Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/318

310 middle of the space. The point of the stopping-knife may he used for this purpose, and deep fissures will be formed thereby; into these fissures or holes the stopping is to be forced and the portion spread over the delve will thus be as it were nailed to the wood by the filaments penetrating into the holes.

This process should be slowly done, an interval being allowed to elapse between the first and second stopping, but this is supposing a condition which cannot always be fulfilled; the exigencies of business in these days of high pressure demanding that work shall be pushed on with the utmost rapidity; but it is desired to point out the means by which failure may be avoided, and the intelligent painter, knowing this, will be able in most cases to arrange his work in such a way that some portions may be proceeded with whilst the necessary delay is afforded to others, and thus, by economy of time, and proper organization of labor, the desired end may be accomplished.

The surface having been again touched off with the glass paper, the second painting is to be proceeded with. For the second coat, the same paint used for the priming, or white lead thinned with oil and a little turpentine and driers, may be employed, the proportion of driers for ordinary cases being $1 1/2$ ounces to 10 pounds of white lead, but in winter, or in a damp climate, the proportion of driers must be increased. The following useful hints are here given:

It should be observed that second color for new work is made up chiefly with oil, as it best stops the suction of the wood, but second color for old work is made up chiefly with turpentine, because oil color would not dry or adhere to it so well.

The color should be spread on as evenly as possible, and to effect this as soon as the whole or a convenient quantity is covered, the brush should be passed over it in a direction contrary to that in which it is finally to be laid