Chapter XXIV: Appendix: III

Hints for the Curriculum of a Technical School for
Stained-Glass--Examples for Painting--Examples of Drapery--Drawing
from Nature--Ornamental Design.

_Examples for Painting._--I have already recommended for outline work the splendid reproductions of the Garter Plates at Windsor. It is more difficult to find equally good examples for _painting_; for if one had what one wished it would be photographed from ideal painted-glass or else from cartoons wisely prepared for glass-work. But, in the first case, if the photographs were from the best ancient glass--even supposing one could get them--they would be unsatisfactory for two reasons. First, because ancient glass, however well preserved, has lost or gained something by age which no skill can reproduce; and secondly, because however beautiful it is, all but the very latest (and therefore not the best) is immature in drawing. It is not wise to reproduce those errors. The things themselves look beautiful and sincere because the old worker drew as well as he could; but if we, to imitate them, draw less well than we can, we are imitating the _accidents_ of his production, and not the _method_ and _principle_ of it: the principle was to draw as well as he could, and we, if we wish to emulate old glass, must draw as well as _we_ can. For examples of Heads nothing can be better than photographs from Botticelli and other early Tuscan, and from the early Siennese painters. Also from Holbein, and chiefly from his drawings. There is a flatness and firmness of treatment in all these which is eminently suited to stained-glass work. Hands also may be studied from the same sources, for though Botticelli does not always draw hands with perfect mastery, yet he very often does, and the expression of them, as of his heads, is always dignified and full of sweetness and gentleness of feeling; and as soon as we have learnt our craft so as to copy these properly, the best thing is to draw hands and heads for ourselves.

_Examples of Drapery._--To me there is no drapery so beautiful and appropriate for stained-glass work in the whole world of art, ancient or modern, as that of Burne-Jones, and especially in his studies and drawings and cartoons for glass; and if these are not accessible, at least we may pose drapery as like it as we can, and draw it ourselves and copy it. But I would, at any rate, earnestly warn the student against the "crinkly-crankly" drapery imitated from Duerer and his school, which fills up the whole panel with wrinkles and "turnovers" (the linings of a robe which give an opportunity for changing the colour), and spreads out right and left and up and down till the poor bishop himself (and in nine cases out of ten it _is_ a bishop, so that he may be mitred and crosiered and pearl-bordered) becomes a mere peg to hang vestments on, and is made short and dumpy for that end.

There is a great temptation and a great danger here. This kind of work, where every inch of space is filled with ornament and glitter, and change and variety and richness, is indeed in many ways right and good for stained-glass; which is a broken-up thing; where large blank spaces are to be avoided, and where each little bit of glass should look "cared for" and thought of, as a piece of fine jewellery is put together in its setting; and if craftsmanship were everything, much might be said for these methods. There is indeed plenty of stained-glass of the kind more beautiful as _craftsmanship_ than anything since the Middle Ages, much more beautiful and cunning in workmanship than Burne-Jones, and yet which is little else but vestments and curtains and diaper--where there is no lesson taught, no subject dwelt on, no character studied or portrayed. If we wish it to be so--if we have nothing to teach or learn, if we wish to be let alone, to be soothed and lulled by mere sacred _trappings_, by pleasant colours and fine and delicate sheen and the glitter of silk and jewels--well and good, these things will serve; but if they fail to satisfy, go to St. Philip's, Birmingham, and see the solemnities and tragedies of Life and Death and Judgment, and all this will dwindle down into the mere upholstery and millinery that it is.

_Drawing from Nature._--There is a side of drawing practice almost wholly neglected in schools, which consists, not in training the eye and hand to correctly measure and outline spaces and forms, but in training the finger-ends with an H.B. pencil point at the end of them to illustrate texture and minute detail. It is necessary to look at things in a large way, but it is equally necessary to look at them in a small way; to be able to count the ribs on a blade of grass or a tiny cockle-shell, and to give them in pencil, each with its own light and shade. I find the whole key to this teaching to lie in one golden rule--_not to frighten or daunt the student with big tasks at first_. A single grain of wheat, not a whole ear of corn; some tiny seed, tiny shell; but whatever _is_ chosen, to be pursued with a needle-pointed pencil to the very verge of lens-work. I must yet again quote Ruskin. "You have noticed," he says,[9] "that all great sculptors, and most of the great painters of Florence, began by being goldsmiths. Why do you think the goldsmith's apprenticeship is so fruitful? Primarily, because it forces the boy to do small work and mind what he is about. Do you suppose Michael Angelo learned his business by dashing or hitting at it?"

