HOUSE-PAINTINGPAINTING, HOUSE-.—In a country with a climate like that of Great Britain, house-painting is an art of much importance, as being conducive to the durability and comfort of our dwelling-houses; and in every country it is an art, which, though somewhat mechanical, may be made to approximate to those of a higher and more intellectual nature. The house-painter, therefore, ought to make himself thoroughly acquainted, not only with the mechanical department of his business, but likewise with the rules by which high art is governed, especially those of harmonious colouring. By such means he will, in the first place, understand the best methods of rendering his work capable of resisting for many years the effects of a changeable climate and humid atmosphere; and, secondly, he will be enabled to render even his plainest work pleasing to the eye of the intelligent and tasteful. It is further necessary that he should make himself acquainted with the various styles of ornament, not only in painting, but in architecture, and also with such of the ornamental works of the great masters of antiquity as are still in existence.

For nearly a century house-painting in this country was in the most degraded state; so much so, that when any thing beyond the plainest style of work was required, artists were brought from France to execute it; and specimens of their skill may still be found in many of the mansions of our nobility and gentry. Within these fifteen or twenty years, however, great improvements have been made. The handicraft department has not only become equal, but it is believed, superior to that of any other country, especially in the imitations of the finer kinds of woods and marbles; whilst attention to the scientific part of the art, if it may be so called, is rapidly becoming more general in practice.

We shall, in the first place, give a short account of the plainest branch of house-painting.

It is well known that the ceilings and walls of apartments in dwelling-houses and other buildings of this country are now almost uniformly finished in plaster; and the nature and properties of this composition are also well known. One of these properties is its power of absorbing moisture; consequently, when an apartment is left for any length of time without the benefit of a fire, or heated air supplied by other means, the plaster will continue to absorb a portion of the humidity with which the atmosphere is generally loaded; and this absorption will not only render the room unwholesome, but will tend to impair the durability of the plaster itself. The first object, therefore, in painting a house, is to render the interior walls impervious to this absorption; and for this purpose the house-painter provides various materials.

These are, white lead, ground in refined oil to the consistency of a thick paste, which operation is now performed by machinery on the premises of the original manufacturer, instead of being done by a clumsy hand-mill as formerly in the painter’s shop; linseed oil, spirits of turpentine, litharge, sugar of lead, japanners’ gold size, ochre, venetian red, lamp black, indian red, Turkey and English umber, terra de Sienna, red lead, Prussian blue, orange lead, chrome yellow, vermillion, lake, and other pigments. But white lead is the material of the greatest importance, as it is the principal ingredient in all ordinary colours used in house-painting; indeed, it generally constitutes nine-tenths of the composition, and consequently forms the main body of the paint. The quality of this article is therefore of the greatest importance, as upon it depends almost entirely the durability of the work; yet it is of all the painter’s materials the most difficult to get free of adulteration. There are three qualities of this article manufactured, the prices of which vary, according to that of pig lead, from about 27s. to 40s. per cwt. But this difference in the price of white lead is trivial in comparison with the mode in which it is sometimes adulterated. This is done by the introduction of fine whiting ground in oil, in the same manner as the white lead. The cost of this is about 5s. per cwt., and, as detection is very difficult, the temptation to adulterate is proportionally great. But how much greater must it be to the needy tradesman, who can employ it alone instead of white lead in the two first coats of his work, with scarcely a possibility of his employers knowing any thing of the matter? This in some measure accounts for the great difference that exists in the prices of painters’ work. The injury done to paint by the admixture of whiting is, that it not only renders it of a much less compact body, but, causing it to be more easily acted upon by the atmosphere, renders it much more liable to be blanched and destroyed by repeated washings.

Linseed oil being the principal diluent, stands next in importance. It varies but little in quality, and is seldom adulterated; the superiority of one kind over another consisting entirely in its clearness, and being of a moderate age. It is sometimes boiled, which gives it great facility in drying, but renders it so thick and unctuous that it is only fit for out-door work.

