consumption,
Dyspepsia, Nervous Disorders etc. It is a fact that
niost of the disorders, to treat which quacks pretend re-
quires rare skill, special traininp and lonif experience, aro
really the very ones in which self-treatmeut is best adapted.
We cannot here enter upon the deceptions and frauds prac-
tised by advertising " specialists," but, it is a fact that not
only are millions of dollars wasted, but often lives mined
by their treatment. Quackery has been pretty fully ex-
posed in previous numbers of Haney's Journal, but we
truly believe this Txiok will do many times the good we
have been able to efl'ect, for being able to cure himself by
following its instructions, the reader has no occasion to con-
sult any advertiser, and so runs no risk. The book des-
cribes the various causes of feebleness and lack of vitality,
and the ailments to which they give rise. Then it show.i
how tendencies to even hereditary diseases may be kept at
bay; how the constitution may be invigorated by judicious
exercise, etc. how to cure many ailments by simple changes
;
very few cases where any further !iid will be required than i
afforded by the book itself; in those few cases the author
advises (and wo second it fully) ai>plicalion to Iho reader's
own family physician. Itis'alniost needless for us to say that
there is nothing in this hook to pander to any prurient curi-
osity or vicious tiiste. Thereare no illustrations. It is .1 work
which has been much needed, and it fully answers all re-
quirements, being prepared with remarkable ability and evi-
doutly with the most conscientious aim on the part of the au-
thor to guard and save the inexperienced, tor whose spec^ial
beiiefit are several chapters of vital moment. It fcs worthy
the examination of the medical profes.'^ion, parents, and
teachers; and there are some points which might suggest
to our legislators the desirability of even more strint;ent
measures to protect our youth from the snares set by de-
signing persons, and certain dangerous promoters of vice
more or less openly advertised in even iamily papers.
This wo copy from IlANEY'S JOi:RNAL for the benefit
of those needing an effective and reliable treatise on the
subjects mentioned. It may be procured of any bookseller
or by sending 75cts., the regular publishers price, to JESSE
Haney <fc Co., 119 Nassau Street, New York. Our read-
ers can call at Messrs. Haney &. Co.'s, or at any bookstore,
and examine the book thoroughly before purchasing, and
they need feel no obligation whatever to purchase unlesi>
they desire to do so.
A complete guide for amateur or professional trainers, tspiiiniag tne moet
approved methods of tbe most oelebxateil and eucoessful traioeM, ttioronglily
initiating tUe reader Into ail tbe secrets of tbe profession, exposing vanoua
bogus "charms," &c., sold to the credulous at high prices, aad telllne, la
fact, everything connected with the art of breaking, timing, and training all
kinds of aaimals. It includes a new and improved method of horse and colt
brei^iug, selection of horses, miuagement of farm auimals, watch and sport-
ing do jj, aud a complete, system of teaching all t-irjus Tricks. Besiaes all
these, it h-i3 a chapter oa Snake-Charming, coaptars oa Singing, Tilting; and
perfjrmina Birds, ioclaiiag iniormatija which is alone worth tha piii^i of
the book to any bird owner.
Ai Ilea of the boDk may be gleaned from the following partial synopsis of a
lew eft ie chapters :
Horte Tammy anj Horse Training. How to manage a horse, conquering
vicious and braikiag wild horses, kindness and firmness, curing stubborn
disposition, the timers toola, to teach a horse to stop, to teac'i a hore to back,
to make a horse folloiv you, to stiud without holding, whip training, to drive
without bit or bnd> tocu:.^ bilky horses, to prevent harnessed horses run-
Eiug away, to Instantly stop a runaway horse.
Trick Horsea. Apuliinces used in teaching tricks, to teach ahorse to sit up,
to kick at command, t ) answer questio is, to jump, to stand erect, to " pirou-
ette," pe^estj.! feat-^ to kiss, to Jetch and carry, to find hidden aiticles, to select
chosen card, to hr^- pistol, to dance, tj eat at table, to play hand-organ, to
feisn lameness, lo walk over you, &o.
Performing />.^f/?.^S:mpletrick3 and t.'-aining, to teach him his name, to leap,
to walk erect, t J dance, to Juoip rope, 1 5 sit and lie down at command, to
beg, to give his pavv, t > sneeze, to speak for it, to fetch and carry, to brim; you
his tail in h'S mouth, to stand on a bill and roll it up and down a plank, to
walk on Btilts, t J go up and dowu a ladder, to stand on his head and walk on
fore logo, to "Bin-,'," lamp of Buaar trick, to f"ign death.
^Voll^lerful FiinU of /^ii^yi. L'tUebrated canine pt>rformers of tbe world, to
teach dogs the alphabet, to select from a number of articles any article called
lor, to place any article In a'jy plice directei, or give it to any designated per-
son, to eat aoy article of food and leave auy otber, as he may be orlerea, to
play dominoes, " Munito" and " Mile. Hianoa," their wonderful performan-
ces, how they were really achieved, tricks of exhibitors, as well as tncka of per-
fb'-mers, reft education vs. clever deception, full details of training, canine
&0 OIB.
And ovF.a twentt other chapters. Gloi^s more information about training
anima's in a sinyle chapti'r than ant/ other entu-e work. It is cram full of etc^ries
and anecdotes about celebrated performing animals, and is a most interesting
and readable book, even to those who care little for tbe mere secrets and in-
etructious. Over >Jt)0 largo r2tnn. pages, and ever GO illustrations. Only
50 cents in paper covers, and $X.O() in cloth binding.
Just published, audmay be had of all booksellers, or by mail, post-paid, oa
receipt of price. T/ade supplied by News Companies and wholesale houses.
JES.SK II.WEY & CO., 119 Nassau St., New York.
" EvJry man w'li owns au animal, iroin a horse to a canary bird, sh-JJ havo
a copy. It will te.icli him more in a ^\aek than he could loam in a '.'.o-iinie with-
out It. .. .No moio acceptable book could ba put into tbe handji ^ boys who live
In tho country It will at cnce take itu place as astaadard work ... Wo do not
know ot a book better worth thi price a.sked for it." .V^'to York Eominj I^esn.
* It seems to bo a gui le not only to teaching the niore intelligent of tbe dumb
beats good tr'.ck.s, but also of breakiutj them of b.nl (iue,J." P/-ou Morn.Hnrald.
' It 13 higbiy spoken ul by those cap ibio of judging. Chicago Eoe. Journal.
'
at'iocs practiced, and illustrations of most ai>proved machintry for those desiring to
operate iiie,li..m sized soap works. Has the best English, French and German for-
mulas. 35 cts.
Wightside of New York. This i.s th(^ hook after which the
coBtl\- subscrijition books, treating of New
York, are moileled. It gives about all the
really interesting matter to be found in these books. To those curious to know how
the great city looks and acts after the lamjis are lighted, this book will prove highly
interesting-. Sensational but truthful. Illustrated. /J5 cts.
Home Recreations. A collection of amusing games, pleasant
diversions aiul otlier entertaining matters for juvenile parties, or the home circle. It
sLovfS the young peojile liow to amuse themselves and young companions. ^-^ cts.