_Ornamental Design._--It is impossible here to enter into a description of any system of teaching ornament. At p. 294 I have given just as much as two pages can give of the seed from which such a thing may spring. In some of the collotypes from the finished glass the patterns on quarry or robe which spring from this seed may be traced--very imperfectly, but as well as the scale and the difficulties of photography and the absence of colour will allow.

What I find best, in commencing with any student, is to start four practices together, and keep them going together step by step, side by side, through the course, one evening for each, or some like division.

_Technical Work._--Cutting, glazing, &c.

_Painting Work._--By graduated examples, from simple outline up to a head of Botticelli.

_Ornament_, as described; and

_Drawing from Nature_, in the spirit and methods we have spoken of.

Moulding the whole into a system of composition and execution, tempered and governed as it goes along by judiciously chosen reading and reference to examples, ancient or modern.

[9] "Ariadne Florentina," p. 108.

NOTES ON THE COLLOTYPE PLATES

It is obvious that stained-glass cannot be adequately shown in book-illustration.

For instance, we cannot have either the scale of it or the colour--two rather vital exceptions. These collotypes are, therefore, put forth as mere diagrams for the use of students, to call their attention to certain definite points and questions of treatment, and no more pretending than if they were black-board drawings to give adequate pictures of what glass can be or should be.

This is one reason, too, for the omission of all attempt to reproduce ancient glass. It was felt that it should not be subjected to the indignity of such very imperfect representation, and especially as so many much larger books on the subject exist, where at least the _scale_ is not so ill-treated.

But, besides, if one once began illustrating old glass, one would immediately seem to be setting standards for present-day guidance, and this could only be done (_if done_) with many annotations and exceptions and with a much larger range of examples than is possible here.

The following illustrations, therefore, show the attempts of a group of workers who have endeavoured to carry into practice the principles set forth in this book. It has not been found possible in all cases to get photographs from the actual glass--always a very difficult thing to do. The illustrations can be seen much better by the aid of a moderately strong reading-lens.

PLATE I.--_Part of East Window, St. Anselm's, Woodridings, Pinner, by Louis Davis._ The design, cartoons, and cut-line made, all the glass chosen and painted, and the leading superintended by the artist.

PLATE II.--_Another portion of the same window, by the same. Scenes from the Life of St. Anselm._ Executed under the same conditions as the above. The freehand drawing and the varying thickness of the leads in the quarry work should be noted.

PLATE III.--_Window in St. Peter's Church, Clapham Road--"Blessed are_ _they that Mourn," by Reginald Hallward._ The _whole_ of the work in this instance, including cutting, leading, &c., is done by the artist himself. As an instance of how little photography can do, it is worth while to describe such a small item as the _scroll_ above the figure. This is of glass most carefully selected (or most skilfully treated with acid), so that the ground work varies from silvery-white to almost a pansy-purple, and on this the verse is illuminated in tones varying from pale primrose to the ruddiest gold--the whole forming a passage of lovely colour impossible to achieve by any system of "copying." It is work like this and the preceding that is referred to on p. 266.

PLATE IV.--_Central part of Window in Cobham Church, Kent, by Reginald Hallward._ Executed under the same conditions as the preceding.

PLATE V.--_Part of Window in Ardrahan Church, Galway--"St. Robert" by Selwyn Image._ From the cartoon. See p. 83.

PLATE VI.--_Two Designs for Domestic Glass, by Miss M. J. Newill._ From the cartoons.

PLATE VII.--_"The Dream of St. Kenelm," by H. A. Payne._ The author had the pleasure of watching this work daily while in progress. It was done entirely by the artist's own hand, by way of a specimen "masterpiece" of craftsmanship, and the aim was to use to the full extent every resource of the material.

