of white-lead, one part of red-lead, and one-tenth part of liquid driers, then dilute with three parts of linseed oil and one part or less of turpentine. When this priming is dry, putty up any nail-holes and allow the work to stand untouched for a day or two. The next coat should contain much less turpentine and no red-lead, and should be stained a few shades darker than the desired ground, this being obtained by the application of a third coat. Strain the paints before using, and lightly glass-paper down between each coat.
Oil paint is apt, after a time, to present a greasy surface, so that it will ciss, even if oil color is laid over it, that is to say, the color will not lie, but will curl up into small beads. This tendency, as well as the want of affinity between water and oil, makes it necessary to prepare the ground for the reception of the graining color. This may be done in several ways. A small quantity of dry whiting may be rubbed over the work with a piece of flannel, and the superfluous whiting brushed away, or the work may be brushed over with weak ale to which a small quantity of whiting has been added, or with water mixed with fuller's earth, or stale beer alone, or even size, may be used, the liquid being allowed to dry before the graining is begun, but care should always be taken not to use too great a quantity or too strong a solution. Anything of a solid nature, such as whiting, should be cleared away when it has accomplished its purpose. The ground should be slightly glossy, and should not be glass-papered, especially for light woods, as the marks of the papering are liable to show.
Properly prepared graining color works freely and cleanly not only from the brush but during the subsequent manipulation, it also combines the correct and particular color with the transparency of the pigment which, when laid upon the ground, is to imitate the color of the genuine polished wood. This matter of combined color eflect must be thoroughly grasped, as it is the chief working principle upon which
