Plasterer

“ The part where the artist decides to begin his work is uncovered, that is to say, a portion of the paper is turned down and cut away, but in such a manner that it may be replaced. Then the plasterer puts fresh plaster, about an eighth of an inch thick, upon the uncovered portion of the wall, and the plasterer’s work is of the utmost importance in fresco painting. ”

“ Floors which are to be finished natural or stained should not be laid until after the plastering is done. Floors should be the last work of the carpenter as well as the painter. This requires laying an extra floor. On the best and more expensive buildings this is looked after by the architect in his specifications. However, there are a number of buildings in which the floors are laid before the plasterer commences his work, and as these are to be finished either natural, stained or painted, they should be protected from plastering. ”

“ The success of the plasterer depends in no small degree upon the way the carpenter does this work. If corners are not firmly constructed, cracks will be sure to appear in the plastering.
In lathing, joints must be broken upon different studding every dozen lath, and joints are not to be allowed about a door or window opening where their presence would weaken the wall; such as short lath nailed at one end only. Neither are lath to be placed at right angles to the usual run of lath on the wall because uneven shrinkage would cause the plaster to crack. ”

“ When the painter has to paint over holes and cracks in walls recently filled by the plasterer, he will be likely to have to deal with plaster made in part of fresh lime. In such cases, it is always best to soak the newly plastered places with strong vinegar, to kill as much as possible the caustic properties of the lime. Put on the vinegar plentifully and let it soak in; when dry, give the new plaster a coat of size made of linseed oil, japan and turpentine; when dry, put on a coat of white shellac before painting. ”

“ In few things has England declined more than in plastering, from the prevalence of casting, which allows the employment of the least skilled mechanic. Most of us have seen the magnificent ceilings of Elizabeth, James, and Charles I's time, on whose flowers, fruit, etc., you can even now see the grain of the plasterer's hand, and the holes made by his thumb to get shadow. ”

“ In the erection of new buildings, the plasterer’s pit takes up much room, and is often looked upon as a necessary evil. In putting on the common three coats of plaster, the second and third can only be laid on when that before it is sufficiently dry. Owing to the unequal shrinkage of the different materials, it is often an uncertain method of doing good work. When using the cement we speak of, the plasterers can be put into a room with the requisite quantities of sand and cement, and work straight away. ”

“ First cut out all the cracks V shape, clean out the holes and bevel the edges same as the cracks. Then fill with fine plaster paris mixed with thin glue size. Fill with care; when dry, sandpaper the filling smooth and level. If the wall is sandy or rough, sandpaper it smooth as you can. If the holes are large, have a plasterer stop them, if you can; if you fail in that, and the job must be done soon, fit in thin boards, fill around the edges with plaster, and paste on cloth, or extra paper; but to do a nice job you [125] must insist on having the large holes plastered. ”

“ Lath. Lath for interior plaster work are usually 3⁄8" by 13⁄8" by 4', put up in bundles of 50 each and are sold by the 1000. 1000 lath will cover 70 yards of surface and will require 8 lbs. of 3d fine lath nails. Lathing is usually considered a part of the plasterer's contract. There is no uniformity of practice as to the deduction for openings.
-149-
Building Papers. The cheapest is "rosin sized," and is not waterproof. This is used mainly under floors and upon side walls under bevel siding. It is sold by the pound in rolls each 36" wide containing 500 square feet. ”

“ The naturalists and their followers, thinking they can solve this question, are like plasterers set to plaster one side of the walls of a church who, availing themselves of the absence of the chief superintendent of the work, should in an access of zeal plaster over the windows, icons, woodwork, and still unbuttressed walls, and should be delighted that from their point of view as plasterers, everything is now so smooth and regular. ”

“ Plastering is also carried to a perfection in Italy, of which we have very little idea in this country; rooms are so exquisitely finished, that no additional work in the shape of house-painting is required; but the polish of the plaster, and its evenness of tint, are such as to rival those of the finest porcelain. Sometimes the plaster is fluted, or various designs are executed in intaglio upon it, in the most beautiful manner. ”

“ Rough places in plaster take more color than a smooth wall, hence they are liable to show spots; so it stands you in hand to make such places smooth as possible; to do this take off the rough sand with sandpaper and knife or trowel on a thin coat of plaster paris, or give the rough places an extra coat or two or size. Fill all cracks and holes, and give the filling time to dry before putting on the size, because otherwise it will take more color than the balance of the wall and your work will look spotted. ”

“ Plas′tering, the art of covering the internal faces of walls, the partitions and ceiling of a building, with plaster: a covering of plaster: the plasterwork of a building; Plas′ter-stone, gypsum.—adj. Plas′tery, like plaster, containing plaster.—Plaster cast, a copy of an object got by pouring a mixture of plaster of Paris and water into a mould formed from the object; Plaster of Paris, a kind of gypsum, originally found near Paris, used in building and in making casts of figures; Porous plaster, a plaster for application to the body, full of small holes, which prevent it from wrinkling. ”

“ XV. Evidently, then, painting, confessedly such, is no deception; it does not assert any material whatever. Whether it be on wood or on stone, or, as will naturally be supposed, on plaster, does not matter. Whatever the material, good painting makes it more precious; nor can it ever be said to deceive respecting the ground of which it gives us no information. To cover brick with plaster, and this plaster with fresco, is, therefore, perfectly legitimate; and as desirable a mode of decoration, as it is constant in the great periods. ”