PLATE VIII.--_Six "Quarries"--"Day and Night," "The Spirit on the Face of the Waters," "Creation of Birds and Fishes," "Eden," and "The Parable of the Good Seed," by Pupils of H. A. Payne, Birmingham School of Art._ These lose very much by reduction, and should be seen with a lens magnifying 2-1/2 diameters. They are the designs of the pupils themselves (boys in their teens), and are examples of bold outline _untouched after tracing_. They are more elaborate than would be desirable for _ordinary_ quarry glazing; being intended for interior work on a screen, to be seen close at hand with borrowed light.

PLATE IX.--_Micro-photographs_. 1. _A piece of outline that has "fried" in the kiln._ Magnified 20 diameters. See p. 104.

2. _A small Diamond seen from above._ Magnified 10-1/2 diameters. The white horizontal line is the cutting edge.

3. _A larger Diamond that has been "re__set_." That is to say, _re-ground_: the diagonal marks like a St. Andrew's Cross show the grinding down of the old facets by which the new cutting edge has been produced. Magnified 10-1/2 diameters.

4. No. 2 _seen from the side_. Magnified 10-1/2 diameters; the cutting edge faces towards the left.

PLATE X.--_Micro-photographs of Glass-cutting_ Very difficult to explain. "A" is a sheet of glass seen _in section_ multiplied 15-1/2 diameters. The black marks along the _top edge_ are diamond-cuts, good and bad, coming _straight towards the spectator_. The two outside ones are very _bad_ cuts, far too violent, and have split off the surface of the glass. Of the two inner ones the left-hand one is an ideally good cut, no disturbance of the surface having occurred; the right-hand a fairly good one, but a little unnecessarily hard. Passing over B for the present--C is a similar piece of glass also magnified 15-1/2 diameters, with _wheel-cuts_ seen endwise (coming towards the spectator). The one on the left is a very bad cut, the surface of the glass having actually split off in flakes, the next to it is a perfect cut where the surface is intact, and note that though not a quarter so much pressure has been employed, the split downward into the glass is deeper and sharper than in the violent cut to the left, as is also the case with the two other moderately good cuts to the right.

D, E--_Wheel-cuts._ In these we are looking down upon the surface of the glass. They are bad cuts, multiplied 20 diameters; the direction of the cut is from left to right. In the upper figure the flake of glass is split completely off but is still lying in its place. In the lower one the left-hand half is split, and the right-hand only partially so, remaining so closely attached to the body of the glass as to show (and in an especially beautiful and perfect manner) the rainbow-tinted "Newton's rings" which accompany the phenomenon of "Interference," for an explanation of which I must refer the reader to an encyclopaedia or some work on optics. _Good_ cuts seen from above are simply lines like a hair upon the glass, but the diamond-cut is a coarser hair than the wheel-cut.

If you now hold the illustration _upside down_, what then becomes the top edge of section C shows a wheel-cut seen sideways along the section of the glass which it has divided, the direction of this cut being from left to right.

In the same way section "A" seen upside down gives the appearance of a _diamond_-cut, also from left to right, and multiplied 15-1/2 diameters, while "B" held in the same position gives the same cut multiplied 78 diameters. The nature of these things is discussed at p. 48.

In their natural colour, and under strong light, they are very beautiful objects under the microscope. Even a 10-diameter "Steinheil lens," or still better its English equivalent, a Nelson lens, will show them fairly, and some such instrument, opening out a new world of beauty beyond the power of ordinary vision, ought, one would think, to be one of the possessions of every artist and lover of Nature.

The illustrations that follow are from the work of the author and his pupils conjointly. Those in which no _design_ has been added are for clearness' sake described as "by the author"; but it is to be understood that in all instances the transcribing of the work _in the glass_ has been the work of pupils under his supervision. All design of diaper, canopy, lettering, and quarries is so, in all the examples selected.

PLATE XI.--_From Gloucester Cathedral--"St. Boniface" by the author and his pupils._

PLATE XII.--_From the same--"The Stork of Iona" and "The Infant Church," by the same._ Canopies from Oak and Ivy.

