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+The Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Work
+       A text-book for students and workers in glass
+
+Author: C. W. Whall
+
+Release Date: February 27, 2010 [EBook #31415]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS WORK ***
+
+
+
+
+Produced by Suzanne Shell, ismail user and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+Transcribers Note: The italic text is denoted as _italic_.
+
+
+
+
+    "_. . . And remembering these, trust Pindar for the truth of his
+    saying, that to the cunning workman--(and let me solemnly enforce
+    the words by adding, that to him only)--knowledge comes
+    undeceitful._"
+
+                                   --RUSKIN ("Aratra Pentelici").
+
+    "_'Very cool of Tom,' as East thought but didn't say, 'seeing as
+    how he only came out of Egypt himself last night at bed-time.'_"
+
+                                   --("Tom Brown's Schooldays").
+
+
+
+
+    THE ARTISTIC CRAFTS SERIES
+      OF TECHNICAL HANDBOOKS
+      EDITED BY W. R. LETHABY
+
+        STAINED GLASS WORK
+
+
+
+
+[Illustration: CUTTING AND GLAZING
+
+_Frontispiece_ (_See p. 137_)]
+
+
+
+
+       STAINED GLASS WORK
+    A TEXT-BOOK FOR STUDENTS
+    AND WORKERS IN GLASS. BY
+    C. W. WHALL. WITH DIAGRAMS
+    BY TWO OF HIS APPRENTICES
+    AND OTHER ILLUSTRATIONS
+
+            NEW YORK
+     D. APPLETON AND COMPANY
+             MCMXIV
+
+
+
+
+    Printed by BALLANTYNE, HANSON & CO.
+    at the Ballantyne Press, Edinburgh
+
+
+
+
+    _To his Pupils and Assistants, who, if they
+    have learned as much from him as he has
+    from them, have spent their time profitably;
+    and who, if they have enjoyed learning as
+    much as he has teaching, have spent it happily;
+    this little book is Dedicated by their Affectionate
+    Master and Servant,_
+
+                                   _THE AUTHOR._
+
+
+
+
+EDITOR'S PREFACE
+
+
+In issuing these volumes of a series of Handbooks on the Artistic
+Crafts, it will be well to state what are our general aims.
+
+In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+vain survivals, are prepared to say what is good workmanship, and to set
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter of _appearance_. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish, and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought--that is, from
+design--inevitably decays, and, on the other hand, ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.
+
+In the third place, we would have this series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.
+
+In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour as from the terrible uncertainty of academic art.
+It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.
+
+       *       *       *       *       *
+
+Our last volume dealt with one of the branches of sculpture, the present
+treats of one of the chief forms of painting. Glass-painting has been,
+and is capable of again becoming, one of the most noble forms of Art.
+Because of its subjection to strict conditions, and its special glory of
+illuminated colour, it holds a supreme position in its association with
+architecture, a position higher than any other art, except, perhaps,
+mosaic and sculpture.
+
+The conditions and aptitudes of the Art are most suggestively discussed
+in the present volume by one who is not only an artist, but also a
+master craftsman. The great question of colour has been here opened up
+for the first time in our series, and it is well that it should be so,
+in connection with this, the pre-eminent colour-art.
+
+Windows of coloured glass were used by the Romans. The thick lattices
+found in Arab art, in which brightly-coloured morsels of glass are set,
+and upon which the idea of the jewelled windows in the story of Aladdin
+is doubtless based, are Eastern off-shoots from this root.
+
+Painting in line and shade on glass was probably invented in the West
+not later than the year 1100, and there are in France many examples, at
+Chartres, Le Mans, and other places, which date back to the middle of
+the twelfth century.
+
+Theophilus, the twelfth-century writer on Art, tells us that the French
+glass was the most famous. In England the first notice of stained glass
+is in connection with Bishop Hugh's work at Durham, of which we are told
+that around the altar he placed several glazed windows remarkable for
+the beauty of the figures which they contained; this was about 1175.
+
+In the Fabric Accounts of our national monuments many interesting facts
+as to mediæval stained glass are preserved. The accounts of the building
+of St. Stephen's Chapel, in the middle of the fourteenth century, make
+known to us the procedure of the mediæval craftsmen. We find in these
+first a workman preparing white boards, and then the master glazier
+drawing the cartoons on the whitened boards, and many other details as
+to customs, prices, and wages.
+
+There is not much old glass to be studied in London, but in the museum
+at South Kensington there are specimens of some of the principal
+varieties. These are to be found in the Furniture corridor and the
+corridor which leads from it. Close by a fine series of English coats of
+arms of the fourteenth century, which are excellent examples of
+Heraldry, is placed a fragment of a broad border probably of late
+twelfth-century work. The thirteenth century is represented by a
+remarkable collection, mostly from the Ste. Chapelle in Paris and
+executed about 1248. The most striking of these remnants show a series
+of Kings seated amidst bold scrolls of foliage, being parts of a Jesse
+Tree, the narrower strips, in which are Prophets, were placed to the
+right and left of the Kings, and all three made up the width of one
+light in the original window. The deep brilliant colour, the small
+pieces of glass used, and the rich backgrounds are all characteristic of
+mid-thirteenth-century glazing. Of early fifteenth-century workmanship
+are the large single figures standing under canopies, and these are good
+examples of English glass of this time. They were removed from
+Winchester College Chapel about 1825 by the process known as
+restoration.
+
+W. R. LETHABY.
+
+_January 1905._
+
+
+
+
+AUTHOR'S PREFACE
+
+
+The author must be permitted to explain that he undertook his task with
+some reluctance, and to say a word by way of explaining his position.
+
+I have always held that no art can be taught by books, and that an
+artist's best way of teaching is directly and personally to his own
+pupils, and maintained these things stubbornly and for long to those who
+wished this book written. But I have such respect for the good judgment
+of those who have, during the last eight years, worked in the teaching
+side of the art and craft movement, and, in furtherance of its objects,
+have commenced this series of handbooks, and such a belief in the
+movement, of which these persons and circumstances form a part, that I
+felt bound to yield on the condition of saying just what I liked in my
+own way, and addressing myself only to students, speaking as I would
+speak to a class or at the bench, careless of the general reader.
+
+You will find yourself, therefore, reader, addressed as "Dear Student."
+(I know the term occurs further on.) But because this book is written
+for students, it does not therefore mean that it must all be brought
+within the comprehension of the youngest apprentice. For it is becoming
+the fashion, in our days, for artists of merit--painters, perhaps, even
+of distinction--to take up the practice of one or other of the crafts.
+All would be well, for such new workers are needed, if it was indeed the
+_practice_ of the craft that they set themselves to. But too often it is
+what is called the _designing_ for it only in which they engage, and it
+is the duty of every one speaking or writing about the matter to point
+out how fatal is that error.
+
+One must provide a word, then, for such as these also here if one can.
+
+Indeed, to reckon up all the classes to whom such a book as this should
+be addressed, we should have, I think, to name:--
+
+(1) The worker in the ordinary "shop," who is learning there at present,
+to our regret, only a portion of his craft, and who should be given an
+insight into the whole, and into the fairyland of design.
+
+(2) The magnificent and superior artist, mature in imagination and
+composition, fully equipped as a painter of pictures, perhaps even of
+academical distinction, who turns his attention to the craft, and
+without any adequate practical training in it, which alone could teach
+its right principles, makes, and in the nature of things is bound to
+make, great mistakes--mistakes easily avoidable. No such thing can
+possibly be right. Raphael himself designed for tapestry, and the
+cartoons are priceless, but the tapestry a ghastly failure. It could not
+have been otherwise under the conditions. Executant separated from
+designer by all the leagues that lie between Arras and Rome.
+
+(3) The patron, who should know something of the craft, that he may not,
+mistrusting, as so often at present, his own taste, be compelled to
+trust to some one else's Name, and of course looks out for a big one.
+
+(4) The architect and church dignitary who, having such grave
+responsibilities in their hands towards the buildings of which they are
+the guardians, wish, naturally, to understand the details which form a
+part of their charge. And lastly, a new and important class that has
+lately sprung into existence, the well-equipped, picked
+student--brilliant and be-medalled, able draughtsman, able painter;
+young, thoughtful, ambitious, and educated, who, instead of drifting, as
+till recently, into the overcrowded ranks of picture-making, has now the
+opportunity of choosing other weapons in the armoury of the arts.
+
+To all these classes apply those golden words from Ruskin's "Aratra
+Pentelici" which are quoted on the fly-leaf of the present volume, while
+the spirit in which I myself would write in amplifying them is implied
+by my adopting the comment and warning expressed in the other sentence
+there quoted. The face of the arts is in a state of change. The words
+"craft" and "craftsmanship," unheard a decade or two ago, now fill the
+air; we are none of us inheritors of any worthy tradition, and those who
+have chanced to grope about for themselves, and seem to have found some
+safe footing, have very little, it seems to me, to plume or pride
+themselves upon, but only something to be thankful for in their good
+luck. But "to have learnt faithfully" one of the "ingenuous arts" (or
+crafts) _is_ good luck and _is_ firm footing; we may not doubt it who
+feel it strong beneath our feet, and it must be proper to us to help
+towards it the doubtless quite as worthy or worthier, but less
+fortunate, who may yet be in some of the quicksands around.
+
+It also happens that the art of stained glass, though reaching to very
+high and great things, is in its methods and processes a simple, or at
+least a very limited, one. There are but few things to do, while at the
+same time the principles of it touch the whole field of art, and it is
+impossible to treat of it without discussing these great matters and the
+laws which guide decorative art generally. It happens conveniently,
+therefore, as the technical part requires less space, that these things
+should be treated of in this particular book, and it becomes the
+author's delicate and difficult task to do so. He, therefore, wishes to
+make clear at starting the spirit in which the task is undertaken.
+
+It remains only to express his thanks to Mr. Drury and Mr. Noel Heaton
+for help respectively, with the technical and scientific detail; to Mr.
+St. John Hope for permission to use his reproductions from the Windsor
+stall-plates, and to Mr. Selwyn Image for his great kindness in revising
+the proofs.
+
+C. W. WHALL.
+
+_January 1905._
+
+
+
+
+     CONTENTS
+
+                                                                    PAGE
+
+     EDITOR'S PREFACE                                                 xi
+
+     AUTHOR'S PREFACE                                               xvii
+
+
+     PART I
+
+     CHAPTER I
+
+     Introductory, and Concerning the Raw Material                    29
+
+
+     CHAPTER II
+
+     Cutting (elementary)--The Diamond--The Wheel--Sharpening--How
+     to Cut--Amount of Force--The
+     Beginner's Mistake--Tapping--Possible and
+     Impossible Cuts--"Grozeing"--Defects of the
+     Wheel--The Actual Nature of a "Cut" in
+     Glass                                                            33
+
+
+     CHAPTER III
+
+     Painting (elementary)--Pigments--Mixing--How to
+     Fill the Brush--Outline--Examples--Industry--The
+     Needle and Stick--Completing the Outline                         56
+
+     CHAPTER IV
+
+     Matting--Badgering--How to preserve Correctness of
+     Outline--Difficulty of Large Work--Ill-ground
+     Pigment--The Muller--Overground Pigment--Taking
+     out Lights--"Scrubs"--The Need of a
+     Master                                                           72
+
+
+     CHAPTER V
+
+     Cutting (advanced)--The Ideal Cartoon--The Cut-line--Setting
+     the Cartoon--Transferring the Cut-line
+     to the Glass--Another Way--Some Principles
+     of Taste--Countercharging                                        83
+
+
+     CHAPTER VI
+
+     Painting (advanced)--Waxing-up--Cleanliness--Further
+     Methods of Painting--Stipple--Dry
+     Stipple--Film--Effects of Distance--Danger of
+     Over-Painting--Frying                                            94
+
+
+     CHAPTER VII
+
+     Firing--Three Kinds of Kiln--Advantages and Disadvantages--The
+     Gas-Kiln--Quick Firing--Danger--Sufficient
+     Firing--Soft Pigments--Difference in
+     Glasses--"Stale" Work--The Scientific Facts--How
+     to Judge of Firing--Drawing the Kiln                            105
+
+
+     CHAPTER VIII
+
+     The Second Painting--Disappointment with Fired
+     Work--A False Remedy--A Useful Tool--The
+     Needle--A Resource of Desperation--The Middle
+     Course--Use of the Finger--The Second Painting--Procedure       118
+
+
+     CHAPTER IX
+
+     Of Staining and Aciding--Yellow Stain--Aciding--Caution
+     required in Use--Remedy for Burning--Uses
+     of Aciding--Other Resources of Stained
+     Glass Work                                                      129
+
+
+     CHAPTER X
+
+     Leading-Up and Fixing--Setting out the Bench--Relation
+     of Leading to mode of Fixing in the
+     Stone--Process of Fixing--Leading-Up Resumed--Straightening
+     the Lead--The "Lathykin"--The
+     Cutting-Knife--The Nails--The Stopping-Knife--Knocking
+     Up                                                              133
+
+
+     CHAPTER XI
+
+     Soldering--Handling the Leaded Panel--Cementing--Recipe
+     for Cement--The Brush--Division of
+     Long Lights into Sections--How Joined when
+     Fixed--Banding--Fixing--Chipping out the Old
+     Glazing--Inserting the New and Cementing                        144
+
+
+
+
+     PART II
+
+     CHAPTER XII
+
+     Introductory--The Great Questions--Colour--Light--Architectural
+     Fitness--Limitations--Thought--Imagination--Allegory            154
+
+
+     CHAPTER XIII
+
+     Of Economy--The Englishman's Wastefulness--Its
+     Good Side--Its Excess--Difficulties--A Calculation--Remedies    156
+
+
+     CHAPTER XIV
+
+     Of Perfection--In Little Things--Cleanliness--Alertness--But
+     not Hurry--Realising your Conditions--False
+     Lead-Lines--Shutting out Light--Bars--Their
+     Number--Their Importance--Precedence--Observing
+     your Limitations--A Result of
+     Complete Training--The Special Limitations of
+     Stained Glass--Disguising the Lead-Line--No full
+     Realism--No violent Action--Self-Effacement--No
+     Craft-Jugglery--Architectural Fitness founded
+     on Architectural Knowledge--Seeing Work _in
+     Situ_--Sketching in Glass--The Artistic Use of
+     the Lead--Stepping Back--Accepting Bars and
+     Leads--Loving Care--White Spaces to be Interesting--Bringing
+     out the "Quality" of the
+     Glass--Spotting and Dappling--"Builders-Glazing"
+     _versus_ Modern Restoring                                       163
+
+
+     CHAPTER XV
+
+     A Few Little Dodges--A Clumsy Tool--A Substitute--A
+     Glass Rack--An Inconvenient Easel--A
+     Convenient Easel--A Waxing-up Tool--An
+     Easel with Movable Plates--Making the
+     most of a Room--Handling Cartoons--Cleanliness--Dust--The
+     Selvage Edge--Drying a
+     "Badger"--A Comment                                             182
+
+
+     CHAPTER XVI
+
+     Of Colour                                                       198
+
+
+     CHAPTER XVII
+
+     Of Architectural Fitness                                        234
+
+     CHAPTER XVIII
+
+     Of Thought, Imagination, and Allegory                           248
+
+
+     CHAPTER XIX
+
+     Of General Conduct and Procedure--Amount of
+     Legitimate Assistance--The Ordinary Practice--The
+     Great Rule--The Second Great Rule--Four
+     Things to Observe--Art _v._ Routine--The
+     Truth of the Case--The Penalty of Virtue in
+     the Matter--The Compensating Privilege--Practical
+     Applications--An Economy of Time
+     in the Studio--Industry--Work "To Order"--Clients
+     and Patrons--And Requests Reasonable
+     and Unreasonable--The Chief Difficulty the
+     Chief Opportunity--But ascertain all Conditions
+     before starting Work--Business Habits--Order--Accuracy--Setting
+     out Cartoon Forms--An Artist
+     must Dream--But Wake--Three Plain Rules                         264
+
+
+     CHAPTER XX
+
+     A String of Beads                                               290
+
+
+     APPENDIX I
+
+     Some Suggestions as to the Study of Old Glass                   308
+
+
+     APPENDIX II
+
+     On the Restoring of Ancient Windows                             315
+
+     APPENDIX III
+
+     PAGE
+
+     Hints for the Curriculum of a Technical School for
+     Stained Glass--Examples for Painting--Examples
+     of Drapery--Drawing from Nature--Ornamental
+     Design                                                          321
+
+
+     NOTES ON THE COLLOTYPE PLATES                                   327
+
+     THE COLLOTYPE PLATES                                            337
+
+     GLOSSARY                                                        369
+
+     INDEX                                                           373
+
+
+
+
+PART I
+
+
+CHAPTER I
+
+INTRODUCTORY, AND CONCERNING THE RAW MATERIAL
+
+
+You are to know that stained glass means pieces of coloured glasses put
+together with strips of lead into the form of windows; not a picture
+painted on glass with coloured paints.
