Scientific American Supplement, No. 443, June 28, 1884 | Page 2

up and down on the studding, forming a tie. Make one mortise long enough to insert a key, so that the studding can be opened at the top when the box plank are to be raised. When the box plank are in position, nail cleats with a hole in each of them on each side of the studding, and corresponding holes in the studding, into which insert a pin to hold the plank to the studding. Bore holes along up in the studding, to hold the boxes when raised.
To make the walls hollow, and I would do it in a building for any purpose, use inch boards the same width of the box plank, one side planed; put the two rough sides together with shingles between, nailing them together with six-penny nails; place them in the middle of the wall, the thin end of the shingle down. That gives them a bevel and can be easily raised with the boxes. To tie the wall together, at every third course place strips of boards a little shorter than the thickness of the wall; cut notches in each so that the concrete will fill in, holding all fast. The side walls being up, place two inch planks on top of the wall upon which to rest the upper joists, put on joist and rafters, remove the box plank, take inch boards for boxes, cut to fit between joists and rafters, and fill with concrete to upper side of rafters, which makes walls that will keep out cold and damp, all kinds of vermin, and a roof which nothing but a cyclone can remove. In making door and window frames, make the jambs two inches narrower than the thickness of the walls, nailing on temporary two inch strips.
Make the mortar bed large enough to hold the material for one course; put in unslaked quicklime in proportion to 1 to 20 or 30 of other material; throw into it plenty of water, and don't have that antediluvian idea that you can drown it; put in clean sand and gravel, broken stone, making it thin enough, so that when it is put into boxes the thinner portion will run in, filling all interstices, forming a solid mass. A brick trowel is necessary to work it down alongside the boxing plank. One of the best and easiest things to carry the concrete to the boxes is a railroad wheelbarrow, scooping it in with a scoop shovel. Two courses a week is about as fast as it will be safe to lay up the walls.
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The Medical Summary recommends the external use of buttermilk to ladies who are exposed to tan or freckles.
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WHAT CAUSES PAINT TO BLISTER AND PEEL?
HOW TO PREVENT IT.
This subject has been treated by many, but out of the numerous ideas that have been brought to bear upon it, the writers have failed to elucidate the question fully, probably owing to the fact that in most parts they were themselves dubious as to the real cause. Last year W.S. gave a lengthy description in the Building News, in which he classified blistering and peeling of paint into one of blistering only. He stated in the beginning of his treatise the following:
"The subject of blistering of paint has from time to time engrossed the attention of practical men; but so far as we can follow it in the literature pertaining to the building trade, its cause has never been clearly laid down, and hence it is a detail enshrouded in mystery."
W.S. dwells mostly, in his following explanations on blistering paints, on steam raised in damp wood. Also an English painter, according to the _Painters' Journal_, lately reiterates the same theory, and gives sundry reasons how water will get into wood through paint, but is oblivious that the channels which lead water into wood are open to let it out again. He lays great stress on boiled oil holding water in suspense to cause blistering, which is merely a conjecture. Water boils at 212° F. and linseed oil at 600° F., consequently no water can possibly remain after boiling, and a drop of water put into boiling oil would cause an explosion too dangerous to be encountered.
It will be shown herewith that boiled oil, though in general use, is unfit for durable painting, that it is the cause of most of the troubles painters have to contend with, and that raw linseed oil seasoned by age is the only source to bind pigments for durable painting; but how to procure it is another trouble to overcome, as all our American raw linseed oil has been heated by the manufacturers, to qualify it for quick drying and an early market, thereby impairing its quality. After linseed oil has been boiled,