PLATE XIII.--_Portion of a Window in progress (destined for Ashbourne Church), by the author._ This has been specially photographed _on the easel_, to show how near, by the use of false leadlines, &c., the work can be got, during its progress, to approach to its actual conditions when finished.

PLATE XIV.--_Drawings from Nature, by the author's pupils._ Pieced together from various drawings by three different hands; made in preparation for design of Oak "canopy." See p. 324 and Plate XI.

PLATE XV.--_Part of East Window of School Chapel, Tonbridge, by the author._ From the cartoon: the figure playing the dulcimer is underneath the manger, above which is seated the Virgin and Child.

PLATE XVI.--_Figure of one of the Choir of "Dominations." From Gloucester, by the author and his pupils._

The names of the pupils whose work appears in Plate VIII. are J. H. Saunders and R. J. Stubington. In Plate XIV. A. E. Child, K. Parsons, and J. H. Stanley; and in the Plates XI. to XVI. J. Brett, L. Brett, A. E. Child, P. R. Edwards, M. Hutchinson, K. Parsons, J. H. Stanley, J. E. Tarbox, and E. A. Woore. The cuts in the text are by K. Parsons and E. A. Woore.

GLOSSARY

_Antiques_, coloured glasses made in imitation of the qualities of ancient glass.

_Banding_, putting on the copper "ties" by which the glazed light is attached to the supporting bars.

_Base_, (1) the light-tinted glass, white, greenish or yellow, on which the thin film of ruby or blue is imposed in "flashed" glasses; (2) the support of the niche on which the figure stands in "canopy work."

_Borrowed light_, a light not coming direct from daylight, but from the interior light of a building as in the case of a _screen_ of glass. (The result is similar when a window is seen against near background of trees or buildings.)

_Calm_ (of lead), the strip of lead, 3 to 4 feet long, as used for leading up the glass.

_Canopy_ or "tabernacle work," the architectural framing in imitation of a carved niche in which the figure is placed. The vertical supports (sometimes used alone to frame in the whole light) are called "shafting."

_Cartoon_, the design of the window, full size, on paper.

_Chasuble_, the outermost sacrificial vestment of a bishop or priest.

_Cope_, the outermost ceremonial and processional vestment of a bishop or priest.

_Core_ (of lead), the crossbar of the "H" section as shown in fig. 34.

_Crocketting_, the ornamenting of any architectural member at intervals with sculptured bosses or crockets.

_Cullet_, the waste cuttings of glass. Generally used over again in greater or less quantity as an ingredient in the making of new glass.

_Cut-line_, the tracing (containing the lead lines only) by which the work is cut and glazed.

_Flux_, the solvent which assists the melting of the metallic pigments in the kiln. Various materials are used, _e.g._ silica and lead, but unfortunately borax also is used, and I would warn the student to buy no pigment without a guarantee from the manufacturer that it does not contain this tempting but very dangerous and unstable ingredient. (See p. 112).

_Form_, the sheet of "continuous cartridge" or cartoon paper on which the dimensions, &c., are marked out for drawing the cartoon.

_Gauge_, (1) the shaped piece of paper by which the diamond is guided in cutting; (2) the standard of size and shape in any piece of repeated work (as quarry-glazing).

_Grisaille_ (from Fr. _gris_, grey), work where a pattern, generally geometrical, in narrow coloured bands, is superimposed on a background of whitish, grey, or greenish glass diapered with painted work in outline or slight shading.

_Groseing_, the biting away the edge of the glass with pliers to make it fit. With regard to this word and to the term "calm," I have never found any one who could give a reason for the name or an authority as to its spelling, the various spellings suggested for the _latter_ word including Karm, Calm, Carm, Kaim, and even Qualm! But while writing this book I in lucky hour consulted the treatise of Theophilus, and was delighted to find both words. The term he applies to the leads is "Calamus" (a reed), while his term for what we should call pliers is "Grosarium ferrum" (groseing iron). So that this question is set at rest for ever. Glaziers must henceforth accept the classic spellings "Calm" and "Groseing," and one may suppose they will be proud to learn that these everyday terms of their craft have been in use for 900 years, and are older than Westminster Abbey.