+
+You know that a beer bottle is blackish, a hock bottle orange-brown, a
+soda-water bottle greenish-white--these are the colours of the whole
+substance of which they are respectively made.
+
+Break such a bottle, each little bit is still a bit of coloured glass.
+So, also, blue is used for poison bottles, deep green and deep red for
+certain wine glasses, and, indeed, almost all colours for one purpose or
+another.
+
+Now these are the same glass, and coloured in the same way as that used
+for church windows.
+
+Such coloured glasses are cut into the shapes of faces, or figures, or
+robes, or canopies, or whatever you want and whatever the subject
+demands; then features are painted on the faces, folds on the robes, and
+so forth--not with colour, merely with brown shading; then, when this
+shading has been burnt into the glass in a kiln, the pieces are put
+together into a picture by means of grooved strips of lead, into which
+they fit.
+
+This book, it is hoped, will set forth plainly how these things are
+done, for the benefit of those who do not know; and, for the benefit of
+those who do know, it will examine and discuss the right principles on
+which windows should be made, and the rules of good taste and of
+imagination, which make such a difference between beautiful and vulgar
+art; for you may know intimately all the processes I have spoken of, and
+be skilful in them, and yet misapply them, so that your window had
+better never have been made.
+
+Skill is good if you use it wisely and for good end; but craft of hand
+employed foolishly is no more use to you than swiftness of foot would be
+upon the broad road leading downwards--the cripple is happier.
+
+A clear and calculating brain may be used for statesmanship or science,
+or merely for gambling. You, we will say, have a true eye and a cunning
+hand; will you use them on the passing fashion of the hour--the morbid,
+the trivial, the insincere--or in illustrating the eternal truths and
+dignities, the heroisms and sanctities of life, and its innocencies and
+gaieties?
+
+This book, then, is divided into two parts, of which the intention of
+one is to promote and produce skilfulness of hand, and of the other to
+direct it to worthy ends.
+
+The making of glass itself--of the raw material--the coloured glasses
+used in stained-glass windows, cannot be treated of here. What are
+called "Antiques" are chiefly used, and there are also special glasses
+representing the ideals and experiments of enthusiasts--Prior's "Early
+English" glass, and the somewhat similar "Norman" glass. These glasses,
+however, are for craftsmen of experience to use: they require mature
+skill and judgment in the using; to the beginner, "Antiques" are enough
+for many a day to come.
+
+_How to know the Right and Wrong Sides of a Piece of "Antique"
+Glass._--Take up a sheet of one of these and look at it. You will notice
+that the two sides look different; one side has certain little
+depressions as if it had been pricked with a pin, sometimes also some
+wavy streaks. Turn it round, and, looking at the other side, you still
+see these things, but blurred, as if seen through water, while the
+surface itself on this side looks smooth; what inequalities there are
+being projections rather than depressions. Now the side you first looked
+at is the side to cut on, and the side to paint on, and it is the side
+placed inwards when the window is put up.
+
+The reason is this. Glass is made into sheets by being blown into
+bubbles, just as a child blows soap-bubbles. If you blow a soap-bubble
+you will see streaks playing about in it, just like the wavy streaks you
+notice in the glass.
+
+The bubble is blown, opened at the ends, and manipulated with tools
+while hot, until it is the shape of a drain-pipe; then cut down one side
+and opened out upon a flattening-stone until the round pipe is a flat
+sheet; and it is this stone which gives the glass the different texture,
+the dimpled surface which you notice.
+
+Some glasses are "flashed"; that is to say, a bubble is blown which is
+mainly composed of white glass; but, before blowing, it is also dipped
+into another coloured glass--red, perhaps, or blue--and the two are then
+blown together, so that the red or blue glass spreads out into a thin
+film closely united to, in fact fused on to, and completely one with,
+the white glass which forms the base; most "Ruby" glasses are made in
+this way.
+
+
+
+
+CHAPTER II
+
+     Cutting (elementary)--The Diamond--The Wheel--Sharpening--How to
+     Cut--Amount of Force--- The Beginner's Mistake--Tapping--Possible
+     and Impossible Cuts--"Grozeing"--Defects of the Wheel--The Actual
+     Nature of a "Cut" in Glass.
+
+
+No written directions can teach the use of the diamond; it is as
+sensitive to the hand as the string of a violin, and a good workman
+feels with a most delicate touch exactly where the cutting edge is, and
+uses his tool accordingly. Every apprentice counts on spoiling a guinea
+diamond in the learning, which will take him from one to two years.
+
+Most cutters now use the wheel, of which illustrations are given (figs.
+1 and 2).
+
+[Illustration: FIGS. 1 AND 2.]
+
+The wheels themselves are good things, and cut as well as the diamond,
+in some respects almost better; but many of the handles are very
+unsatisfactory. From some of them indeed one might suppose, if such a
+thing were conceivable, that the maker knew nothing of the use of the
+tool.
+
+For it is held thus (fig. 5), the pressure of the _forefinger_ both
+guiding the cut and supplying force for it: and they give you an _edge_
+to press on (fig. 1) instead of a surface! In some other patterns,
+indeed, they do give you the desired surface, but the tool is so thin
+that there is nothing to grip. What ought to be done is to reproduce the
+shape of the old wooden handle of the diamond proper (figs. 3 and 4).
+
+[Illustration: FIGS. 3 AND 4.]
+
+The foregoing passage must, however, be amplified and modified, but this
+I will do further on, for you will understand the reasons better if I
+insert it after what I had written further with regard to the cutting of
+glass.
+
+_How to Sharpen the Wheel Cutter._--The right way to do this is
+difficult to describe in writing. You must, first of all, grind down the
+"shoulders" of the tool, through which the pivot of the wheel goes, for
+they are made so large that the wheel cannot reach the stone (fig. 6),
+and must be reduced (fig. 7). Then, after first oiling the pivot so that
+the wheel may run easily, you must hold the tool as shown in fig. 8, and
+rub it swiftly up and down the stone. The angle at which the wheel
+should rest on the stone is shown in fig. 9. You will see that the angle
+at which the wheel meets the stone is a little _blunter_ than the angle
+of the side of the wheel itself. You do not want to make the tool _too
+sharp_, otherwise you will risk breaking down the edge, when the wheel
+will cease to be truly circular, and when that occurs it is absolutely
+useless. The same thing will happen if the wheel is _checked_ in its
+revolution while sharpening, and therefore the pivot must be kept oiled
+both for cutting and sharpening.
+
+[Illustration: FIG. 5.]
+
+[Illustration: FIGS. 6 and 7.]
+
+It is a curious fact to notice that the tool, be it wheel or diamond,
+that is _too sharp_ is not, in practice, found to make so good a cut as
+one that is less sharp; it scratches the glass and throws up a line of
+splinters.
+
+_How to Cut Glass._--Hold the cutter as shown in the illustration (fig.
+5), a little sloping towards you, but perfectly upright laterally; draw
+it towards you, hard enough to make it just _bite_ the glass. If it
+leaves a mark you can hardly see it is a good cut (fig. 10B), but if it
+scratches a white line, throwing up glass-dust as it goes, either the
+tool is faulty, or you are pressing too hard, or you are applying the
+pressure to the wheel unevenly and at an angle to the direction of the
+cut (fig. 10A). Not that you can make the wheel _move_ sideways in the
+cut actually; it will keep itself straight as a ploughshare keeps in its
+furrow, but it will press sideways, and so break down the edges of the
+furrow, while if you exaggerate this enough it will actually leave the
+furrow, and, ceasing to cut, will "skid" aside over the glass. As to
+pressure, all cutters begin by pressing much too hard; the tool having
+started biting, it should be kept only _just biting_ while drawn along.
+The cut should be almost _noiseless_. You think you're not cutting
+because you don't hear it grate, but hold the glass sideways to the
+light and you will see the silver line quite continuous.
+
+Having made your cut, take the glass up; hold it as in fig. 11, press
+downward with the thumbs and upward with the fingers, and the glass will
+come apart.
+
+[Illustration: FIG. 8.]
+
+[Illustration: FIG. 9.]
+
+[Illustration: FIG. 10, A and B]
+
+[Illustration: FIG. 11.]
+
+But you want to cut shaped pieces as well as straight. You cannot break
+these directly the cut is made, but, holding the glass as in fig. 12,
+and pressing it firmly with the left thumb, jerk the tool up by little,
+sharp jerks of the fingers _only_, so as to tap along the underside of
+your cut. You will see a little silver line spring along the cut,
+showing that the glass is dividing; and when that silver line has sprung
+from end to end, a gentle pressure will bring the glass apart.
+
+[Illustration: FIG. 12.]
+
+This upward jerk must be sharp and swift, but must be calculated so as
+only just to _reach_ the glass, being checked just at the right point,
+as one hammers a _nail_ when one does not want to stir the work into
+which the nail is driven. A _pushing_ stroke, a blow that would go much
+further if the glass were not there, is no use; and for this reason
+neither the elbow nor the hand must move; the knuckles are the hinge
+upon which the stroke revolves.
+
+[Illustration: FIG. 13.]
+
+[Illustration: FIG. 14.]
+
+But you can only cut certain shapes--for instance, you cannot cut a
+wedge-shaped gap out of a piece of glass (fig. 13); however tenderly you
+handle it, it will split at point A. The nearest you can go to it is a
+curve; and the deeper the curve the more difficult it is to get the
+piece out. In fig. 14 A is an average easy curve, B a difficult one, C
+impossible, except by "groseing" or "grozeing" as cutters call it; that
+is, after the cut is made, setting to work to patiently bite the piece
+out with pliers (fig. 15).
+
+[Illustration: FIG. 15.]
+
+Now, further, you must understand that you must not cut round all the
+sides of a shaped piece of glass at once; indeed, you must only cut one
+side at a time, and draw your cut right up to the edge of the glass, and
+break away the whole piece which _contains_ the side you are cutting
+before you go on to another.
+
+Thus, in fig. 16, suppose the shaded portion to be the shape that you
+wish to cut out of the piece of glass, A, B, C, D. You must lay your
+gauge _anglewise_ down upon the piece. Do not try to get the sides
+parallel to the shapes of your gauge, for that makes it much more
+difficult; angular pieces break off the easiest.
+
+[Illustration: FIG. 16.]
+
+Now, then, _cut the most difficult piece first_. That marked 1. Perhaps
+you will not cut it quite true; but, if not, then shift the gauge
+slightly on to another part of the curve, and very likely it may fit
+that better and so _come_ true.
+
+Then follow with one of those marked 2 or 3. Probably it would be safest
+to cut the larger and more difficult piece first, and get _both_ the
+curved cuts right by your gauge; then you can be quite sure of getting
+the very easy small bit off quite truly, to fit into its place with both
+of them. Go on with 4, and then with one of those marked 5 or 6.
+Probably it would still be best to cut the curved piece first, unless
+you think that shortening it by cutting off the small corner-piece first
+will make the curved cut easier by making it shorter.
+
+In any case you must only cut one side at a time, and break it away
+before you make the cut for another side.
+
+Take care that you do not go back in your cut. You must try and make it
+quite continuous onwards; for if you go back in the cut, where your tool
+has already thrown up splinters, it will spoil your tool and spoil your
+cut also.
+
+Difficult curves, that it is only just possible to get out by groseing,
+ought never to be resorted to, except for some very sufficient reason. A
+cartoonist who knows the craft will avoid setting such tasks to the
+cutter; but, unfortunately, many cartoonists do _not_ know the craft. If
+people were taught the complete craft as they should be, this book would
+not have been written.
+
+Here let me say that we cannot possibly within the narrow limits of it
+go thoroughly into all the very wide range of subjects connected with
+glass--the chemistry, the permanence, the purity of materials. With the
+exception of the practice of the craft, probably we shall not be able to
+go thoroughly into any one of them; but I shall endeavour to _mention_
+them all, and to do so sufficiently to indicate the directions in which
+work and research and experiment may be made, for they are all three
+much needed in several directions.
+
+It becomes, for instance, now my task, in modifying the passage some
+pages back as I promised, to go into one of these subjects in the light
+of inquiries made since the passage in question was written; and I let
+it for the time being stand just as it was, without the additional
+information, because it gives a picture of how such things crop up and
+of the way in which such investigations may be made, and of how useful
+and pleasant they may be.
+
+Here then let us have--
+
+
+A LITTLE DISSERTATION UPON CUTTING.
