Personally I don't pay too much attention to the rather arbitrary rules on painting laid down by the Painters' Union. Life is too short. For instance, I don't put my brushes in turpentine when I have finished for the day; and if I do I put the green brush and the light-blue brush and the black brush and the white brush in the same pot, and terrible things happen. I don't like my art to be hampered by petty notions of economy, and if brushes persist in crystallising into tooth-brushes when left to themselves for an hour or two I simply use a new brush.
Nor do I insist on "cleaning thoroughly the surface before the paint is applied." Anyone who sets out in practice to clean thoroughly the surface of the basement before applying the paint will find that the Easter holidays have slipped away long before any paint is applied at all. Besides, one of the main objects of paint is to hide the dirt, so why waste time in removing it?
On the other hand, I am not content with mere painting; I go in thoroughly for all the refinements like driers and varnishes and gold-size. Driers and gold-size are extremely necessary when painting the basement, because if there is one thing the staff enjoy more than tea-cups coming away in the 'and, it is really rubbing themselves against wet paint and wandering round muttering complaints about it. Without a driers or some drier or whatever it is, the basement remains wet for ever, and all work ceases while the staff amble about, ecstatically rubbing themselves against the doorposts and saying "T'tt, t'tt," in a meaning way.
It is a sad quality of oil-paint that when it is dry it no longer looks so lovely and shiny as it looks when it is wet. It was found that the sense of disappointment which this produced was greater than the Painters' Union could bear; so someone, in order to prevent industrial strife, invented some stuff called varnish, by which, at the very moment of disillusion, the maximum of shininess can be again produced with the minimum of effort. It is one of the few inventions which make a man grateful for the advance of science.
Well, that is all there is about painting. The only difficulty, once you have begun, is to know when to stop. Painting is a kind of fever. The painting of a single chair makes the whole room look dirty; so the whole room has to be painted. Then, of course, the outside of the windows has to be brought up to the same standard; and if once you have painted the outside of a window you are practically committed to painting the whole house.