_Lath_, the ruler, 3 to 8 feet long, and marked with inches, &c., used in setting out the "forms."

_Lathykin_, doubtless old English "a little lath," described p. 137.

_Lasting-nails_, described p. 141.

_Leaf_ (of lead), the two uprights of the "H" section (fig. 34).

_Muller_, a piece of granite or glass, flat at the base, for grinding pigment, &c.

_Obtuse_, an angle having a wider opening than a right-angle or "perpendicular."

_Orphreys_ (_aurifrigia_, from Lat. _aurum_, gold), the bands of ornament on ecclesiastical vestments.

_Patina_, the film produced on various substances by chemical action (oxidation, sulphurisation, &c.), either artificially, as in bronze sculpture, or by age, as in glass.

_Plating_, the doubling of one glass with another in the same lead.

_Quarries_, the diamond, square, or other shaped panes used in plain-glazing.

_Reamy_, wavy or streaky glass. (See p. 179.)

_Scratch-card_, a wire brush to remove tarnish from lead before soldering (p. 144).

_Setting_, fixing a charcoal or chalk drawing on the paper by means of a spray of fixative.

_Shafting_, see "Canopy."

_Shooting_ (in carpentry), the planing down of an edge to get it truly straight.

_Squaring-out_, enlarging (or reducing) any design by drawing from point to point across proportional squares.

_Stippling_, described p. 100.

_Stopping-knife_, the knife by which the glass and lead are manipulated in leading-up.

_Tabernacle work_, see "Canopy."

_Template_, the form in paper, card, wood, or zinc, of _shaped_ openings, by which the correct figure is set out on the cartoon-form.

INDEX

Accidental qualities in glass, value of, 114

Accuracy in setting out forms, 286

Accuracy of measurement, 115, 285

Accuracy of work in the shop, rules for, formula for right
angles, 286

Aciding, 130

Action, violent, to be avoided, 173

Advertising, 293

Allegory, 248

Allegory, true allegory the presentment of noble natures, 260

Ancient buildings, sacredness of, 245

Ancient glass, 171, 314, 321, 328

"Antique" glasses, 31

Architectural fitness, 234

Architecture, harmony with, 174

Architecture, stained-glass accessory to, 168

Architecture, subservient to, 155, 236

Armour, by use of aciding in flashed blue glass, 131

Art colours, 201

Artist, right claim to the title, 269

"Asleep," Millais' picture of, 209

Assistants, to be trained to mastership, 268

Auxerre, centre for study of glass, 315

Backing, 126

Badger, 72, 74

Badger, how to dry, 193

Banding, 151

Barff's formula for pigment, 226

Bars, 151, 159, 167

Bars and lead lines, 166, 176

"Beads," a string of, 190

Beethoven, colour, 224, 271

Bicycle, use of, 216

Birds, 217

Birmingham, Burne-Jones windows, 236, 324

Boniface, St., a question of staining, 224

Books, 255, 257

Borax, untrustworthy as flux, 370

Borrowed light, 227 (and Glossary)

Botticelli, 64, 78, 250, 297, 322

Brown, Madox, 203

Brush, how to fill, 58

Builders' glazing, 180

Buntingford, ride from, 216

Burne-Jones, 131, 203, 236, 250, 324

Burning, 129

Burnt umber, 203

Butterfly, 217

"Byzantium of the crafts," 243

Byzantine revival, 241

"Calm" of lead, 137 (and Glossary)