+
+Through the agent for the wheel-cutter in England I communicated with
+the maker and inventor in America, and told him of our difficulties and
+perplexities over here, and chiefly with regard to two points. First,
+the awkwardness of the handle, which causes the glaziers here to use the
+tool bound round with wadding, or enclosed in a bit of india-rubber
+pipe; and, secondly, the bluntness of the "jaws" which hold the wheel,
+and which must be ground down (and are in universal practice ground
+down), before the tool can be sharpened.
+
+His reply called attention to a number of different patterns of handle,
+the existence of which, I think, is not generally known, in England at
+any rate, and some of which seem to more or less meet the difficulties
+we experience, most of them also being made with malleable iron handles,
+so that fresh cutting-wheels can be inserted in the same handle. His
+letter also entered into the question of the actual dynamics of
+"cutting," maintaining, I think rightly, that a "cut" is made by the
+edge of the wheel (this not being very sharp) forcing the particles of
+the glass down into the mass of it by pressure.
+
+With regard to the old-fashioned pattern of tool which we chiefly use in
+this country, the very sufficient explanation is that they continue to
+make it because we continue to demand it, a circumstance which, as he
+declares, is a mystery to the inventor himself! Nevertheless, as we do
+so, and, in spite of the variety of newer tools on the market, still go
+on grinding down the jaws of our favourite, and wrapping round the
+handle with cotton-wool, let us try and put this matter straight, and
+compare our requirements with the advantages offered us.
+
+There are three chief points to be cleared up. (1) The actual nature of
+a "cut" in glass; (2) the question of sharpening the tool and grinding
+down of the jaws to do so; and (3) the "mystery" of our preference for a
+particular tool, although we all confess its awkwardness by the means we
+take to modify it.
+
+(1) With regard, then, to the nature of a "cut" in glass I am disposed
+entirely to agree with the theory put forward by the inventor of the
+wheel, which an examination of the cuts under the microscope, or even a
+6 diameter lens, certainly also tends to confirm.
+
+What happens appears to my non-scientific eyes to be this.
+
+Glass is one of the most fissile or "splittable" of all materials; but
+it is so just in the same way that ice is, and just in the opposite way
+to that in which slate or talc is.
+
+Slate or talc splits easily into thin layers or laminæ, _because it
+already lies in such layers_, and these will come apart when the force
+is applied between them: but _it will only split into the laminæ of
+which it already is composed, and along the line of the fissures which
+already exist between them_.
+
+Glass, on the contrary (and the same is true of ice, or for that matter
+of currant-jelly and such like things), appears to be a substance which
+is the same in all directions, or nearly so, and therefore as liable to
+split in one direction as in another, and is so loosely held together
+that, once a splitting force is applied, the crack spreads very rapidly
+and easily, and therefore smoothly and in straight lines and in even
+planes.
+
+The diamond, or the wheel-cutter, is such a force. Being pressed on to
+the surface, it forces down the particles, and these start a series of
+small vertical splits, sometimes nearly through the whole thickness of
+the glass, though invisibly so until the glass is separated. And mark,
+that it is the _starting_ of the splits that is the important thing;
+there is no object in making them _deep_, it is only wasted force; they
+will continue to split of themselves if encouraged in the proper way
+(see Plates IX. and X.). Try this as follows.
+
+Take a bit of glass, say 3 inches by 2, and make the very smallest dint
+you can in it, in the middle of the narrowest dimension. You cannot make
+one so small that the glass will hold together if you try to break it
+across. It will break across in a straight line, springing from each end
+of the tiny cut. The cut may be only 1/8 of an inch long; less--it may
+be only 1/16, 1/32--as small as you will, the glass will break across
+just the same.
+
+Why?
+
+Because the cut has _started_ it splitting at each end; and the material
+being the same all through, the split will go straight on in the
+direction in which it has started; there is nothing to turn it aside.
+
+So also the pressure of the wheel starts a continuous split, or series
+of splits, _downwards_, into the thickness of the glass. No matter how
+small a distance these go in, the glass will come asunder directly
+pressure is applied.
+
+Now, if you press too hard in cutting, another thing takes place.
+
+Imagine a quantity of roofing-slates piled flat one on top of another,
+all the piles being of equal height and arranged in two rows, side by
+side, so close that the edges of the slates in one row touch the edges
+of those in the other row, along a central line.
+
+Wheel a wheelbarrow along that line over the edges of both.
+
+What would happen?
+
+The top layer of slates would all come cocking their outer edges up as
+the barrow passed over their inner ones, would they not?
+
+Now, just so, if you press hard on your glass-cutting wheel, it will
+press down the edges of the groove, and though there are no layers
+_already made_ in the glass, the pressure will _split off_ a thin layer
+from the top surface of the glass on each side in flakes as it goes
+along (Plate X., D, E).
+
+This is what gives the _noise_ of the cut, c-r-r-r-r-r-; and as the
+thing is no use the noise is no use; like a good many other things in
+life, the less noise the better work, much cry generally meaning little
+wool, as the man found out who shaved the pig.
+
+But the wheel or the diamond is not quite the same as the wheel of the
+wheelbarrow, for it has a _wedge-shaped_ edge. Imagine a barrow with
+such a wheel; what _then_ would happen to your slates? besides being
+cocked up by the wheel, they would also be _pushed out_, surely?
+
+This happens in glass. You must not imagine that glass is a rigid thing;
+it is very elastic, and the wedge-like pressure of the wheel pushes it
+out just as the keel of a boat pushes the water aside in ripples (Plate
+X., D, E).
+
+All these observations seem to me to bear out the theory of the
+inventor, and perhaps to some extent to explain it. I am much tempted to
+carry them further, and ask the questions, why a penknife as well as a
+wheel will not make a cut in glass, but will make a perfectly definite
+scratch on it if the glass is placed under water? and why this line so
+made will yet not serve for separating the glass? and why a piece of
+glass can be cut in two (roughly, to be sure, but still cut in two) with
+a pair of scissors under water, a thing otherwise quite impossible?
+
+But I do not think that the knowledge of these questions will help the
+reader to do better stained-glass windows, and therefore I will not
+pursue them.
+
+(2) The question of sharpening the tool is soon disposed of.
+
+If the tool is to be sharpened, the jaws must be ground down, whether
+the maker grinds them down originally or whether we do it. Is sharpening
+worth while, since the tool only costs a few pence?
+
+Well, it's a question each must decide for himself; but I will just
+answer two small difficulties which affect the matter.
+
+If grinding the jaws loosens the pivot, it can be hammered tight again
+with a punch. If sharpening wears out the oil-stone (as it undoubtedly
+does, and oil-stones are expensive things), a piece of fine polished
+Westmoreland slate will do as well, and there is no need to be chary of
+it. Even a piece of ground-glass with oil will do.
+
+(3) But now as to the handle. I am first to explain the amusing
+"mystery" why the old pattern shown in fig. 1 still sells.
+
+It is because the British working-man _is convinced that the wheels in
+this handle are better quality than any others_.
+
+Is he right, or is it only an instance of his love for and faith in the
+thing he has got used to?
+
+Or can it be that all workmen do not know of the existence of the other
+types of handle? In case this is so, I figure some (fig. 17). Or is it
+that the wheel for some reason runs less truly in the malleable iron
+than in the cast iron?
+
+[Illustration: FIG. 17.]
+
+Certain it is that the whole trade here prefers these wheels, and I am
+bound to say that as far as my experience goes they seem to me to work
+better than those in other handles.
+
+But as to all the handles themselves, I must now voice our general
+complaint.
+
+(1) They are too light.
+
+For tapping our heavy antique and slab-glasses we wish we had a heavier
+tool.
+
+(2) They are too thin in the handle for comfort, at least it seems so to
+me.
+
+(3) The three gashes cut out of the head of the tool decrease the
+weight, and if these were omitted the tool would gain. Their only use
+that I can conceive of is that of a very poor substitute for pliers as a
+"groseing" tool, if one has forgotten one's pliers. But (as Serjeant
+Buzfuz might say) "who _does_ forget his pliers?"
+
+The whole question of the handle is complicated by the fact that some
+cutters rest the tool on the forefinger and some on the middle finger in
+tapping, and that a handle the sections of which are calculated for the
+one will not do equally well for the other.
+
+But the whole thing resolves itself into this, that if we could get a
+tool, the handle of which corresponded in all its curves, dimensions,
+and sections with the old-established diamond, I think we should all be
+glad; and if the head, wheel, and pivot were all made of the quality and
+material of which fig. 1 is now made, but with the handle as I describe,
+many of us, I think, would be still more glad; and if these remarks lead
+in any degree to such results, they at least of all the book will have
+been worth the writing, and will probably be its best claim to a white
+stone in Israel, as removing one more solecism from "this so-called
+twentieth century."
+
+I shall now leave this subject of cutting for the present, and describe,
+up to about the same point, the processes of painting, taking both on to
+a higher stage later--as if, in fact, I were teaching a pupil; for as
+soon as you can cut glass well enough to cut a piece to paint on, you
+should learn to paint on it, and carry the two things on step by step,
+side by side.
+
+
+
+
+CHAPTER III
+
+     Painting (elementary)--Pigments--Mixing--How to Fill the
+     Brush--Outline--Examples--Industry--The Needle and
+     Stick--Completing the Outline.
+
+
+The pigments for painting on glass are powders, being the oxides of
+various minerals, chiefly iron. There are others; but take it thus--that
+the iron oxide is a red pigment, and the others are introduced, mainly,
+to modify this. The red pigment is the best to use, and goes off less in
+the firing; but, alas! it is a detestably ugly _colour_, like red lead;
+and, do what you will, you cannot use it on white glass. Against clear
+sky it looks pretty well in some lights, but get it in a sidelight, or
+at an angle, and the whole window looks like red brick; while, seen
+against any background except clear sky, it always looks so from all
+points of view. There are various makers of these pigments. Some
+glass-painters make their own, and a beginner with any knowledge of
+chemistry would be wise to work in that direction.
+
+I need not discuss the various kinds of pigment; what follows is a
+description of my own practice in the matter.
+
+_To Mix the Pigment for Painting._--Take a teaspoonful of red
+tracing-colour, and a rather smaller spoonful of intense black, put them
+on a slab of thick ground-glass about 9 inches square, and drop clean
+water upon them till you can work them up into a paste with the
+palette-knife (fig. 18); work them up for a minute or so, till the paste
+is smooth and the lumps broken up, and then add about three drops of
+strong gum made from the purest white gum-arabic dissolved in cold
+water. Any good chemist will sell this, but its purity is a matter of
+great importance, for you want the maximum of adhesiveness with the
+minimum of the material.
+
+Mix the colour well up with the knife; then take one of those
+long-haired sable brushes, which are called "riggers" (fig. 19), and
+which all artists'-colourmen sell, and fill it with the colour, diluting
+it with enough water to make it quite thin. Do not dilute all the
+pigment; keep most of it in a tidy lump, merely moist, as you ground it
+and not further wetted, at the corner of your slab; but always keep a
+portion diluted in a small "pond" in the middle of your palette.
+
+[Illustration: Fig. 18.]
+
+_How to Fill the Brush with Pigment._--Now you must note that this is a
+heavy powder floating free in water, therefore it quickly sinks to the
+bottom of your little "pond." _Each time you fill your_ _brush you must
+"stir up the mud_," for the "mud" is what you want to get in your brush,
+and not only so, but you want to get your brush _evenly full_ of it from
+tip to base, therefore you must splay out the hairs flat against the
+glass, till all are wet, and then in taking it off the palette,
+"twiddle" it to a point quickly. This takes long to describe, but it
+does not take a couple of seconds to do. You must have the patience to
+spend so much pains on it, and even to fill the brush very often, nearly
+for each touch; then you will get a clear, smooth, manageable stroke for
+your outline, and save time in the end.
+
+[Illustration: FIG. 19.]
+
+_How to Paint in Outline._--Make some strokes (fig. 20) on a piece of
+glass and let them dry; some people like them to stick very tight to the
+glass, some so that a touch of the finger removes them; you must find
+which suits you by-and-by, and vary the amount of gum accordingly; but
+to begin, I would advise that they should be just removable by a
+moderately hard rub with the finger, rather less hard a rub than you
+close a gummed envelope with.
+
+Practise now for a time the making of strokes, large and small, dark and
+light, broad and fine; and when you have got command of your tools, set
+yourself the task of doing the same thing, _copying an example placed
+underneath your bit of glass_. You will find a hand-rest (fig. 21) an
+assistance in this.
+
+[Illustration: FIG. 20.]
+
+It is difficult to give any list of examples suitable for this stage of
+glass, but the kind of line employed on the best _heraldry_ is always
+good for the purpose. The splendid illustrations of this in Mr. St.
+John-Hope's book of the stall-plates of the Knights of the Garter at
+Windsor, examples of which by the author's courtesy I am allowed to
+reproduce (figs. 22-22A), are ideal for bold outline-work, and
+fascinatingly interesting for their own sake. In most of these there is
+not only excellent practice in _outline_, and a great deal of it, but,
+mixed with it, practice also in flat washes, which it is a good thing to
+be learning side by side with the other.
+
+[Illustration: FIG. 21.]
+
+And here let me note that there are throughout the practice of
+glass-painting _many_ methods in use at every stage. Each person, each
+firm of glass-stainers, has his own methods and traditions. I shall not
+trouble to notice all these as we come to them, but describe what seems
+to me to be the best practice in each case; but I shall here and there
+give a word about others.
+
+For instance: if you use sugar or treacle instead of gum, you get a
+rather smoother-working pigment, and after it is dry you can moisten it
+as often as you will for further work by merely breathing on the
+surface; and perhaps if your aim is _outline only_, it may be well to
+try it; but if you wish to pass shading-colour over it you must use gum,
+for you cannot do so over treacle colour; nor do I think treacle serves
+so well for the next process I am to describe, which here follows.
+
+[Illustration: FIG. 22.]
+
+[Illustration: FIG. 22A.]
+
+
+_How to complete the Outline better than you possibly can by One
+Tracing._--When you take up a bit of glass from the table, after having
+done all you can to make a correct tracing, you will be disappointed
+with the result. It will have looked pretty well on the table with the
+copy showing behind it and hiding its defects, but it is a different
+thing when held up to the searching daylight. This must not, however,
+discourage you. No one, not the most skilful, could expect to make a
+perfect copy of an original (if that original had any fineness of line
+or sensitiveness of touch about it) by merely tracing it downwards on
+the bench. You must put it upright against the daylight, and mend your
+drawing, freehand, faithfully by the copy.
+
+These remarks do not, in a great degree, apply to the case of hard
+outlines specially prepared for literal translation. I am speaking of
+those where the outline is, in the artistic sense, sensitive and
+refined, as in a Botticelli painting or a Holbein drawing, and to copy
+these well you want an easel.
