Another method formerly used in priming old, weather-beaten surfaces, was to take lime that had been thoroughly air-slaked, and mix it with linseed oil to the consistency of a rather thin paint, using this for the priming coat. This is practically a lime putty, and the results ob tained were said to be very good indeed, while the coat was materially less than by the use of any ordinary paint. A good quality of whiting and linseed oil putty, thinned down in the same manner with linseed oil, is also said to make an excellent primer for weather-beaten work.
There are several cheap paints that are highly recommended for rough work, such as fences, sheds, barns built of rough boards, and the like. A white fence paint of this character is made by slaking lime with but little water so that it is almost like a paste in consistency. Mix two parts of this by measure with one part of white lead in oil, and run the mixture through a paint mill, afterward thinning with sufficient linseed oil to reduce it to the proper consistency for spreading well.
Another form of cheap paint for rough work also depends upon the use of lime. To prepare, slake one pound of caustic lime, and add enough soft water to make two and a-half gallons of lime water. Also dissolve one pound of sal soda in two and a-half gallons of soft water. Mix the two solutions together, and add one gallon of raw inseed oil, which must be thoroughly stirred into the mixture. After allowing it to stand for sev eral days, this emulsion may be mixed with an equal quantity of raw linseed oil and used as a thinner for paint.
A formula for a colored paint that can be used for rough barns and outhouses, is somewhat of the same nature. For yellow paint, ocher is to be used; for red, use Venetian red; or for red dish brown, use mineral brown. Take 75 pounds of the colored pigment; to this add an equal weight of boiled whiting and 20 pounds of air slaked lime. Mix well, and thin to the proper consistency for use as a paint with equal parts of raw linseed oil and skimmed sweet milk. This paint should be run through a paint strainer before using, to remove any lumps.
Dangers of Cheap Turpentine. One of his materials that the painter will find a frequent cause of trouble is turpentine. Owing to the growing scarcity of the long-leafed pine, from the sap of which turpentine is made, the price of turpentine is high, with no probability of the pure material ever being any cheaper. This has naturally led unscrupulous dealers to adulterate turpentine. When volatile petroleum spirits of
about the same specific gravity can be bought for about one-fourth the price of pure turpen tine, there is a strong temptation to the dealer to draw out about ten gallons from each barrel of turpentine and fill it up with the "mineral spirits," as it is called. Of course, this does not improve the quality of the paint, but the aver age painter never thinks of testing the materials he buys; he takes them in blind faith, often making the price the sole consideration. If the paint goes wrong, he blames the white lead or whatever pigment he may have used, although it may have been his own cupidity in buying cheap turpentine that caused the difficulty.
If turpentine is too dear, it is far better frankly to use benzine and omit the turpentine altogether, as the two will not mix properly, than to use a cheap, adulterated turpentine. There are a number of turpentine substitutes on the market, some of which may possess a good deal of merit. Among these is the so-called "wood turpentine," made by the destructive distillation of pine wood. It is said to be prac tically identical with the turpentine made from the distillation of the sap of the long-leafed pine, except that the wood turpentine contains a small percentage of pyroligneous acid, which gives it a very disagreeable and pungent odor, quite different from the aromatic odor by which true turpentine is distinguished.