Cambridge, Burne-Jones windows, 237

Cambridge, centre for study of glass, 314

Cambridge, King's College, for blue and red, 230

Canopies, 245

Canopy, 177, 300

Canterbury, centre for study of glass, 314

Canterbury, for blue and red, 230

Cartoons, 83, 192

Cathedrals, 178, 180, 215, 230, 234, 238, 246, 282, 314

Cellini, 228

Cement and cementing, 147

Centres for study of glass, 314, 315

Chartres, centre for study of glass, 230, 314

Chartres, for blue and red, 230

Chief difficulty (in art) the chief opportunity, 301

Chopin, 223

Cirencester windows, 180

Cleanliness, 67, 164, 193

Clients, 279

Collotypes, notes on, 327-336

Colour, 198-231

Comfort in work, 67

Commission, one's first, 292

Conditions, importance of ascertaining at commencement, 283

Conduct, general, 264

Constantine and Byzantium, 240

Co-operation, 163, 265, 268, 274-6

Corn-colour, 217-218

Countercharging, 94

Covering up the pigment, 164

Craft, complete teaching of, 174, 197

Craftsman, right claims to the title, 269

Craftsmanship, revival of, 243
Middle Ages, 252

Cullet, value of, 159

Curriculum, 321-326

Cut-in glass, 49

Cut-line, 85, 89

Cutter and cartoonist, 44

Cutting, 37, 42, 47, 87, 162

Cutting, advanced, 83

Cutting-knife, 138

Cutting-wheel (_see_ Wheel-cutter)

Dahlia, colour of, 218

Dante or Blake, perhaps needed today, 253

Dante on Constantine, 240

Dappling, 163

Dentist, precision of a, 67

Design, 167, 175, 325

Diamond, 33, 88, 331

Difficulty conquered brings new insight and new power, 302

Difficulty, the chief opportunity in a work of art, 282

Directing assistants, clearness in, promptness in, 277

Discords harmonised by added notes, 212

Distance, effect of, 102, 192

Division of labour, 170, 269

Docketing of papers, system of, 284

Dodges, a few little, 182

Doubling glass, 132

Drapery, 230, 322

Drawing from Nature, 324

Drawing, Ruskin's advice on fineness in work, 325

Du Maurier, 207

Duerer, revision of his work, 271

Dutch artist's portrait of actress, 220

"Early English" glass, 31, 227

Easels, 186, 191

Eccentricity to be avoided, 247

Economy, 156, 158

Egyptians, 182

English wastefulness, 156

Etching (_see_ Aciding)

Examples for painting, 321

Examples for stained-glass work, Holbein, 322

Expression, influence of distance on, 102

Faceting of stones and glass, 228, 332

Fairford, green in Eve window, 211, 230

Fairford, old glass in, 314

False lead lines, 166

Fame and wealth good, but not at expense of work, 296

Fancy, safe guide in, 259

Film, 94, 101

Fine work in art, 298-303

Finish in work, precision and cleanliness, 67

Firing, 105-119

First duty of an artist, 248

Five Sisters window, 178, 311

Fixing, 135, 151

"Flashed" glass, 33

Flatness, desirable, obtained by leading, 176

Flowers, 217

Flux, 370

Forms, accuracy of, 286-289

Fresh methods and ideas come accidentally, 298

Freshness of work, advantage of, 116

Fried work, how to remove, 104

Frying, 104

Garish colour, 202

Garter plates, 61, 62, 70, 71

Gas-kiln, 108-10

Gauge for cutting, how to make, 88

General conduct, 264

Giotto, 252

Giorgione, 203

Glass, ancient, 328

Glass, how made, 32

Glass, how to wax up on plate, 95

Glass in relation to stonework, 134

Glass, Munich, 84, 176

Glass, Norman, 227

Glass, old, 308, 315

Glass, painted, 84

Glass-painter's methods described, 205

Glass-painting compared with mezzotint, 81

Glass-painting compared with oil-painting, 200

Glass, Prior's, 31

Glass, value of accidental qualities in, 114

Glasses, "antique," 31

Glazing, 151, 180

Glossary, 369

Gloucester for blue and red, 230

Gloucester, centre for study of glass, 314

"God's house," 235

Gold pink, value of, 160

Good Shepherd, 172

Gothic revival, the, 239

Groseing, 43 (and Glossary)

Groseing tool, substitute for, 55

"Grozeing" (_see_ Groseing)