+
+For this small work any kind of frame with a sheet of glass in it, and a
+ledge to rest your bit of glass on and a leg to stand out behind, will
+do, and by all means get it made (fig. 23); but do not spend too much on
+it, for later on you will want a bigger and more complicated thing,
+which will be described in its proper place--that is to say, when we
+come to it; and we shall come to it when we come to deal with work made
+up of a number of pieces of glass, as all windows must be.
+
+[Illustration: FIG. 23.]
+
+This that you have now, not being a window but a bit of glass to
+practise on, what I have described above will do for it.
+
+_A note to be always industrious and to work with all your might._--I
+advise you to put this work on an easel; but this is not the way such
+work is usually done;--where the work is done as a task (alas, that it
+could ever be so!) it is held listlessly in the left hand while touched
+with the right; but no artist can afford to be at this disadvantage, or
+at any disadvantage.
+
+Fancy a surgeon having to hold the limb with one hand while he uses the
+lancet with the other, or an astronomer, while he makes his measurement,
+bunglingly moving his telescope by hand while he pursues his star,
+instead of having it driven by the clock!
+
+You cannot afford to be less keen or less in earnest, and you want both
+hands free--ay! more than this--your whole body free: you must not be
+lazy and sit glued to your stool; you must get up and walk backwards and
+forwards to look at your work. Do you think art is so easy that you can
+afford to saunter over it?
+
+Do, I beg you, dear reader, pay attention to these words; for it is true
+(though strange) that the hardest thing I have found in teaching has
+been to get the pupil to take the most reasonable care not to hamper and
+handicap himself by omitting to have his work comfortably and
+conveniently placed and his tools and materials in good order. You shall
+find a man going on painting all day, working in a messing, muddling
+way--wasting time and money--because his pigment has not been covered up
+when he left off work yesterday, and has got dusty and full of "hairs";
+another will waste hour after hour, cricking his neck and squinting at
+his work from a corner, when thirty seconds and a little wit would move
+his work where he would get a good light and be comfortable; or he will
+work with bad tools and grumble, when five minutes would mend his tools
+and make him happy.
+
+An artist's work--any artist's, but especially a glass-painter's--should
+be just as finished, precise, clean, and alert as a surgeon's or a
+dentist's. Have you not in the case of these (when the affair has not
+been too serious) admired the way in which the cool, white hands move
+about, the precision with which the finger-tips take up this or that,
+and when taken up use it "just _so_," neither more nor less: the
+spotlessness and order and perfect finish of every tool and material,
+from those fearsome things which (though you prefer not to dwell on
+their uses) you cannot help admiring, down to the snowy cotton-wool
+daintily poked ready through the holes in a little silver beehive? Just
+such skill, handling, and precision, and just such perfection of
+instruments, I urge as proper to painting.
+
+_What Tools are wanted to complete the Outline._--I will now describe
+those tools which you want at this stage, that is, _to mend your outline
+with_.
+
+[Illustration: FIG. 24.]
+
+You want the brush which you used in the first instance to paint it
+with, and that has already been described; but you also want points of
+various fineness to etch it away with where it is too thick; these are
+the needle and the stick (fig. 24); any needle set in a handle will do,
+but if you want it for fine work, take care that it be sharp. "How
+foolish," you say; "as if you need tell us that." On the contrary,--nine
+people out of ten need telling, because they go upon the assumption that
+a needle _must_ be sharp, "as sharp as a needle," and cannot need
+sharpening,--and they will go on for 365 days in a year wondering why a
+needle (which _must_ be sharp) should take out so much coarser a light
+than they want.
+
+Now as to "sticks"; if you make a point of soft wood it lasts for three
+or four touches and then gets "furred" at the point, and if of very hard
+wood it slips on the glass. Bamboo is good; but the best of all--that is
+to say for broad stick-lights--is an old, sable oil-colour brush,
+clogged with oil and varnish till it is as hard as horn and then cut to
+a point; this "clings" a little as it goes over the glass, and is most
+comfortable to use.
+
+I have no doubt that other materials may be equally good, celluloid or
+horn, for example; the student must use his own ingenuity on such a
+simple matter.
+
+_How to Complete the Outline._--With the tools above described complete
+the outline--by adding colour with the brush where the lines are too
+fine, and by taking it away with needle or stick where they are too
+coarse; make it by these means exactly like the copy, and this is all
+you need do. But as an example of the degree of correctness attainable
+(and therefore to be demanded) are here inserted two illustrations
+(figs. 25 and 26), one of the example used, and the other of a copy made
+from it by a young apprentice.
+
+[Illustration: FIG. 25.]
+
+[Illustration: FIG. 26.]
+
+
+
+
+CHAPTER IV
+
+     Matting--Badgering--How to preserve Correctness of
+     Outline--Difficulty of Large Work--Ill-ground Pigment--The
+     Muller--Overground Pigment--Taking out Lights--"Scrubs"--The Need
+     of a Master.
+
+
+Take your camel hair matting-brush (fig. 27 or 28); fill it with the
+pigment, try it on the slab of the easel till it seems just so full that
+the wash you put on will not run down till you have plenty of time to
+brush it flat with the badger (fig. 29).
+
+Have your badger ready at hand and _very clean_, for if there is any
+pigment on it from former using, that will spoil the very delicate
+operation you are now to perform.
+
+Now rapidly, but with a very light hand, lay an even wash over the whole
+piece of glass on which the outline is painted; use vertical strokes,
+and try to get the touches to just meet each other without overlapping;
+but there is a very important thing to observe in holding the brush. If
+you hold it so (fig. 30) you cannot properly regulate the pressure, and
+also the pigment runs away downwards, and the brush gets dry at the
+point; you must hold it so (fig. 31), then the curve of the hair makes
+the brush go lightly over the surface, while also, the body of the brush
+being pointed downwards, the point you are using is always being
+refilled.
+
+[Illustration: FIG. 27.]
+
+[Illustration: FIG. 28.]
+
+[Illustration: FIG. 29.]
+
+It takes a very skilful workman indeed to put the strokes so evenly side
+by side that the result looks flat and not stripy; indeed you can hardly
+hope to do so, but you can get rid of what "stripes" there are by taking
+your badger and "stabbing" the surface of the painting with it very
+rapidly, moving it from side to side so as never to stab twice in the
+same spot; this by degrees makes the colour even, by taking a little off
+the dark part and putting it on the light; but the result will look
+mottled, not flat and smooth. Sometimes this may be agreeable, it
+depends on what you are painting; but if you wish it to be smooth, just
+give a last stroke or two over the whole glass sideways, that is to say,
+holding the badger so that it stands quite perpendicular to the glass,
+move it, _always still perpendicular_, across the whole surface. You
+must not sway it from side to side, or kick it up at the end of each
+stroke like a man white-washing; it must move along so that the points
+of the hairs are all just lightly touching the glass all the time.
+
+[Illustration: FIG. 30.]
+
+_How to Ensure the Drawing of a Face being kept Correct while
+Painting._--If you adopt the plan of doing the first painting over an
+unfired outline, you must be very careful that the outline is not
+brushed out of drawing in the process. If you have sufficient skill it
+need not be so, for it is quite possible--if all the conditions as to
+adhesiveness are right--and if you are light-handed enough--to so lay
+and badger the "matt" that the outline beneath shall only be gently
+softened, and not blurred or moved from its place. But in any case the
+best plan is at the same time that you trace the outline of a head on to
+the glass to trace it also with equal care on to a piece of tracing
+paper, and arrange three or four well-marked points, such as the corner
+of the mouth, the pupil of the eye, and some point on the back of the
+head or neck, so that these cannot possibly shift, and that you may be
+able at any time to get the tracing back into its proper place, both on
+the cartoon and on the piece of glass on which you are to paint the
+head. On which piece of glass also your first care should be that these
+three or four points should be clearly marked and unmovable; then during
+the whole progress of the painting you will always be able to verify the
+correctness of the drawing by placing your piece of tracing paper over
+the glass, and so seeing that nothing has shifted its place.
+
+[Illustration: FIG. 31.]
+
+It requires a good deal of patience and practice to lay matt
+successfully over unfired outline. It is a question of the amount and
+quality of the gum, the condition of your brush, even the dryness or
+dampness of the air. You must try what degree of gum suits you best,
+both in the outline and in the matt which you are to pass over it. Try
+it a good many times on a slab of plain glass or on the plate of your
+easel first, before you try on your painting. Of course it's a much
+easier thing to matt successfully over a small piece than over a large.
+A head as big as the palm of your hand is not a very severe test of your
+powers; but in one as large as the _whole_ of your hand, say a head
+seven inches from crown to chin, the problem is increased quite
+immeasurably in difficulty. The real test is being able to produce in
+glass a real facsimile of a head by Botticelli or Holbein, and when you
+can do that satisfactorily you can do anything in glass-painting.
+
+Do not aim to get _too much_ in the first painting, at any rate not till
+you have had long practice. Be content if you get enough modelling on a
+head to turn the outline into a more sensitive and artistic drawing than
+it could be if planted down, raw and hard, upon the bare, cold glass.
+After all it is a common practice to fire the outline separately, and
+anything beyond this that you get upon the glass for first fire is so
+much to the good.
+
+But besides the quality of the _gum_ you will find sometimes differences
+in the quality or condition of the _pigment_. It may be insufficiently
+ground; in which case the matt, in passing over, will rasp away every
+vestige of the outline, so delicate a matter it is.
+
+You can tell when colour is not ground sufficiently by the way it acts
+when laid as a vertical wash. Lay a wash, moist enough to "run," on a
+bit of your easel-slab; it will run down, making a sort of
+seaweed-looking pattern--clear lanes of light on the glass with a black
+grain at the lower end. Those are the bits of unground material: under a
+100-diameter microscope they look like chunks of ironstone or road
+metal, or of rusty iron, and you'll soon understand why they have
+scratched away your tender outline.
+
+You must grind such colour till it is smooth, and an old-fashioned
+_granite_ muller is the thing, not a glass one.
+
+Now, after all this, how am I to excuse the paradox that it is possible
+to have the colour ground _too_ fine! All one can say is that you "find
+it so." It can be so fine that it seems to slip about in a thin, oily
+kind of way.
+
+It's all as you find it; the differences of a craft are endless; there
+is no forecasting of everything, and you must buy your experience, like
+everybody else, and find what suits you, learning your skill and your
+materials side by side.
+
+Now these are the chief processes of painting, as far as laying on
+colour goes; but you still have much of your work before you, for the
+way in which light and shade is got on glass is almost more in "taking
+off" than in "putting on." You have laid your dark "matt" all over the
+glass evenly; now the next thing is to remove it wherever you want light
+or half-tone.
+
+[Illustration: FIG. 32.]
+
+_How to Finish a Shaded Painting out of the Even Matt._--This is done in
+many ways, but chiefly with those tools which painters call "scrubs,"
+which are oil-colour hog-hair brushes, either worn down by use, or
+rubbed down on fine sandpaper till they are as stiff as you like them
+to be. You want them different in this: some harder, some softer; some
+round, some square, and of various sizes (figs. 32 and 33), and with
+these you brush the matt away gently and by degrees, and so make a light
+and shade drawing of it. It is exactly like the process of mezzotint,
+where, after a surface like that of a file has been laboriously produced
+over the whole copper-plate, the engraver removes it in various degrees,
+leaving the original to stand entirely only for the darkest of all
+shadows, and removing it all entirely only in the highest lights.
+
+[Illustration: FIG. 33.]
+
+There is nothing for this but practice; there is nothing more to _tell_
+about it; as the conjurers say, "That's how it's done." You will find
+difficulties, and as these occur you will think this a most defective
+book. "Why on earth," you will say, "didn't he tell us about this, about
+that, about the other?"
+
+Ah, yes! it is a most defective book; if it were not, I would have taken
+good care not to write it. For the worst thing that could happen to you
+would be to suppose that any book can possibly teach you any craft, and
+take the place of a master on the one hand, and of years of practice on
+the other.
+
+This book is not intended to do so; it is written to give as much
+information and to arouse as much interest as a book can; with the hope
+that if any are in a position to wish to learn this craft, and have not
+been brought up to it, they may learn, in general, what its conditions
+are, and then be able to decide whether to carry it further by seeking
+good teaching, and by laying themselves out for a patient course of
+study and practice and many failures and experiments. While, with regard
+to those already engaged in glass-painting, it is of course intended to
+arouse their interest in, and to give them information upon, those other
+branches of their craft which are not generally taught to those brought
+up as glass-painters.
+
+
+
+
+CHAPTER V
+
+     Cutting (advanced)--The Ideal Cartoon--The Cut-line--Setting the
+     Cartoon--Transferring the Cut-line to the Glass--Another Way--Some
+     Principles of Taste--Countercharging.
+
+
+We have only as yet spoken of the processes of cutting and painting in
+themselves, and as they can be practised on a single bit of glass; but
+now we must consider them as applied to a subject in glass where many
+pieces must be used. This is a different matter indeed, and brings in
+all the questions of taste and judgment which make the difference
+between a good window and an inferior one. Now, first, you must know
+that every differently coloured piece must be cut out by itself, and
+therefore must have a strip of lead round it to join it to the others.
+
+Draw a cartoon of a figure, _bearing this well in mind_: you must draw
+it in such a simple and severe way that you do not set impossible or
+needlessly difficult tasks to the cutter. Look now, for example, at the
+picture in Plate V. by Mr. Selwyn Image--how simple the cutting!
+
+You think it, perhaps, too "severe"? You do not like to see the leads so
+plainly. You would like better something more after the "Munich" school,
+where the lead line is disguised or circumvented. If so, my lesson has
+gone wrong; but we must try and get it right.
+
+You would like it better because it is "more of a picture"; exactly, but
+you ought to like the other better because it is "more of a window."
+Yes, even if all else were equal, you ought to like it better, _because_
+the lead lines cut it up. Keep your pictures for the walls and your
+windows for the holes in them.
+
+But all else is _not_ equal: and, supposing you now standing before a
+window of the kind I speak of, I will tell you what has been sacrificed
+to get this "picture-window" "like a picture." _Stained-glass_ has been
+sacrificed; for this is _not_ stained-glass, it is painted glass--that
+is to say, it is coloured glass ground up into powders and painted on to
+white sheets of glass: a poor, miserable substitute for the glorious
+colour of the deep amethyst and ruby-coloured glasses which it pretends
+to ape. You will not be in much danger of using it when you have handled
+your stained glass samples for a while and learned to love them. You will
+love them so much that you will even get to like the severe lead line
+which announces them for what they are.
+
+But you must get to reasonably love it as a craft limitation, a
+necessity, a thing which places bounds and limits to what you can do in
+this art, and prevents tempting and specious tricks.