“ Foliage and ornamental work in plaster is made by modelling the ornaments by hand, in a proper kind of clay, worked by steel or wooden tools, resembling small spatulas in form. To do this requires a taste and skill in drawing or designing in the workman, which raises him to the rank of an artist. When the model is finished and dry, the surface of it is covered with a thin coat of oil, and a mould of fine plaster is taken from it in separate pieces. ”

“ Plaster-casting in General
It is not a difficult matter to reproduce in plaster almost any object that has no undercut or parts that will not easily detach from a mould. When making them, the first thing to do is to get a piece of board about a foot square; that is to work on, so as not to soil the table. Then you want a lump of clay about as big as a football, five or six pounds of plaster of Paris—it only costs three cents a pound—and a half-dozen wooden pegs. ”

“ In fresco painting a damp plaster ground is prepared on the wall, upon which the moist colors are painted. These colors become fixed as they dry, and appear to be a part of the wall. The work must be done while the plaster is damp, so the painter prepares only that part of the wall which he expects to cover that day. As it cannot be used after it is dry, he must scrape away all that is left and prepare a new background the next day. If the artist wishes to change any part of his picture, he must scrape off the ground and repaint the entire picture. ”

“ By a method of working in ordinary oil colours on a ground of fibrous plaster, using rectified spirit of turpentine or benzine as a medium, much of the quality of fresco or tempera may be obtained, with the advantage that the plaster ground may be a movable panel.
There are, however, other fields for the decorative painter than wall painting; as, for instance, domestic furniture, which may vary in degree of elaboration from the highly ornate cassone or marriage coffer of Mediæval Italy to the wreaths and sprays which decked chairs and bed-posts even within our century. ”

“ The rough plaster wall, tinted, is the cheapest method of all to use in decoration and has numerous advantages. It is much to be preferred to smooth plaster in that it gives a slight unevenness of surface which is a distinct advantage because of the vibration of color thus attained. Water color, while it does not last as long as oil paint, is so much cheaper and quicker to put on that it becomes possible to do over a gallery after a year or two without any more outlay than oil paint in the beginning would have necessitated. ”

“ The sculptor invariably goes over his plaster cast with utmost care, not only repairing any defects in the moulding, but defining more accurately the hair, finger nails, folds of the drapery, and outline generally, and, above all, perfecting the facial and general expression. These plaster of Paris models are known in commerce and in art as 'casts of sculpture.' They represent the artist's right and title to his creation, and unlike the merchandise in question here, are not painted and decorated, nor dealt in as ordinary commercial articles. ”

“ Plaster moulds were also used for moulding pottery lamps. The oiling of plaster was done on painted plaster statuettes, so as to make them waterproof. They can still be scrubbed in water without disturbing the colour.
The most artistic use of plaster was for the modelled heads, which were placed on mummy cases in Roman times. Though most such works were rather crude, some are found which show real ability of portraiture. In fig. 135 we have a sympathetic study of the face of a young man. The lips are beautifully true, the modelling of the cheek is quite natural, the nose and brow well formed ”

“ Architects and those interested in the erection of new houses have frequently looked upon the application of plaster as one of the greatest drawbacks of modern building, showing, besides, a marked deterioration from old plaster-work, such as that found on walls of ancient buildings, some of which, of a highly decorative character, may still be found almost as sound as when first executed. ”

“ A finished coloured drawing or painting of the design, to a smaller, or even to the same scale as the fresco painting, must be prepared, and the artist should endeavour to make an exact copy of this on the plaster surface, as there is no time to experiment in colour schemes, or to make alterations from the original coloured design in the short period that is at the disposal of the painter when he is at work on the wet plaster. ”

“ If the plaster sticks to the end of the rammer, it shows, either that you have used the plaster too wet, or have not turned the rammer round a sufficient number of times.
No more plaster must be mixed at a time than will suffice for one case. When plaster has once set, it cannot be mixed up a second time; therefore take a fresh piece of paper, and let the knife be cleaned every time. It is advisable to have two dessert-knives, then one can be used with which to scrape the other. As much plaster should be used as will fill the case up about 1⁄2 an inch. ”

“ For painting the roof of buildings, the plaster and oil answers a good purpose, as it is durable, and when rain water is collected in cisterns, it will be found to be purer than when it comes in contact with lead. Plaster is sometimes found ground very coarse, and it should therefore be run through a paint mill before it is used. ”

“ Modern facilities have greatly abridged the personal labor of the sculptor in marble or bronze. The present method of casting in plaster, which was then unknown, or at least unpracticed, enables the sculptor of our days to elaborate his work to the utmost finish, in its full size, in the clay model; and when this is completed and cast in such a permanent material as plaster, the workman has an absolute model, which he may, to a certain extent, copy with almost mathematical accuracy. ”

“ Lime plastering is composed of lime, sand, hair and water in proportions varying according to the nature of the work to be done. Internal Work.In all cases good materials, well mixed and skilfully applied, are essential to a perfect result. Plaster is applied in successive coats or layers on walls or lathing and gains its name from the number of these coats. “One coat” work is the coarsest and cheapest class of plastering, and is limited to inferior buildings, such as outhouses, where merely a rough coating is required to keep out the weather and draughts. ”

“ Painted plaster-work, so long as water can be kept from percolating through the cracks or faults, or gaining entrance from above by filtration, or from below by capillary action, is a highly durable material, but the moment water gains a footing the lime in some degree is dissolved, and, upon being removed and redeposited, undergoes the process of recrystallization, a powdery substance is thus formed that comes as a stranger between the paint and the plaster, in which respect it bears a strong resemblance to rust, the result of the oxidization of iron. ”