Gum-arabic, 58

Gum, quality and quantity of, 77

Handel, 223

Handling leaded lights, 146

Hand-rest, 61

Harmony in colour, the great rule of, 211

Harmony, universal, 234

Harmony with architecture, 174

Heaton's kiln-feeder, 184

Hertfordshire, ride through, 215

Holbein, 64, 78, 316, 322

Hollander, thrift of, 157

Hurry to be avoided, 165

Hyacinths and leaves, colour of, 221

Image, Selwyn, 83

Imagination, 248, 259

Industry, 65, 278

_In situ_, to try work, 175

Inspiration, nature of, discussed, 273

Italian, thrift of, 157

"Jacob's ladder," difficulty, 280

Joints, good and bad, 140

Jugglery, craft, to be avoided, 174

Kaleidoscope, 232

Kiln-feeder, a clumsy, 183

Kilns, 105

King, portrait of, 102

Knives, cutting and stopping, 138, 142

"Knocking up," 144

Labour and material, cost of, 162

Lamb, Charles, on Milton's _Lycidas_, 272

Large work, difficulty of, 77

_L'Art Nouveau_, 245

Lasting nails, 141

Lathykin, 137 (and Glossary)

Lea Valley, description of, 215

Lead, 89

Lead, "calm" of, 137 (and Glossary)

Lead, 90, 132, 137

Lead-line, 84, 172

Lead-lines, false, 166

Lead-mill, 91

Lead, purity of, 90

Lead, outer lead showing, 136

Leaded lights, how to handle, 146

Leading, 133

Leadwork, artistic use of, 176

Leadworkers, wage of, 159

Light, 227 (and Glossary)

Lights, 72, 146, 151

Limitations, 154, 170

Linnell's colour, 202

_Lycidas_, perfection of, 271

Lyndhurst, windows at, 237, 250

Maclou, St., at Rouen, 282

Man's work, nature of, 196

Master, book no substitute for, 82

Master, need of, 82, 195

Material and labour, cost of, 162

Matting, 72

Matting-brush, 73, 75

Matting over unfired outline, 76

"Measure thrice, cut once," 285

Measurement, accuracy of, 115, 285

Measurement, relation of glass to the stonework, 134

Meistersingers, the, 223

Mezzotint compared with glass-painting, 81

Michael Angelo, 271

Middle Ages, craftsmanship of, 252

Millais' picture of "Asleep," 209

"Millinery and upholstery" in glass, to avoid, 324

Morris, 203

Muller, 79

Munich glass, 84, 176

Music, illustration derived from, 223

Nails, 141

Nativity, star of, 229

Nature, 213, 217, 302, 324, 335

Neatness, 96

Needle, 68, 123

New College, 230

Niggling, no use in, 158

"Nimbus," withheld till the figure is finished, 263

"Norman" glass, 227

Novelty not essential to originality, 247

Numbers attached to natural objects, 221

Oil-painting and glass-painting compared, 198

Oil stone, substitutes for, 53

Old glass, 171, 308, 314, 321

Orange-tip butterfly, 214

Order, "Heaven's first law," 233

Orderliness, 284

Originality not to be striven after, 297

Ornament, system of teaching, 325

Outline, 59-82

Overpainting, danger of, 120

Oxford, centre for study of glass, 314

Oxford, New College, for green, 230

Oxide (_see_ Pigment)

