When the priming is dry, the painter proceeds to fill up all the nail holes and other irregularities, with putty. This he does by means of a pointed knife, with which he works in small portions of putty wherever they may be needed. It is then ready for the second coat of paint, which is thicker than the first, generally white, but sometimes coloured. Painting appears to be a very easy process, but in common with other trades, it requires considerable practice before skill can be attained. After having worked the brush over the wood-work in every direction, so as to completely cover every part with paint, the “laying-off” is effected by drawing the brush smoothly over every part in the direction of the grain, particularly at the stiles and panels of doors. Brushes of various sizes are employed, by means of which the workman can paint the fine mouldings, beading, &c., as well as the broader surfaces. The more skilful the workman is in the use of his tools, the less do the marks of the brush remain visible when the work is done. As each coat of paint dries, another is laid on, until sufficient has been applied. The number varies from two to seven, according to the part which is to be painted, and the means of those who have to pay the painter; but in general, four coats is the average quantity which new wood-work receives. It is the last two coats only which are of the colour selected, as those which are preparatory are seldom other than white. On some occasions it is desired to have the last coat _glossy_; but in others _dead_. To effect these differences, all that is necessary is, to vary the oil with which the colour is mixed. If a glossy surface is required, linseed oil is principally used; but if a dead surface, oil of turpentine predominates. It is frequently seen that the walls of staircases, and other large surfaces, are, when finished painting, totally without gloss. This is effected by what is called _flatting_, that is, a coat of paint mixed wholly with oil of turpentine: the turpentine soon evaporates, and leaves the colour without gloss on the walls; whereas, when linseed oil is employed, the oil dries and hardens, instead of evaporating, and assumes much of the character of a varnish. If no linseed oil is employed in flatting, it is called a _dead flat_; but if a little is added, in order to produce a faint gloss, it is called a _bastard flat_. This part of the work forms one of the most unwholesome in which the painter is engaged, since the oil of turpentine, which is constantly evaporating during the process, is found to be extremely prejudicial to health.