Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/48

40 is considered best by some of the first-class painters to grind the dry pigment directly in varnish, and thus overcome the objection to the oil and turpentine in the color-and-varnish. However, in the work in hand it is desired to produce a rich or deep shade of green, and to carry out the plan, the color is glazed, instead of putting on color-and-varnish, in its ordinary mixture. Yellow lake possesses the power, when used for a glazing over green, to increase the intensity or depth of the color, and many handsome shades are made in that way. It may be mixed as follows:

Pulverize the lumps and mix it in hard-drying body varnish, grind fine, then add a very little of the Dutch pink

color. Stir well and apply with badger-hair varnish brushes.

The black parts are now ready for color-and-varnish and as in the case of the panels, a first-class black is desired, so, instead of using ordinary color-and-varnish, black japan is used. Three coats of this well rubbed with pulverized pumice between each coat, will give a good, jet-black surface for finishing over.

The glazed panels having been rubbed lightly with pumice-stone, and a coat of hard drying body varnish given, at the time the black japan was applied, the whole is now ready for a final rubbing down and finishing coat of wearing body varnish.

The Gears. After 24 hours apply either a thin coat of