Grind the zinc white in water in the proportion of 100 grammes of water to 100 grammes of zinc, and mix this zinc white with 200 grammes of caseine paste already prepared. This paste should be kept moist with a wet linen cloth over the jar, so that it does not dry. The wooden panel to be sized, having been well smoothed with the glass paper, should be washed with a very clean rag and benzine, to take off any trace of greasy or resinous matters which would prevent the paste from adhering. When the benzine has quite evaporated, give, with a swallow-tail brush, a first layer or paste and white. Let this dry at a mild temperature. Under the influence of the water contained by the paste, the pores of the wood will open, and, rising up, will become so many little links to facilitate the adhesion of the following layers. Be carefull, when this first layer is dry, not to polish or rub the panel, so as to leave to the wood any roughness which it [p.6] may have acquired.,Give a second layer. Let it dry naturally, or if wanted quickly, put it in the sun covered by gauze in a room not warmer than 25 degrees, so as not to make the panel crack. It may then be polished with glass paper or powdered pumice stone by means of a cork or dry rag*,*According to the manner in which they have been prepared, the zinc whites are more or less dense, and consequently more or less heavy. The proportions given are for the heaviest, which weight about 800 or 900 grammes to the litre (a litre + 1.76 pint). Those are the best to use, but there are some like snow-white which only weigh 450 to 500 grammes per litre. Should the later be used, it is evident that the weight given in the formulas can only approximate. The nature of the wood, cardboard, or canvas, desired to be covered, as well as the degree of absorption that the artist desires to obtain, will compel each one to decide for himself the proportion most suitable. The only caution to be given is that each time the coating cracks and lacks suppleness, it contains too much white. Other whites than zinc may be used, but in that case the proportions of paste would not be the same.,,If a brilliant white be desired, the third coat may be doubled, or even trebled; but between each coat it must be left to dry, and polished. When the sizing is satisfactorily white, a last coat should be given. This last coat should be put on very evenly, and so as to require no rubbing, as that would give a disagreeable polish, on which the painting will not look so well. All the coats should be given thickly, i.e., the brush well charged with matter. As, according to the temperature, the water of the paste evaporates more or less quickly, if the paste gets too thick, a little water should be added. The liquid sizing should always come uninterruptedly to the end of the brush when it is lifted out of the jar. ,The canvas should be stretched on a frame, and freed from grease with benzine. The canvas should be rubbed with glass paper after the first coating, because the grain of the canvas will always give sufficient adhesiveness, and it is necessary to get quickly rid of the straws, threads, and knots which would interfere with the following coats: ,After this first coating it is a good plan to lay on a very light coat of re-touching varnish, which must be allowed to dry thoroughly. ,Second coat, No.2.*,Third coat, No.3, to be put on as desired according to taste, to the thickness of the canvas, and to whether it be desired to preserve much or little grain. ,,