+
+_How to Make a "Cut-line."_--But now, all this being granted, how are we
+to set about getting the pieces cut? First of all, I would say that it
+is always well to draw most, if not all, of the necessary lead lines on
+the cartoon itself. By the necessary lead lines I mean those which
+separate different colours; for you know that there _must_ be a
+lead line between these. Then, when these are drawn, it is a question of
+convenience whether to draw in also the more or less optional lead lines
+which break up each space of uniform colour into convenient-sized
+pieces. If you do not want your cartoon afterwards for any other purpose
+you may as well do so: that is, first "set" the cartoon if it is in
+charcoal or chalk, and then try the places for these lead lines lightly
+in charcoal over the drawing: working thus, you can dust them away time
+after time till they seem right to you, and then either set them also or
+not as you choose.
+
+A good, useful setting-mixture for large quantities is composed by
+mixing equal parts of "white polish" and methylated spirit; allowing it
+to settle for a week, and pouring off all that is clear. It is used in
+the ordinary way with a spray diffuser, and will keep for any length of
+time.
+
+The next step is to make what is called the cut-line. To do this, pin a
+piece of tracing-cloth over the whole cartoon; this can be got from any
+artist's-colourman or large stationer. Pin it over the cartoon with the
+dull surface outwards, and with a soft piece of charcoal draw lines 1/16
+to 1/8 of an inch wide down the centre of all the lead lines: remove the
+cloth from the cartoon, and if any of the lines look awkward or ugly,
+now that you see them by themselves undisguised by the drawing below,
+alter them, and then, finally, with a long, thin brush paint them in,
+over the charcoal, with water-colour lamp-black, this time a true
+sixteenth of an inch wide. Don't dust the charcoal off first, it makes
+the paint cling much better to the shiny cloth.
+
+When this is done, there is a choice of three ways for cutting the
+glass. One is to make shaped pieces of cartridge-paper as patterns to
+cut each bit of glass by; another is to place the bits of glass, one by
+one, over the cut-line and cut freehand by the line you see through the
+glass. This latter process needs no description, but you cannot employ
+it for dark glasses because you cannot see the line through: for this
+you must employ one of the other methods.
+
+_How to Transfer the Cutting-line on to the Glass._--Take a bit of glass
+large enough to cut the piece you want; place it, face upwards, on the
+table; place the cut-line over it in its proper place, and then slip
+between them, without moving either, a piece of black "transfer paper":
+then, with a style or hard pencil, trace the cutting-line down on to the
+glass. This will not make a black mark visible on the glass, it will
+only make a _grease_ mark, and that hardly visible, not enough to cut
+by; but take a soft dabber--a lump of cotton-wool tied up in a bit of
+old handkerchief--and with this, dipped in dry whitening or powdered
+white chalk, dab the glass all over; then blow the surface and you will
+see a clear white line where the whitening has stuck to the greasy line
+made by the transfer paper; and by this you can cut very comfortably.
+
+But a third way is to cut the shape of each piece of glass out in
+cartridge-paper; and to do this you put the cut-line down over a sheet
+of "continuous-cartridge" or "cartoon" paper, as it is called, and press
+along all the lines with a style or hard pencil, so as to make a furrow
+on the paper beneath; then, after removing the cut-line, you place a
+sheet of ordinary window-glass below the paper and cut out each piece,
+between the "furrows" leaving a _full_ 1/16 of an inch. This sixteenth
+of an inch represents the "heart" or core of the future _lead_; it is
+the distance which the actual bits of glass lie one from the other in
+the window. You must use a very sharp penknife, and you will find that,
+cutting against _glass_, each shape will have quite a smooth edge; and
+round this you can cut with your diamond.
+
+This method, which is far the most accurate and craftsmanly way of
+cutting glass, is best used with the actual diamond: in that case you
+feel the edge of the paper all the time with the diamond-spark; but in
+cutting with the wheel you must not rest against the edge of the paper;
+otherwise you will be sure to cut into it. Now, whichever of all these
+processes you employ, remember that there must be a _full_ 1/16 of an
+inch left between each piece of glass and all its neighbours.
+
+The reason why you leave this space between the pieces is that the core
+of the lead is about that or a little less in thickness: the closer the
+glass fits to this the better, but no part of the glass must go _nearer_
+to its neighbour than this, otherwise the work will be pressed outwards,
+and you will not be able to get the whole of the panel within its proper
+limits.
+
+[Illustration: FIG. 34]
+
+Fig. 34 is an illustration of various kinds and sizes of lead; showing
+some with the glass inserted in its place. By all means make your leads
+yourself, for many of those ready made are not lead at all, or not pure
+lead. Get the parings of sheet lead from a source you can trust, and
+cast them roughly in moulds as at fig. 35. Fig. 36 is the shears by
+which the strips may be cut; fig. 37 is the lead-mill or "vice" by which
+they are milled and run into their final shape; fig. 38 the "cheeks" or
+blocks through which the lead passes. The working of such an instrument
+is a thing that is understood in a few minutes with the instrument
+itself at hand, but it is cumbrous to explain in writing, and not worth
+while; since if you purchase such a thing, obviously the seller will be
+there to explain its use. Briefly,--the handle turns two wheels with
+milled edges 1/16 of an inch apart; which, at one motion, draw the lead
+between them, mill it, and force it between the two "cheeks" (fig. 38),
+which mould the outside of the lead in its passage. These combined
+movements, by a continuous pressure, squeeze out the strip of lead into
+about twice its length; correspondingly decreasing its thickness and
+finishing it as it goes.
+
+[Illustration: FIG. 35.]
+
+[Illustration: FIG. 36.]
+
+[Illustration: FIG. 37.]
+
+_Some principles of good taste and common sense with regard to the
+cutting up of a Window; according to which the Cartoon and Design must
+be modified._--Never disguise the lead line. Cut the necessary parts
+first, as I said before; cut the optional parts _simply_; thinking most
+of craft-convenience, and not much of realism.
+
+[Illustration: FIG. 38.]
+
+Do not, however, go to the extent of making two lead lines cross each
+other. Fig. 39 shows the two kinds of joint, A being the wrong one
+(as I hold), and B the right one; but, after all, this is partly a
+question of taste.
+
+Do not cut borders and other minor details into measured spaces; cut
+them hap-hazard.
+
+[Illustration: FIG. 39.]
+
+Do not cut leafage too much by the outlines of the groups of leaves--or
+wings by the outlines of the groups of feathers.
+
+Do not outline with lead lines any forms of minor importance.
+
+Do not allow the whole of any figure to cut out dark against light, or
+light against dark; but if the figure is ever so bright, let an inch or
+two of its outline tell out as a dark against a spot of still brighter
+light; and if it is ever so dark, be it red or blue as strong as may be,
+let an inch or two of its outline tell out against a still stronger dark
+in the background, if you have to paint it pitch-black to do so.
+
+By this "countercharging" (as heralds say), your composition will melt
+together with a pleasing mystery; for you must always remember that a
+window is, after all, only a window, it is not the church, and nothing
+in it should stare out at you so that you cannot get away from it;
+windows should "dream," and should be so treated as to look like what
+they are, the apertures to admit the light; subjects painted on a thin
+and brittle film, hung in mid-air between the light and the dark.
+
+
+
+
+CHAPTER VI
+
+     Painting (advanced)--Waxing-up--Cleanliness--Further Methods of
+     Painting--Stipple--Dry Stipple--Film--Effects of Distance--Danger
+     of Over-Painting--Frying.
+
+
+I have mentioned all these points of judgment and good taste we have
+just finished speaking of, because they are matters that must
+necessarily come before you at the time you are making the cartoon, the
+preliminary drawing of the window, and before you come to handle the
+glass at all.
+
+But it is now necessary to tell you how the whole of the glass, when it
+is cut, must be fixed together, so that you can both see it and paint
+upon it as a whole picture. This is done as follows:--
+
+First place the cut-line (for the making of which you have already had
+instructions) face upwards on the bench, and over it place a sheet of
+glass, as large at least as the piece you mean to paint. Thick
+window-glass, what glass-makers call "thirty-two ounce sheet"--that is,
+glass that weighs about thirty-two ounces to the square foot--will do
+well enough for very small subjects, but for anything over a few square
+feet, it is better to use thin plate-glass. This is expensive, but you
+do not want the best; what is called "patent plate" does quite well, and
+cheap plate-glass can often be got to suit you at the salvage stores,
+whither it is brought from fires.
+
+Having laid your sheet of glass down upon the cut-line, place upon it
+all the bits of glass in their proper places; then take beeswax (and by
+all means let it be the best and purest you can get; get it at a
+chemist's, not at the oil-shop), and heat a few ounces of it in a
+saucepan, and _when all of it is melted_--not before, and as little
+after as may be--take any convenient tool, a penknife or a strip of
+glass, and, dipping it rapidly into the melted wax, convey it in little
+drops to the points where the various bits of glass meet each other,
+dropping a single drop of wax at each joint. It is no advantage to have
+any extra drops along the _sides_ of the bits; if each _corner_ is
+properly secured, that is all that is needed (fig. 40).
+
+Some people use a little resin or tar with the wax to make it more
+brittle, so that when the painting is finished and the work is to be
+taken down again off the plate, the spots of wax will chip off more
+easily. I do not advise it. Boys in the shop who are just entering their
+apprenticeship get very skilful, and quite properly so, in doing this
+work; waxing up yard after yard of glass, and never dropping a spot of
+wax on the surface.
+
+It is much to be commended: all things done in the arts should be done
+as well as they can be done, if only for the sake of character and
+training; but in this case it is a positive advantage that the work
+should be done thus cleanly, because if a spot of wax is dropped on the
+surface of the glass that is to be painted on, the spot must be
+carefully scraped off and every vestige of it removed with a wet duster
+dipped in a little grit of some kind--pigment does well--otherwise the
+glass is greasy and the painting will not adhere.
+
+[Illustration: FIG. 40.]
+
+For the same reason the wax-saucepan should be kept very clean, and the
+wax frequently poured off, and all sediment thrown away. A bit of
+cotton-fluff off the duster is enough to drag a "lump" out on the end of
+the waxing-tool, which, before you have time to notice it, will be
+dribbling over the glass and perhaps spoiling it; for you must note that
+sometimes it is necessary to re-wax down _unfired_ work, which a drop of
+wax the size of a pinhole, flirted off from the end of the tool, will
+utterly ruin. How important, then, to be cleanly.
+
+And in this matter of removing such spots from _fired_ work, do please
+note that you should _use the knife and the duster alternately_ for
+_each spot_. Do not scrape a batch of the spots off first and then go
+over the ground again with the duster--this can only save a second or
+two of time, and the merest fraction of trouble; and these are ill saved
+indeed at the cost of doing the work ill. And you are sure to do it so,
+for when the spot is scraped off it is very difficult to see where it
+was; you are sure to miss some, in going over the glass with a duster,
+and you will discover them again, to your cost and annoyance, when you
+matt over them for the second painting: and, just when you cannot afford
+to spare a single moment--in some critical process--they will come out
+like round o's in the middle of your shading, compelling you to break
+off your work and do now what should have been done before you began to
+paint.
+
+But the best plan of all is to avoid the whole thing by doing the work
+cleanly from the first. And it is quite easy; for all you have to do is
+to carry the tool horizontally till it is over the spot where you want
+the wax, and then, by a tilt of the hand, slide the drop into its place.
+
+_Further Methods of Painting._--There are two chief methods of treating
+the matt--one is the "stipple," and the other the "film" or badgered
+matt.
+
+_The Stipple._--When you have put on your matt with the camel-hair
+brush, take a stippling brush (fig. 41) and stab the matt all over with
+it while it is wet. A great variety of texture can be got in this way,
+for you may leave off the process at any moment; if you leave it off
+soon, the work will be soft and blurred, for, not being dry, the pigment
+will spread again as soon as you leave off: but, if you choose, you can
+go on stippling till the whole is dry, when the pigment will gather up
+into little sharp spots like pepper, and the glass between them will be
+almost clear. You must bear in mind that you cannot use scrubs over work
+like the last described, and cannot use them to much advantage over
+stipple at all. You can draw a needle through; but as a rule you do not
+want to take lights out of stipple, since you can complete the shading
+in the single process by stippling more or less according to the light
+and shade you want.
+
+[Illustration: FIG. 41.]
+
+A very coarse form of the process is "dry" stippling, where you stipple
+straight on to the surface of the clear glass, with pigment taken up off
+the palette by the stippling brush itself: for coarse distant work this
+may be sometimes useful.
+
+Now as to film. We have spoken of laying on an even matt and badgering
+it smooth; and you can use this with a certain amount of stipple also
+with very good effect; but you are to notice one great rule about these
+two processes, namely, that the same amount of pigment _obscures much
+more light used in film than used in stipple_.
+
+Light _spreads_ as it comes through openings; and a very little light
+let, in pinholes, through a very dark matt, will, at a distance, so
+assert itself as to prevail over the darkness of the matt.
+
+It is really very little use going on to describe the way the colour
+acts in these various processes; for its behaviour varies with every
+degree of all of them. One may gradually acquire the skill to combine
+all the processes, in all their degrees, upon a single painting; and the
+only way in which you can test their relative value, either as texture
+or as light and shade, is to constantly practise each process in all its
+degrees, and see what results each has, both when seen near at hand and
+also when seen from a distance. It is useless to try and learn these
+things from written directions; you must make them your own, as precious
+secrets, by much practice and much experiment, though it will save you
+years of both to learn under a good master.
+
+But this question of distance is a most important thing, and we must
+enlarge upon it a little and try to make it quite clear.
+
+Glass-painting is not like any other painting in this respect.
+
+Let us say that you see an oil-painting--a portrait--at the end of the
+large room in some big Exhibition. You stand near it and say, "Yes, that
+is the King" (or the Commander-in-Chief), "a good likeness; however do
+they do those patent-leather boots?" But after you have been down one
+side of the room and turn round at the other end to yawn, you catch
+sight of it again; and still you say, "Yes, it's a good likeness," and
+"really those boots are very clever!" But if it had been your own
+painting on _glass_, and sitting at your easel you had at last said,
+"Yes,--_now_ it's like the drawing--_that's_ the expression," you could
+by no means safely count on being able to say the same at all distances.
+You may say it at ten feet off, at twenty, and yet at thirty the shades
+may all gather together into black patches; the drawing of the eyelids
+and eyes may vanish in one general black blot, the half-tones on the
+cheeks may all go to nothing. These actual things, for instance, _will_
+be the result if the cheeks are stippled or scrubbed, and the shade
+round the eyes left as a _film_--ever so slight a film will do it. Seen
+near, you _see the drawing through the film_; but as you go away the
+light will come pouring stronger and stronger through the brush or
+stipple marks on the cheeks, until all films will cut out against it
+like black spots, altering the whole expression past recognition.