Spirits of turpentine, of which a great deal is now used in house-painting, is also rather uniform in quality; but varies greatly in price according to the state of the market. Perhaps the only difference in its quality, consists in the manner in which it is distilled; and it is easy to distinguish what has been properly done by the absence of the resinous matter which is generally to be found in that which has been distilled with less care.

Litharge and sugar of lead are purchased by the painter in a dry state, ground in oil into a paste of a thick consistency, and used to dry and harden paint. They do not vary much in point of quality. Japanners’ gold size is a liquid of which there are various qualities, the price being from lθs. to 18s. per gallon. It is used for the same purpose.

Several of the colouring pigments are equally various in quality, and the house-painter, in laying in his stock, can suit it exactly to the rates of prices at which he works; some of them varying from 9d. to 3s. per lb. according to the quality, and others, such as ochre, from 2d. to ls. per lb. These are the principal materials employed by the housepainter in the plain department of his work; and it will now be necessary to give some account of their application.

To paint plaster properly, five coats are generally requisite; but where it is not of a very absorbent nature, four [7:16:731]are found to answer. The first is composed of white lead, diluted with linseed oil, to rather a thin consistency, in order that the plaster may be well saturated; and into this is put a small quantity of litharge to insure its drying. In quick plaster, which is the best for painting, the oil in this coat is entirely absorbed, thereby hardening the plaster to the extent of about the eighth of an inch inwards from the surface. When this is found to be the case, the second coat should also be thin that the plaster may be thoroughly saturated; and it will be found necessary after this to give other three coats, making in all five. The second coat will be found to be but partially absorbed, and it is therefore requisite to make the third coat a good deal thicker, and to introduce into it a little spirits of turpentine, and such of the colouring pigments already enumerated, as may bring it somewhat near to the tint of which the apartment is to be finished. The fourth coat should be as thick as it can be well used, and should be diluted with equal parts of oil and spirits of turpentine. The colour of it ought to be several shades darker than that which is intended for the finishing coat, and the drying ingredient, sugar of lead instead of litharge. These coats ought all to be laid on with much care, both as to smoothness and equality, and each lightly rubbed with sand-paper before the application of the other. The finishing or flatting coat, as it is termed from its drying without any gloss, is next applied. It ought, like the others, to be composed of pure white lead, ground as already described, and diluted entirely with spirits of turpentine; and it should appear, when mixed, a few shades lighter than the pattern chosen for the wall, as it darkens in the drying. The drying ingredient should be a small portion of japanners’ gold size. This coat must be applied with great care and dispatch, as the spirits of turpentine evaporate very rapidly, and if touched with the brush after that takes place, which is in little more than a minute after its application, an indelible glossy mark will be left on the surface. Nothing has been said of the time that each of the coats will take to dry sufficiently to receive the next; as that depends much on the state of the weather, the quantity of dryer employed, and the atmosphere kept up in the apartment. It may be observed, however, that under any circumstances the first coat ought to stand a few days before the application of the second; the second a little longer before the application of the third; and the third, unless in four coat work, should have still longer time to harden. But the coat immediately before the flatting or finishing coat ought not to stand above two days, as much of the beauty and solidity of the work will depend on the latter dying into and uniting with the former.

The description of this process might be sufficient to convince every one, that there could be no better mode of rendering the plaster of which the walls of our apartments are composed, impervious to the effects of our changeable and humid climate. In the first place, it hardens the surface, and then forms a compact, and smooth incrustation, upon which the dampness of the atmosphere can only condense when any sudden change takes place in the temperature. This is often exemplified in staircases, where the wall gets so low in temperature during a continuance of cold weather, that when a change takes place the condensation is so great, that the water runs in streams upon the steps. How then, we may ask, can any one employ paper-hanging, or any other absorbent mode of finishing in such apartments? It ought to be well known, that in such cases the moisture instead of being condensed and rendered easily removable, is absorbed and gradually given out in connexion with the natural effluvia of glue, rotten paste, and other noxious materials.