Painted glass, 84

Painter and glass-painter contrasted, 199

Painting, 56, 94, 118, 321

Painting, heaviness of, objected to by some, 227

Painting, rule regarding amount of, 229

Pansy, colour of, 232

Patrons, 264

Parthenon frieze, repose of, 173

Perfection, 163

Perpendicular, rules for raising a, 286

Peterborough, Gothic tracery in Norman openings, 238

Pictures, criticism on, 208

Pigment, 164, 226

Pigment, mixture of, 57

Pigment, oxide of iron, 57

Pigment, soft, danger of, 112

Pigment, unpleasant red, 57

Plain glazing, removing, 151

Plating, 147

Pliers, 43

Poppies, 218

Prices of stained glasses, 159

Principles of old work to be imitated, not accidents, 322

Prior's glass, 31

Publicity, danger of wasting time on pursuit of, 296

_Punch_, parody of the "Palace of Art," 250

Pupils' work, 335

Putty, substitute for cement in plated work, 318

Putty, to be used when glass is doubled, 147

Quarries, 331

Quarry glazing, with subject, 177

Rack for glass samples, 186

Realism to be avoided, 173

Recasting of composition, 301

Removing the plain glazing, 151

Repose in architectural art, 174

Rest for hand, 61

Restoration, 181, 245, 315

Resurrection, sunrise in, 219

Revivals, architectural, 239

Rich and plain work, 177

Right angles, formula for, 286

Roman decadence, 240

Room, to make the most of, 192

Rose-briar, colour of, in sunset, 220

Rossetti, 203

Ruby glass, 33

Ruby glass, value of, 160

"Rule of thumb," 113

Rules for work, 264, 286

Ruskin, 202, 255, 325

Sacredness of ancient buildings, 245

Schubert, 223

"Scratch-card," 144

Scrubs, 81

Sea-weeds, 217

Second painting, 118, 126, 127

Sections, how to join together in fixing, 150

Sections, large work made in, 150

"Seed," everything grown from, 291

Seed of ornament, 294

Selvage edge, to tear off, 193

Sens, centre for study of glass, 315

Setting mixture, 86

Sharpening diamonds, 33

Siennese painters, good work to copy in glass, 322

Single fire, 127

Sketching in glass, 175

Soldering, 144

Sparta, revival of simplicity in, 243

Special glasses, 227

Spotting, 163

Spring morning, ride on a, 214

Squaring outlines, 286

Stain, 129

"Stain it!", 225

Stain overfiring, result of, 129

Stained-glass, accessory to architecture, 168

Stained-glass, ancient, to be held sacred, 245

Stained-glass, definition and description of, 29

Stained-glass, diapering, spotting, and streaking, 179

Stained-glass, joys of, 303

Stained-glass, loving and careful treatment of, 177

Stained-glass, new developments of, 132

Stained-glass, prices of material, 159

Stained-glass, subservient to architecture, 155, 236

Stained-glass _versus_ painted glass, 84

Staining, 225

Stale colour, danger of, 165

Stale work, disadvantage of, 114

Standardising, 113

Stencil brush, 121

Stepping back to inspect work, 176

Stevenson, R. L., 156

Stick, 68

Stipple, 99, 101

Stippling brush, 100

Stonework, relation of glass to, 134

Stopping-knife, 142

Streaky glass, imitating drapery, 230

Strength in painting, limits of, 125

Stretching the lead, 137

Style, 237, 246

Subject, right limits to importance of, 248

Sufficient firing, test of, 117

Sugar or treacle as substitute for gum, 62

Surgeon, precision of a, 67

Symbolism, proportion in, 262

Tabernacle (_see_ Canopy)

Tamworth, 237

Tapping, 41

Taste, some principles of, 92

Technical school, curriculum of, 321

Templates to be verified, 289

Tennyson, his constant revision, 271

Texture of glass, use of, 126

Theseus, 260

Thought, imagination, allegory, 248

Ties for banding, 151

Thrift, 157

Time saved by accuracy and method, 290

Time-saving appliances, 277

Tinning the soldering iron, 145

Tints, method of choosing, 210

Titian, 173, 203, 271, 316

Tradition, 238, 242

Troyes, centre for study of glass, 315

Trying work _in situ_, 175

Turgenieff, proverb on accuracy, 285

Turpentine (Venice), 129

Tuscan painters, good work to copy in glass, 322

"Upholstery and millinery" in glass, to avoid, 324

Venus of Milo, 260

Veronese, 203

Village church, untouched, picture of, 305

Violent action to be avoided, 173

Wage of lead workers, 159

Waste, proportion of, to finished work, 162

Wastefulness, English, 156

Wax, best, 95

Wax, removing spots of, 98

Waxing-up, 95

Waxing-up, tool for, 188

Wells, centre for study of glass, 314

Wheel-barrow, comparison with wheel-cutter, 51

Wheel-cutters, 34, 35, 47, 53, 54, 56

White, pure, value of, 227

White spaces to be interesting, 178

Work in the shop, rules for, 286

Yellow and red together, 218

Yellow, certain tints hard to obtain, 217

Yellow stain, 129

York, centre for study of glass, 314

York Minster, glass in, 230, 308, 313

THE END

Printed by BALLANTYNE, HANSON & CO.
Edinburgh & London