+
+Try this on simple terms:--
+
+Do a face on white glass in strong outline only: step back, and the face
+goes to nothing; strengthen the outline till the forms are quite
+monstrous--the outline of the nose as broad as the bridge of it--still,
+at a given distance, it goes to nothing; the expression varies every
+step back you take. But now, take a matting brush, with a film so thin
+that it is hardly more than dirty water; put it on the back of the glass
+(so as not to wash up your outline); badger it flat, so as just to dim
+the glass less than "ground glass" is dimmed;--and you will find your
+outline look almost the same at each distance. It is the pure light that
+plays tricks, and it will play them through a pinhole.
+
+And now, finally, let us say that you may do anything you _can_ do in
+the painting of glass, so long as you do not lay the colour on too
+thick. The outline-touches should be flat upon the glass, and above all
+things should not be laid on so wet, or laid on so thick, that the
+pigment forms into a "drop" at the end of the touch; for this drop, and
+all pigment that is thick upon the glass like that, will "fry" when it
+is put into the kiln: that is to say, being so thick, and standing so
+far from the surface of the glass, it will fire separately from the
+glass itself and stand as a separate crust above it, and this will
+perish.
+
+Plate IX. shows the appearance of the bubbles or blisters in a bit of
+work that has fried, as seen under a microscope of 20 diameters; and if
+you are inclined to disregard the danger of this defect as seen of its
+natural size, when it is a mere roughness on the glass, what do you
+think of it _now_? You can remove it at once by scraping it with a
+knife; and indeed, if through accident a touch here and there does fry,
+it is your only plan to so remove it. All you can scrape off should be
+scraped off and repainted every time the glass comes from the kiln; and
+that brings us to the important question of _firing_.
+
+
+
+
+CHAPTER VII
+
+     Firing--Three Kinds of Kiln--Advantages and Disadvantages--The
+     Gas-Kiln--Quick Firing--Danger--Sufficient Firing--Soft
+     Pigments--Difference in Glasses--"Stale" Work--The Scientific
+     Facts--How to Judge of Firing--Drawing the Kiln.
+
+
+The way in which the painting is attached to the glass and made
+permanent is by firing it in a kiln at great heat, and thus fusing the
+two together.
+
+Simple enough to say, but who is to describe in writing this process in
+all its forms? For there is, perhaps, nothing in the art of
+stained-glass on which there is greater diversity of opinion and
+diversity of practice than this matter of firing. But let us make a
+beginning by saying that there are, it may be said, three chief
+modifications of the process.
+
+First, the use of the old, closed, coke or turf kiln.
+
+Second, of the closed gas-kiln.
+
+And third, of the open gas-kiln.
+
+The first consists of a chamber of brick or terra-cotta, in which the
+glass is placed on a bed of powdered whitening, on iron plates, one
+above another like shelves, and the whole enclosed in a chamber where
+the heat is raised by a fire of coke or peat.
+
+This, be it understood, is a slow method. The heat increases gradually,
+and applies to the glass what the kiln-man calls a "good, soaking heat."
+The meaning of this expression, of course, is that the gradual heat
+gives time for the glass and the pigment to fuse together in a natural
+way, more likely to be good and permanent in its results than a process
+which takes a twentieth part of the time and which therefore (it is
+assumed) must wrench the materials more harshly from their nature and
+state.
+
+There are, it must be admitted, one or two things to be said for this
+view which require answering.
+
+First, that this form of kiln has the virtue of being old; for in such a
+thing as this, beyond all manner of doubt, was fired all the splendid
+stained-glass of the Middle Ages.
+
+Second, that by its use one is entirely preserved from the dangers
+attached to the _misuse_ of the gas-kiln.
+
+But the answers to these two things are--
+
+First, that the method employed in the Middle Ages did not invariably
+ensure permanence. Any one who has studied stained-glass must be
+familiar with cases in which ancient work has faded or perished.
+
+The second claim is answered by the fact, I think beyond dispute, that
+all objections to the use of the gas-kiln would be removed if it were
+used properly; it is not the use of it as a process which is in itself
+dangerous, but merely the misuse of it. People must be content with what
+is reasonable in the matter; and, knowing that the gas-kiln is spoken of
+as the "quick-firing" kiln, they must not insist on trying to fire _too_
+quick.
+
+Now I have the highest authority (that of the makers of both kiln and
+pigment) to support my own conviction, founded on my own experience, in
+what I am here going to say.
+
+Observe, then, that up to the point at which actual fusion
+commences--that is, when pigment and glass begin to get soft--there is
+no advantage in slowness, and therefore none in the use of fuel as
+against gas--no possible _disadvantage_ as far as the work goes: only it
+is time wasted. But where people go wrong is in not observing the vital
+importance of proceeding gently when fusion _does_ commence. For in the
+actual process of firing, when fusion is about to commence, it is indeed
+all-important to proceed gently; otherwise the work will "fry," and, in
+fact, it is in danger from a variety of causes. Make it, then, your
+practice to aim at twenty to twenty-five minutes, instead of ten or
+twelve, as the period during which the pigment is to be fired, and
+regulate the amount of heat you apply by that standard. The longer
+period of moderate heat means safety. The shorter period of great heat
+means danger, and rather more than danger.
+
+Fig. 42 is the closed gas-kiln, where the glass is placed in an enclosed
+chamber; fig. 43 is the open gas-kiln, where the gas plays on the roof
+of the chamber in which the glass lies; fig. 44 shows this latter. But
+no written description or picture is really sufficient to make it safe
+for you to use these gas-kilns. You would be sure to have some serious
+accident, probably an explosion; and as it is absolutely necessary for
+you to have instruction, either from the maker or the experienced user
+of them, it is useless for me to tell lamely what they could show
+thoroughly. I shall therefore leave this essentially technical part of
+the subject, and, omitting these details, speak of the few _principles_
+which regulate the firing of glass.
+
+[Illustration: FIG. 42.]
+
+[Illustration: FIG. 43.]
+
+[Illustration: FIG. 44.]
+
+And the first is to _fire it enough_. Whatever pigment you use, and with
+whatever flux, none will be permanent if the work is under-fired; indeed
+I believe that under-firing is far more the cause of stained-glass
+perishing than the use of untrustworthy pigment or flux; although it
+must always be borne in mind that the use of a soft pigment, which will
+"fire beautifully" at a low heat, with a fine gloss on the surface, is
+always to be avoided. The pigment is fused, no doubt; but is it united
+to the glass? What one would like to have would be a pigment whose own
+fusing-point was the same, or about the same, as that of the glass
+itself, so that the surface, at least, of the piece of glass softens to
+receive it and lets it right down into itself. You should never be
+satisfied with the firing of your glass unless it presents two
+qualifications: first, that the surface of the glass has melted and
+begun to run together; and second, that the fused pigment is quite
+glossy and shiny, not the least dull or rusty looking, when the glass is
+cool.
+
+"What one would like to have."
+
+And can you not get it?
+
+Well, yes! but you want experience and constant watchfulness--in short,
+"rule of thumb." For every different glass differs in hardness, and you
+never know, except by memory and constant handling of the stuff, exactly
+what your materials are going to do in the kiln; for as to
+standardising, so as to get the glass into any known relation with the
+pigment in the matter of fusing, the thing has never, as far as I know,
+been attempted. It probably could not be done with regard to all, or
+even many, glasses--nor need it; though perhaps it might be well if a
+nearer approach to it could be achieved with regard to the manufacture
+of the lighter tinted glasses, the "whites" especially, on which the
+heads and hands are painted, and where consequently it is of such vital
+importance that the painting should have careful justice done to it, and
+not lose in the firing through uncertainty with regard to conditions.
+
+Nevertheless, if you observe the rule to fire sufficiently, the worst
+that can happen is a disappointment to yourself from the painting having
+to an unnecessary extent "fired away" in the kiln. You must be patient,
+and give it a second painting; and as to the "rule of thumb," it is
+surprising how one gets to know, by constant handling the stuff, how the
+various glasses are going to behave in the fire. It was the method of
+the Middle Ages which we are so apt to praise, and there is much to be
+said for practical, craftsmanly experience, especially in the arts, as
+against a system of formulas based on scientific knowledge. It would be
+a pity indeed to get rid of the accidental and all the delight which it
+brings, and we must take it with its good and bad.
+
+The second rule with regard to the question of firing is to take care
+that the work is not "stale" when it goes into the kiln. Every one will
+tell you a different tale about many points connected with glass, just
+as doctors disagree in every affair of life. In talking over this matter
+of keeping the colour fresh--even talking it over with one's practical
+and experienced friends generally--one will sometimes hear the remark
+that "they don't see that delay can do it much harm;" and when one asks,
+"Can it do it any good?" the reply will be, "Well, probably it would be
+as well to fire it soon;" or in the case of mixing, "To use it fresh."
+Now, if it would be "as well"--which really means "on the safe
+side"--then that seems a sufficient reason for any reasonable man.
+
+But indeed I have always found it one of the chiefest difficulties with
+pupils to get them to take the most reasonable precautions to _make
+quite sure_ of _anything_. It is just the same with matters of
+measurement, although upon these such vital issues depend. How weary one
+gets of the phrase "it's not far out"--the obvious comment of a
+reasonable man upon such a remark, of course, being that if it is out
+_at all_ it's, at any rate, _too_ far out. A French assistant that I had
+once used always to complain of my demanding (as he expressed it) such
+"rigorous accuracy." But there are only two ways--to be accurate or
+inaccurate; and if the former is possible, there is no excuse for the
+latter.
+
+But as to this question of freshness of colour, which is of such
+paramount importance, I may quote the same authority I used before--that
+of the _maker of the colour_--to back my own experience and previous
+conviction on the point, which certainly is that fresh colour, used the
+same day it is ground and fired the same day it is used, fires better
+and fires away less than any other.
+
+The facts of the case, scientifically, I am assured, are as follows. The
+pigment contains a large amount of soft glass in a very fine state of
+division, and the carbonic acid, which all air contains (especially that
+of workshops), will immediately begin to enter into combination with the
+alkalis of the glass, throw out the silica, and thus disintegrate what
+was brought together in the first instance when the glass was made. The
+result of this is that this intruder (the carbonic acid) has to be
+driven out again by the heat of the kiln, and is quite likely to disturb
+the pigment in every possible way in the process of its escape. I have
+myself sometimes noticed, when some painted work has been laid aside
+unusually long before firing, some white efflorescence or
+crystallisation taking place and coming out as a white dust on the
+painted surface.
+
+Now it is not necessary to know here, in a scientific or chemical sense,
+what has actually taken place. Two things are evident to common sense.
+One, that the change is organic, and the other that it is
+unpremeditated; and therefore, on both grounds, it is a thing to avoid,
+which indeed my friend's scientific explanation sufficiently confirms.
+It is well, therefore, on all accounts to paint swiftly and
+continuously, and to fire as soon as you can; and above all things not
+to let the colour lie about getting stale on the palette. Mix no more
+for the day than you mean to use; clean your palette every day or nearly
+so; work up all the colour each time you set your palette, and do not
+give way to that slovenly and idle practice that is sometimes seen, of
+leaving a crust of dry colour to collect, perhaps for days or weeks,
+round the edge of the mass on your palette, and then some day, when the
+spirit moves you, working this in with the rest, to imperil the safety
+of your painting.
+
+_How to Know when the Glass is Fired Sufficiently._--This is told by the
+colour as it lies in the kiln--that is, in such a kiln that you can see
+the glass; but who can describe a colour? You have nothing for this but
+to buy your experience. But in kilns that are constructed with a
+peephole, you can also tell by putting in a bright iron rod or other
+shining object and holding it over the glass so as to see if the glass
+reflects it. If the pigment is raw it will (if there is enough of it on
+the glass to cover the surface) prevent the piece of glass from
+reflecting the rod; but directly it is fired the pigment itself becomes
+glossy, and then the surface will reflect.
+
+This is all a matter of practice; nothing can describe the "look" of a
+piece of glass that is fired. You must either watch batch after batch
+for yourself and learn by experience, or get a good kiln-man to point
+out fired and unfired, and call your attention to the slight shades of
+colour and glow which distinguish one from the other.
+
+_On Taking the Glass out of the Fire._--And so you take the glass out of
+the fire. In the old kilns you take the fire away from the glass, and
+leave the glass to cool all night or so; in the new, you remove it and
+leave it in moderate heat at the side of the kiln till it is cool enough
+to handle, or nearly cold. And then you hold it up and look at it.
+
+
+
+
+CHAPTER VIII
+
+     The Second Painting--Disappointment with Fired Work--A False
+     Remedy--A Useful Tool--The Needle--A Resource of Desperation--The
+     Middle Course--Use of the Finger--The Second Painting--Procedure.
+
+
+And when you have looked at it, as I said just now you should do, your
+first thought will be a wish that you had never been born. For no one, I
+suppose, ever took his first batch of painted glass out of the kiln
+without disappointment and without wondering what use there is in such
+an art. For the painting when it went in was grey, and silvery, and
+sharp, and crisp, and firm, and brilliant. Now all is altered; all the
+relations of light and shade are altered; the sharpness of every
+brush-mark is gone, and everything is not only "washed out" to half its
+depth, but blurred at that. Even if you could get it, by a second
+painting, to look exactly as it was at first, you think: "What a waste
+of life! I thought I had done! It was _right_ as it was; I was pleased
+so far; but now I am tired of the thing; I don't want to be doing it all
+over again."
+
+Well, my dear reader, I cannot tell you a remedy for this state of
+things--it is one of the conditions of the craft; you must find by
+experience what pigment, and what glass, and what style of using them,
+and what amount of fire give the least of these disappointing results,
+and then make the best of it; and make up your mind to do without
+certain effects in glass, which you find are unattainable.
+
+There is, however, one remedy which I suppose all glass-painters try,
+but eventually discard. I suppose we have all passed through the stage
+of working very dark, to allow for the firing-off; and I want to say a
+word of warning which may prevent many heartaches in this matter. I
+having passed through them all, there is no reason why others should.
+Now mark very carefully what follows, for it is difficult to explain,
+and you cannot afford to let the sense slip by you.
+
+I told you that a film left untouched would always come out as a black
+patch against work that was pierced with the scrub, however slightly.
+
+Now, herein lies the difficulty of working with a very thick matt; for
+if it is thick enough on the cheek and brow of a face to give strong
+modelling when fired, _then whenever it has passed over the previous
+outline-painting, for example, in the eyes, mouth, nostrils, &c., you
+will find that the two together have become too thick for the scrub to
+move._
+
+Now you do not need, as an artist, to be told that it is fatal to allow
+_any_ part of your painting to be thus beyond your control; to be
+obliged to say, "It's too dark, but unfortunately I have no tools that
+will lighten it--it will not yield to the scrub."