In many cases it has been found that this substantial style of painting is too heavy in its effect for ceilings, which require a degree of aerial lightness, especially in drawingrooms, boudoirs, and such like apartments. In these cases, therefore, the absorption is stopped by two coats of paint, and when these are quite dry and hard, a coat of what is called distemper colour is applied; that is, white lead ground in water, and diluted with size made from the parings of white leather and parchment skins. In ordinary apartments, fine whiting may be substituted in distemper work for white lead.

The painting of the woodwork of such apartments as are not fitted up with oak or other hard woods, is a process very similar to that employed upon plaster, not only when it is to be finished plain, but also as a ground-work for imitations of the foreign woods now in use; only each of the coats should be thicker and applied with still more attention to smoothness. The imitating of woods and marbles may be termed, in house-painting, a link between that which has been already explained and is essentially simple, and that which is really ornamental. It has of late been brought to such perfection, that in some cases where the real and the imitation oak are brought into juxtaposition, as at Abbotsford, it is scarcely possible, even after examination, to distinguish the imitation from the reality. Imitations of marble have in some cases been brought to equally great perfection, but this is far from being so general.

The process of painting imitations of woods, is in the first instance, as already observed, to lay a ground-work of four or five coats of paint, taking the greatest care that no brush marks remain. This requires much more time than applying the same number of coats for plain finishing; and the last coat instead of being flatted, is composed of equal portions of oil and spirits of turpentine. The shades and grain of the wood are given by thin glazings of Vandyke brown, terra de sienna, or umber, according to the kind of wood to be imitated; which colours are ground in water and mixed with small beer, the tenacity of which is sufficient to prevent it rubbing off by the application of the varnish which immediately follows. All imitations of woods are painted in this way, except wainscot, for which a thick substance is requisite, in order that it may receive the impression of an ivory or horn comb, by which the peculiar grain of that wood is imitated. The varnish employed upon work of this kind is copal, which of all the materials used by the painter is that in which he has most latitude. The price of copal varnish is from 10s. to 42s. per gallon; so here again he can suit his materials to the price which he receives for his work.

The imitation of marbles has nothing very peculiar in its mode of execution, being more like actual painting than that employed in imitating wood; and on this account it depends more on natural taste, than on mechanical skill.

The ornamental department is likewise making great strides towards its ancient excellence, and owing to the improved taste of the present age, is beginning to be somewhat in demand. What is meant by the ornamental department, is the decorating of the walls of apartments either by original designs of pannelling and borders, or by careful imitations of Raffaelle’s arabesques, Watteau’s grotesque pannellings, and the Pompeian frescos; as well as decorations in imitation of basso relievo, in white and gold, polychrome and various other styles.

The want of general instruction in art, and the prevalence of the use of paper hanging, have tended to retard the progress of ornamental painting; but the former cause, through the patriotism of an individual,^[1. Mr. Ewart, formerly Μ. P. for Liverpool. ] backed by a government that has the interest of all classes in view, is, by the establishment of schools for ornamental design, in a fair way of being removed; and the latter will soon give [7:16:732]way to the rapid improvement which is taking place in public taste.

It now only remains to notice what we term the scientific department of house-painting, or more properly (from the improved practice of die profession) interior decoration. The fact is now no longer disputed that the rules of the highest science and art can be made available in improving our most ordinary occupations; and in no case has this fact been made more apparent than in the application of the science of chromatics or the laws of harmonious colouring to the interior decoration of our dwelling-houses. Much attention is, however, requisite on the part of the housepainter, to the proper application of these laws in his practice. Every practitioner in the higher walks of art, has only such a style of colouring to study, as may be suited to the general character of his subjects; but the housepainter must vary his style, not only according to the uses of the apartments which he decorates, but the tastes of his employers, the style of the architecture, the situation of the house, and the quarter from which each apartment is lighted. He must confine himself to neither a vivid, sombre, warm, nor cold style; all must be equally at his command. Besides, an artist has the advantage of light and shadow in toning the colours in a picture; whilst those employed in decorative painting, are all liable to be placed in full light, and must necessarily be in themselves toned to prevent that unnatural crudeness so annoying to the eye. A picture may have many excellencies to compensate for defective colouring; it may excel in one or other or all of the qualities of drawing, expression, and composition; but beyond the mere handicraft department, the works of the decorator must depend solely for their effect upon harmonious colouring.