+
+However, a certain amount can be done in this direction by using, on the
+shadows that are _just_ too strong for the scrub, a tool made by
+grinding down on sandpaper a large hog-hair brush, and, of these, what
+are called stencil-brushes are as good as any (fig. 45).
+
+You do not use this by dragging it over the glass as you drag a scrub,
+but by _pricking_ the whole of the surface which you wish to lighten.
+This will make little pinholes all over it, which will be sufficient to
+let the patch of shadow gently down to the level of the surrounding
+lighter modelling, and will prevent your dark shadows looking like
+actual "patches," as we described them doing a little way back.
+
+[Illustration: FIG. 45.]
+
+Further than this you cannot go: for I cannot at all see how the next
+process I am to describe can be a good one, though I once thought, as I
+suppose most do, that it would really solve the difficulty. What I
+allude to is the use of the needle.
+
+_Of Work Etched out with a Needle._--The needle is a very good and
+useful tool for stained glass, in certain operations, but I am now to
+speak of it as being used over whole areas _as a substitute for the
+scrub, in order to deal with a matt too dense for the scrub to
+penetrate._
+
+The needle will, to be sure, remove such a matt; that is to say, will
+remove lines out of it, quite clear and sharp, and this, too, out of a
+matt so dense, that what remains does not fire away much in the kiln.
+Here is a tempting thing then! to have one's work unchanged by the fire!
+And if you could achieve this without changing the character of the work
+for the worse, no doubt this method would be a very fine thing. But let
+me trace it step by step and try to describe what happens.
+
+You have painted your outline and you put a very heavy matt over it.
+
+Peril No. 1.--If your matt is so dense that it will not _fire off_, it
+must very nearly approach the point of density at which it will _fry_.
+How then about the portions of it which have been painted on, as I have
+said, over _another_ layer of pigment in the shape of the _outline_?
+Here is a _danger_. But even supposing that all is safe, and that you
+have just stopped short of the danger point. You have now your dense,
+rich, brown matt, with the outline just showing through it. Proceed to
+model it with the needle. The first stroke will really frighten you; for
+a flash of silver light will spring along after the point of the needle,
+so dazzling in contrast to the extreme dark of the matt that it looks as
+if the plate had been cut in two, while the matt beside it becomes
+pitch-black by contrast. Well, you go on, and by putting more strokes,
+and reducing the surrounding darkness generally, you get the drawing to
+look grey--but you get it to look like a grey _pen-drawing_ or
+_etching_, not like a painting at all. We will suppose that this seems
+to you no disadvantage (though I must say, at once, that I think it a
+very great one); but now you come to the deep shadows; and these, I need
+hardly say, cut themselves out, more than ever, like dark patches or
+blots, in the manner already spoken of. You try pricking it with the
+brush I have described for that operation, and it will not do it; then
+you resort to the needle itself, and you are startled at the little,
+hard, glittering specks that come jumping out of the black shadow at
+each touch. You get a finer needle, and then you sharpen even that on
+the hone; and perhaps then, by pricking gingerly round the edges of the
+shadows, you may get the drawing and modelling to melt together fairly
+well. But beware! for if there is one dot of light too many, the
+expression of the head goes to the winds. Let us say that such a thing
+occurs; you have pricked one pinhole too many round the corner of the
+mouth.
+
+What can you do?
+
+You take your tracing-brush and try to mend it with a touch of pigment;
+and so on, and so on; till you timidly say (feeling as if you had been
+walking among egg-shells for the last hour), "Well, I _think_ it will
+_do_, and I daren't touch it any more." And supposing by these means you
+get a head that looks really what you wanted; the work is all what
+glass-painters call "rotten"; liable to flake off at the least touch;
+isolated bits of thick crust, cut sheer out from each other, with clear
+glass between.
+
+In short, the thing is a niggling and botching sort of process to my
+mind, and I hope that the above description is sufficiently life-like to
+show that I have really given it a good trial myself--with, as a result,
+the conclusion certainly strongly borne home to me, that the delight of
+having one's work unchanged by the fire is too dearly purchased at the
+cost of it.
+
+_How to get the greatest degree of Strength into your Painting without
+Danger._--Short of using a needle then, and a matt that will only yield
+to that instrument, I would advise, if you want the work strong, that
+you should paint the matt so that it will just yield, and only just, and
+that with difficulty, to the scrub; and, before you use this tool, just
+pass the finger, lightly, backwards and forwards over the matted
+surface. This will take out a shimmer of light here and there, according
+to the inequalities of the texture in the glass itself; the first
+touches of the scrub will not then look so startling and hard as if
+taken out of the dead, even matt; and also this rubbing of the finger
+across the surface seems to make the matt yield more easily to the tool.
+The dust remaining on the surface perhaps helps this; anyhow, this is as
+far as you can go on the side of strength in the work. You can of course
+"back" the work, that is, paint on the back as well as the front--a mere
+film at the back; but this is a method of a rather doubtful nature. The
+pigment on the back does not fire equally well with that on the front,
+and when the window is in its place, that side will be, you must bear in
+mind, exposed to the weather.
+
+I have spoken incidentally of rubbing the glass with the finger as a
+part of painting; but the practice can be carried further and used more
+generally than I have yet said: the little "pits" and markings on the
+surface of the glass, which I mentioned when I spoke of the "right and
+wrong sides" of the material, can be drawn into the service of the
+window sometimes with very happy effect. Being treated with matt and
+then rubbed with the finger, they often produce very charming varieties
+of texture on the glass, which the painter will find many ways of making
+useful.
+
+_Of the Second Painting of Glass after it has been Fired._--So far we
+have only spoken of the appearance of work after its first fire, and its
+influence upon choice of method for _first painting_; but there is of
+course the resource which is the proper subject of this chapter, namely,
+the second painting.
+
+Very small work can be done with one fire; but only very skilful
+painters can get work, on any large scale, strong enough for one fire to
+serve, and that only with the use of backing. Of course if very faint
+tones of shadow satisfy you, the work can be done with one fire; but if
+it is well fired it must almost of necessity be pale. Some people like
+it so--it is a matter of taste, and there can be no pronouncement made
+about it; but if you wish your work to look strong in light and
+shade--stronger than one painting will make it--I advise you, when the
+work comes back from the fire and is waxed up for the second time
+(which, in any case, it assuredly should be, if only for your judgment
+upon it), to proceed as follows.
+
+First, with a tracing-brush, go over all the lines and outlined shadows
+that seem too weak, and then, when these touches are quite dry, pass a
+thin matt over the whole, and with stippling-brushes of various sizes,
+stipple it nearly all away while wet. You will only have about five
+minutes in which to deal with any one piece of glass in this way, and in
+the case of a head, for example, it needs a skilful hand to complete it
+in that short space of time. The best plan is to make several "shots" at
+it; if you do not hit the mark the first time, you may the second or the
+third. I said "stipple it nearly all away"; but the amount left must be
+a matter of taste; nevertheless, you must note that if you do not remove
+enough to make the work look "silvery," it is in danger of looking
+"muddy." All the ordinary resources of the painter's art may be brought
+in here: retouching into the half-dry second matt, dabbing with the
+finger--in short, all that might be done if the thing were a
+water-colour or an oil-painting; but it is quite useless to attempt to
+describe these deftnesses of hand in words: you may use any and every
+method of modifying the light and shade that occurs to you.
+
+
+
+
+CHAPTER IX
+
+     Of Staining and Aciding--Yellow Stain--Aciding--Caution required in
+     Use--Remedy for Burning--Uses of Aciding--Other Resources of
+     Stained-Glass Work.
+
+
+Yellow stain, or silver stain as some call it, is made in various ways
+from silver--chloride, sulphate, and nitrate, I understand, are all
+used. The stain is laid on exactly like the pigment, but at the back of
+the glass. It does not work very smoothly, and some painters like to mix
+it with Venice turpentine instead of water to get rid of this defect;
+whichever you use, keep a separate set of tools and a separate palette
+for it, and always keep them clean and the stain fresh mixed. Also you
+should not fire it with so strong a heat, and therefore, of course, you
+should never fire pigment and stain in the same batch in the kiln;
+otherwise the stain will probably go much hotter in colour than you
+wish, or will get muddy, or will "metal" as painters call it--that is,
+get a horny, burnt-sienna look instead of a clear yellow.
+
+_How to Etch the Flash off a Flashed Glass with Acid._--There is only
+one more process, having to do with painting, which I shall describe,
+and that is "aciding." By this process you can etch the flash off the
+flashed glasses where you like. The process is the same as etching--you
+"stop-out" the parts that you wish to remain, just as in etching; but
+instead of putting the stopping material over the whole bit of glass and
+then scratching it off, as you do in copper-plate etching, it is better
+for the most part to paint the stopping on where you want it, and this
+is conveniently done with Brunswick black, thinned down with turpentine;
+if you add a little red lead to it, it does no harm. You then treat it
+to a bath of fluoric acid diluted with water and placed in a leaden pan;
+or, if it is only a touch you want, you can get it off with a mop of
+cotton-wool on a stick, dipped in the undiluted acid; but be careful of
+the fumes, for they are very acrid and disagreeable to the eyes and
+nose; take care also not to get the acid on your finger-ends or nails,
+especially into cuts or sore places. For protection, india-rubber
+finger-stalls for finger and thumb are very good, and you can get these
+at any shop where photographic materials are sold. If you do get any of
+the acid on to your hands or into a cut, wash them with diluted
+carbonate of soda or diluted ammonia. The acid must be kept in a
+gutta-percha bottle.
+
+When the aciding is done, as far as you want it, the glass must be
+thoroughly rinsed in several waters; do not leave any acid remaining, or
+it will continue to act upon the glass. You must also be careful not to
+use this process in the neighbourhood of any painted work, or, in short,
+in the neighbourhood of any glass that is of consequence, the fumes from
+the acid acting very strongly and very rapidly. This process, of course,
+may be used in many ways: you can, by it, acid out a diaper pattern, red
+upon white, white upon red; and blue may be treated in the same fashion;
+the white lights upon steel armour, for instance, may be obtained in
+this way with very telling effect, getting indeed the beautiful
+combination of steely blue with warm brown which we admire so in
+Burne-Jones cartoons; for the brown of the pigment will not show warm on
+the blue, but will do so directly it passes on to the white of the
+acided parts. This is the last process I need describe; the many little
+special refinements to be got by playing games with the lead lines; by
+thickening and thinning them; by _doubling_ glass, to get depth and
+intensity, or to blend new tints;--these and such like are the things
+that any artist _who does his own work and practises his own craft_ can
+find out, and ought to find out, and is bound to find out, for
+himself--they are the legitimate reward of the hand and heart labour
+spent, as a craftsman spends them, upon the material. Suffice it to say
+that in spite of the great skill which has been employed upon
+stained-glass, ancient and modern, and employed in enormous amount; and
+in spite of the great and beautiful results achieved; we may yet look
+upon stained-glass as an art in which there are still new provinces to
+explore--walking upon the old paths, guided by the old landmarks, but
+gathering new flowers by the way.
+
+We must now, then, turn our attention to the mechanical processes by
+which the stained-glass window is finished off.
+
+
+
+
+CHAPTER X
+
+     Leading-Up and Fixing--Setting out the Bench--Relation of Leading
+     to mode of Fixing in the Stone--Process of Fixing--Leading-Up
+     Resumed--Straightening the Lead--The "Lathykin"--The
+     Cutting-Knife--The Nails--The Stopping-Knife--Knocking Up.
+
+
+You first place your cut-line, face upward, upon the bench, and pin it
+down there. You next cut two "straight-edges" of wood, one to go along
+the base line of the section you mean to lead up, and the other along
+the side that lies next to you on the bench as you stand at work; for
+you always work _from one side_, as you will soon see. And it is
+important that you should get these straight-edges at a true right
+angle, testing them carefully with the set-square. Fig. 46 represents a
+bench set out for leading-up.
+
+You must now build the glass together, as a child puts together his
+puzzle-map, one bit at a time, working from the base corner that is
+opposite your left hand.
+
+But first of all you must place a strip of extra wide and flat lead
+close against each of your straight-edges, so that the core of the lead
+corresponds with the outside line of your work.
+
+[Illustration: FIG. 46.]
+
+It will be right here to explain what relation the extreme outside
+measurement of your work should bear to the daylight sizes of the
+openings that it has to fill. I think we may say that, whatever the
+"mouldings" may be on the stone, there is always a flat piece at exact
+right angles to the face of the wall in which the window stands, and it is
+in this flat piece that the groove is cut to receive the glass (fig. 47).
+
+[Illustration: FIG. 47.]
+
+Now, as the glazed light has to _fill_ the daylight opening, there must
+obviously be a piece beyond the "daylight" size to go into the stone. By
+slipping the glazed light in _sideways_, and even, in large lights, by
+_bending_ it slightly into a bow, you can just get into the stone a
+light an inch, or nearly so, wider than the opening; but the best way is
+to use an extra wide lead on the outside of your light, and bend back
+the outside leaf of it both front and back so that they stand at right
+angles to the surface of the glass (fig. 48). By this means you can
+reduce the size of the panel by almost 1/4 of an inch on each side; you
+can push the panel then, without either bending or slanting it much, up
+to its groove; and, putting one side as far as it will go _into_ the
+groove, you can bend back again into their former place the two leaves
+of the lead on the opposite side; and when you have done that slide
+_them_ as far as they will go into _their_ groove, and do the same by
+the opposite pair. You will then have the panel in its groove, with
+about 1/4 of an inch to hold by and 1/4 of an inch of lead showing. Some
+people fancy an objection to this; perhaps in very small windows it
+might look better to have the glass "flush" with the stone; but for
+myself I like to see a little _showing_ of that outside lead, on to
+which so many of the leads that cross the glass are fastened. Anyway you
+must bear the circumstance in mind in fixing down your straight-edges to
+start glazing the work; and that is why I have made this digression by
+mentioning now something that properly belongs to fixing.
+
+[Illustration: FIG. 48.]
+
+Now before beginning to glaze you must stretch and straighten the lead;
+and this is done as follows (fig. 49--_Frontispiece_).
+
+Hold the "calm" of lead in your left hand, and run the finger and thumb
+of your right hand down the lead so as to get the core all one way and
+not at all twisted: then, holding one end firmly under your right foot,
+take tight hold of the other end with your pliers, and pull with nearly
+all your force in the direction of your right shoulder. Take care not to
+pull in the direction of your face; for if you do, and the lead breaks,
+you will break some of your features also. It is very important to be
+careful that the lead is truly straight and not askew, otherwise, when
+you use it in leading, the glass will never keep flat. The next
+operation is to open the lead with a piece of hard wood, such as boxwood
+or _lignum-vitæ_ (fig. 50), made to your fancy for the purpose, but
+something like the diagram, which glaziers call a "lathykin" (as I
+understand it). For cutting the lead you must have a thin knife of good
+steel. Some use an old dinner-knife, some a palette-knife cut
+down--either square across the blade or at an angle--it is a matter of
+taste (fig. 51).