It would exceed our limits to give even an outline of the laws of harmonious colouring, as applied to house-painting, and shall, therefore, refer the reader to the only work which has yet been written on the subject,^[2. Hay’s Laws of Harmonious Colouring adapted to Interior Decoration, Edinburgh, 1836, in 8vo, 3d ed. ] and from which we make the following extract, relative to the tone and characteristic style of colouring peculiar to the various apartments of a dwelling-house.

“The tone or key is the first point to be fixed, and its degree of warmth or coldness will be regulated by the use, situation, and light of the apartment. The next point is the style of colouring, whether gay, sombre, or otherwise. This is more particularly regulated by the use of the apartment, and the sentiments which it ought to inspire; for, as Sir Joshua Reynolds says in regard to colouring, ‘what may heighten the elegant may degrade the sublime.’ Unison, or a proper combination of parts, is the next consideration.

“The tone or key is generally fixed by the choice of the furniture; for as the furniture of a room may be considered, in regard to colouring, in the same light as the principal figures in a picture, the general tone must depend upon the colours of which it is composed: for instance, if the prevailing colour be blue, grey, cool green, or lilac, the general tone must be cool; but if, on the other hand, it be red, orange, brown, yellow, or a warm tint of green, the tone must be warm. But, as stated before, there can be no pleasing combination of colours without variety. This, by judicious management, may be given without in the least interfering with the tone, for it is merely the general colour of the furniture which ought to fix the tone; and there may be the most decided contrasts in its parts, which, by the introduction of proper medial hues throughout the room, can be reconciled and united. Apartments lighted from the south and west, particularly in a summer residence, should be cool in their colouring; but the apartments of a town house ought all to approach towards a warm tone; as also such apartments as are lighted from the north and east of a country residence.

“When the tone of an apartment is therefore fixed by the choice of the furniture, it is the business of the house-painter to introduce such tints upon the ceiling, walls, and wood work, as will unite the whole in perfect harmony. This is a difficult task. The colours of the furniture may be arranged by a general knowledge of’ the laws of harmony, but the painter’s part cannot be properly added without the closest attention to the principles of art.

“The style of colouring is the next point to be fixed, and will depend entirely on the use of the apartment. In a drawing-room, vivacity, gaiety, and light cheerfulness should characterise the colouring. This is produced by the introduction of light tints of brilliant colours, with a considerable degree of contrast and gilding; but the brightest colours and strongest contrasts should be upon the furniture, the effect of which will derive additional value and brilliancy from the walls being kept in due subordination, although at the same time partaking of the general liveliness.

“The characteristic colouring of a dining-room should be warm, rich, and substantial; and where contrasts are introduced, they should not be vivid. This style of colouring will be found to correspond best with the massive description of the furniture; and gilding, unless in very small quantities for the sake of relief, should be avoided.

“Parlours ought to be painted in a medium style, between that of a drawing-room and dining-room.

“The most appropriate style of colouring for libraries is solemn and grave, and no richer colouring should be employed than is necessary to give the effect of grandeur, which can scarcely be done where one monotonous tint prevails; but care should be taken not to disturb the quiet and solemn tone which ought to characterise the colouring of all apartments of this description.

“In bed-rooms, a light, cleanly, and cheerful style of colouring is the most appropriate. A greater degree of contrast may here be admitted between the room and its furniture than in any other apartment, as the bed and window curtains form a sufficient mass to balance a tint of equal intensity upon the walls. There may also, for the same reason, be admitted gayer and brighter colours upon the carpet.

“Stair-cases, lobbies, and vestibules, should all be rather of a cool tone, and the style of the colour should be simple and free of contrast. The effect to be produced is that of architectural grandeur, which owes its beauty more to the effect of light and shadow than to any arrangement of colours; yet they ought not to be so entirely free from colour as the exterior of a mansion, but should be in colouring what they are in use, a link between exterior simplicity and interior richness.

“Stair-cases and lobbies being cool in tone, and simple in the style of their colouring, will much improve the effect of the apartments which enter from them.”