+
+[Illustration: FIG. 50.]
+
+[Illustration: FIG. 51.]
+
+Having laid down your leads A and B (fig. 52), put in the corner piece
+of glass (No. 1); two of its sides will then be covered, leaving one
+uncovered. Take a strip of lead and bend it round the uncovered edge,
+and cut it off at D, so that the end fits close and true against the
+_core_ of lead A. And you must take notice to cut with a perfectly
+_vertical_ cut, otherwise one side will fit close and the other will
+leave a gap.
+
+[Illustration: FIG. 52.]
+
+In fig. 53 A represents a good joint, B a bad one. Bend it round and cut
+it off similarly at E. Common sense will tell you that you must get the
+angle correct by marking it with a slight incision of the knife in its
+place before you take it on to the bench for the final cut.
+
+Slip it in, and push it in nice and tight, and put in piece No. 2.
+
+[Illustration: FIG. 53]
+
+But now look at your cut-line. Do you see that the inner edges of pieces
+2, 3, and 4 all run in a fairly smooth curve, along which a _continuous_
+piece of lead will bend quite easily? Leave, then, that edge, and put
+in, first, the leads which divide No. 2 from No. 3, and No. 3 from No.
+4. Now don't forget! the long lead has to come along the inside edges of
+all three; so the leaf of it will overlap those three edges nearly 1/8
+of an inch (supposing you are using lead of 1/4 inch dimension). You
+must therefore cut the two little bits we are now busy upon _1/8 of an
+inch short of the top edge of the glass_ (fig. 54), for the inside leads
+only _meet_ each other; it is only the _outside_ lead that overlaps.
+
+[Illustration: FIG. 54.]
+
+_How the Loose Glass is held in its place while Leading._--This is done
+with nails driven into the glazing table, close up against the edge of
+the lead; and the best of all for the purpose are bootmakers' "lasting
+nails"; therefore no more need be said about the matter; "use no other"
+(fig. 55).
+
+[Illustration: FIG. 55.]
+
+And you tap them in with two or three sharp taps; not of a hammer, for
+you do not want to waste time taking up a fresh tool, but with the end
+of your leading-knife which is called a "stopping-knife" (fig. 56), and
+which lead workers generally make for themselves out of an oyster-knife,
+by bending the blade to a convenient working angle for manipulating the
+lead, and graving out lines in the lower part of the handle, into which
+they run solder, terminating it in a solid lump at the butt-end which
+forms an excellent substitute for a hammer.
+
+[Illustration: FIG. 56.]
+
+Now as soon as you have got the bits 1, 2, 3, 4 in their places, with
+the leads F, G and H, I between them, you can take out the nails along
+the line K, F, H, M, one by one as you come to them, starting from K;
+and put along that line one lead enclosing the whole lot, replacing the
+nails outside it to keep all firm as you work; and you must note that
+you should look out for opportunities to do this always, whenever there
+is a long line of the cut-line without any abrupt corners in it. You
+will thus save yourself the cutting (and afterwards the soldering) of
+unnecessary joints; for it is always good to save labour where you can
+without harm to the work; and in this case the work is all the better
+for it.
+
+Now, when you have thus continued the leading all the way across the
+panel, put on the other outside lead, and so work on to a finish.
+
+When the opposite, outside lead is put on, remove the nails and take
+another straight-edge and put it against the lead, and "knock it up" by
+hitting the straight-edge until you get it to the exact size; at the
+same time taking your set-square and testing the corners to see that all
+is at right angles.
+
+Leave now the panel in its place, with the straight-edges still
+enclosing it, and solder off the joints.
+
+
+
+
+CHAPTER XI
+
+     Soldering--Handling the Leaded Panel--Cementing--Recipe for
+     Cement--The Brush--Division of Long Lights into Sections--How
+     Joined when Fixed--Banding--Fixing--Chipping out the Old
+     Glazing--Inserting the New and Cementing.
+
+
+If the leads have got _tarnished_ you may brush them over with the wire
+brush (fig. 57), which glaziers call a "scratch-card"; but this is a
+wretched business and need never be resorted to if you work with good
+lead and work "fresh and fresh," and finish as you go, not letting the
+work lie about and get stale. Take an old-fashioned tallow "dip" candle,
+and put a little patch of the grease over each joint, either by rubbing
+the candle itself on it, or by melting some of it in a saucepan and
+applying it with a brush. Then take your soldering-iron (fig. 58) and
+get it to the proper heat, which you must learn by practice, and proceed
+to "tin" it by rubbing it on a sheet of tin with a little solder on it,
+and also some resin and a little glass-dust, until the "bit" (which is
+of copper) has a bright tin face. Then, holding the stick of solder in
+the left hand, put the end of it down close to the joint you wish to
+solder, and put the end of the iron against it, "biting off" as it were,
+but really _melting_ off, a little bit, which will form a liquid drop
+upon the joint. Spread this drop so as to seal up the joint nice and
+smooth and even, and the thing is done. Repeat with all the joints; then
+turn the panel over and do the opposite side.
+
+[Illustration: FIG. 57.]
+
+[Illustration: FIG. 58.]
+
+_How to Handle Leaded Lights._--I said "turn the panel over." But that
+brings to mind a caution that you need about the handling of leaded
+lights. You must not--as I once saw a man do--start to hold them as a
+waiter does a tray. You must note that thin glass in the sheet and also
+leaded lights, especially before cementing, are not rigid, and cannot be
+handled as if they were panels of wood; you must take care, when
+carrying them, or when they lean against the wall, to keep them as
+nearly upright as they will safely stand, and the inside one leaning
+against a board, and not bearing its own weight. And in laying them on
+the bench or in lifting them off it, you must first place them so that
+the middle line of them corresponds with the edge of the bench, or
+table, and then turn them on that as an axis, quickly, so that they do
+not bear their own weight longer than necessary (figs. 59 and 60).
+
+_How to Cement a Leaded Light._--The next process is the cementing of
+the light so as to fill up the grooves of the lead and make all
+weather-proof. This is done with a mixture composed as follows:--
+Whitening, 2/3 to plaster of Paris 1/3; add a mixture of equal
+quantities of boiled linseed-oil and spirit of turpentine to make a
+paste about as thick as treacle. Add a little red lead to help to harden
+it, some patent dryer to cause it to dry, and lamp-black to colour.
+
+This must be put in plenty on to the surface of the panel and well
+scrubbed into the joints with a hard fibre brush; an ordinary coarse
+"grass brush" or "bass brush," with wooden back, as sold for scrubbing
+brushes at the oil shops, used in all directions so as to rub the stuff
+into every joint.
+
+But you must note that if you have "plated" (_i.e._ doubled) any of the
+glass you must, before cementing, _putty_ those places. Otherwise the
+cement may probably run in between the two, producing blotches which you
+have no means of reaching in order to remove them.
+
+[Illustration: FIG. 59.]
+
+You can, if you like, clean away all the cement along the edges of the
+leads; but it is quite easy to be too precise and neat in the matter and
+make the work look hard. If you do it, a blunted awl will serve your
+turn.
+
+[Illustration: FIG. 60.]
+
+One had better mention everything, and therefore I will here say that,
+of course, a large light must be made in sections; and these should not
+exceed four feet in height, and less is better. In fixing these in their
+place when the window is put up (an extra wide flat lead being used at
+the top and bottom of each section), they are made to overlap; and if
+you wish the whole drainage of the window to pass into the building, of
+course you will put your section thus--(fig. 61 A); while if you wish
+the work to be weather-tight you will place it thus--(fig. 61 B). It is
+just as well to make every question clear if one can, and therefore I
+mention this. Most people like their windows weather-tight, and, of
+course, will make the overlapping lead the top one; but it's a free
+country, and I don't pretend to dictate, content if I make the situation
+clear to you, leaving you to deal with it according to your own fancy.
+All is now done except the banding.
+
+[Illustration: FIG. 61 A.]
+
+[Illustration: FIG. 61 B.]
+
+_How to Band a Leaded Light._--Banding means the putting on of the
+little ties of copper wire by which the window has to be held to the
+iron crossbars that keep it in its place. These ties are simply short
+lengths of copper wire, generally about four inches long, but varying,
+of course, with the size of the bar that you mean to use; and these are
+to be soldered vertically (fig. 62) on to the face of the light at any
+convenient places along the line where the bar will cross. In fixing the
+window, these wires are to be pulled tight round the bar and twisted up
+with pliers, and the twisted end knocked down flat and neat against the
+bar.
+
+And this is the very last operation in the making of a stained-glass
+window. It now only remains to instruct you as to what relates to the
+fixing of it in its place.
+
+_How to Fix a Window in its Place._--There is, almost always, a groove
+in the stonework to receive the glass; and, except in the case of an
+unfinished building, this is, of course, occupied by some form of plain
+glazing. You must remove this by chipping out with a small mason's
+chisel the cement with which it is fixed in the groove, and common sense
+will tell you to begin at the bottom and work upwards. This done,
+untwist the copper bands from the bars and put your own glass in its
+place, re-fixing the bars (or new ones) in the places you have
+determined on to suit your design and to support the glass, and fixing
+your glass to them in the way described, and pointing the whole with
+good cement. The method of inserting the new glass is described at p.
+135.
+
+[Illustration: FIG. 62.]
+
+But that it is good for a man to feel the satisfaction of knowing his
+craft thoroughly there would be no need to go into this, which, after
+all, is partly masons' work. But I, for my part, cannot understand the
+spirit of an artist who applies his art to a craft purpose and has not,
+at least, a strong _wish_ to know all that pertains to it.
+
+
+
+
+PART II
+
+
+CHAPTER XII
+
+     Introductory--The Great Questions--Colour--Light--Architectural
+     Fitness--Limitations--Thought--Imagination--Allegory.
+
+
+The foregoing has been written as a handbook to use at the bench, and
+therefore I have tried to keep myself strictly to describing the actual
+processes and the ordinary practice and routine of stained-glass work.
+
+But can we leave the subject here?
+
+If we were speaking of even the smallest of the minor arts and crafts,
+we should wish to say something of why they are practised and how they
+should be practised, of the principles that guide them, of the spirit in
+which they should be undertaken, of the place they occupy in human
+affairs and in our life on earth. How much more then in an Art like
+this, which soars to the highest themes, which dares to treat, which is
+required to treat, of things Heavenly and Earthly, of the laws of God,
+and of the nature, duty, and destinies of man; and not only so, but must
+treat of these things in connection with, and in subservience to, the
+great and dominant Art of Architecture?
+
+We must not shrink, then, from saying all that is in our mind: we must
+ask ourselves the great questions of all art. We must investigate the
+How of them, and even face the Why.
+
+Therefore here (however hard it be to do it) something must be said of
+such great general principles as those of colour, of light, of
+architectural fitness, of limitations, of thought and imagination and
+allegory; for all these things belong to stained-glass work, and it is
+the right or wrong use of these high things that makes windows to be
+good or to be bad.
+
+Let us, dear student, take the simplest things first, not because they
+are the easiest (though they perhaps are so), but because they will
+gradually, I hope, warm up our wits to the point of considering these
+matters, and so prepare the way for what is hardest of all.
+
+And I think a good subject to begin with is that of Economy generally,
+taking into consideration both time and materials.
+
+
+
+
+CHAPTER XIII
+
+     Of Economy--The Englishman's Wastefulness--Its Good Side--Its
+     Excess--Difficulties--A Calculation--Remedies.
+
+
+Those who know work in various countries must surely have arrived at the
+conclusion that the Englishman is the most wasteful being on the face of
+the globe! He only thinks of getting through the work, or whatever it
+may be, that he has purposed to himself, attaining the end immediately
+in view in the speediest manner possible without regard to anything
+else, lavish of himself and of the stuff he works with. The picture
+drawn by Robert Louis Stevenson in "Treasure Island" of John Silver and
+his pirates, when about to start on their expedition, throwing the
+remainder of their breakfast on the bivouac fire, careless whence fresh
+supplies might come, is "English all over." This is the character of the
+race. It has its good side, this grand disdain--it wins Battles,
+Victoria Crosses, Humane Society's medals, and other things well worth
+the winning; brings into port many a ship that would else be lost or
+abandoned, and, year in, year out, sends to sea the lifeboats on our
+restless line of coast. It would be something precious indeed that would
+be worth the loss of it; but there is a medium in all things, and when a
+master sees--as one now at rest once told me he often had seen--a cutter
+draw his diamond down a bit of the margin out of which he had just cut
+his piece, in order to make it small enough to throw away, without being
+ashamed, under the bench, he must sometimes, I should think, wish the
+man were employed on some warlike or adventurous trade, and that he had
+a Hollander or Italian in his place, who would make a whole window out
+of what the other casts away.
+
+At the same time, it must be confessed that this is a very difficult
+matter to arrange; and it is only fair to the workman to admit that
+under existing conditions of work and demand, and even in many cases of
+the buildings in which the work is done, the way does not seem clear to
+have the whole of what might be wished in this matter. I will point out
+the difficulties against it.
+
+First, unless some system could be invented by which the amount of glass
+issued to any workman could be compared easily and simply with the area
+of glazed work cut from it, the workman has no inducement to economise;
+for, no record being kept of the glass saved, he knows that he will get
+no credit by saving, while the extra time that he spends on economy will
+make him seem a slower workman, and so he would be blamed.
+
+Then, again, it is impossible to see the colour of glass as it lies on
+the bench; he has little choice but to cut each piece out of the large
+sheet; for if he got a clutter of small bits round him till he happened
+to want a small bit, he would never be able to get on.
+
+There is no use, observe, in niggling and cheese-paring. There should be
+a just balance made between the respective values of the man's time and
+the material on which it is spent; and to this end I now give some
+calculations to show these--calculations rather startling, considered in
+the light of what one knows of the ordinary practices and methods.
+
+The antique glasses used in stained-glass work vary in price from 1s. a
+foot to 5s., the weight per foot being about 32 oz.
+
+The wage of the workmen who have to deal with this costly material
+varies from 8d. to 1s. per hour.
+
+The price of the same glass thrown under the bench, and known as
+"cullet," is £1 per TON.
+
+Let us now do a little simple arithmetic, which, besides its lesson to
+the workers, may, I think, come as a revelation even to some employers
+who, content with getting work done quickly, may have hardly realised
+the price paid for that privilege.
+
+                     1 ton = 20 cwt.
+                           x  4
+                             --
+                             80 qrs.
+                           x 28
+                            ---
+                            640
+  32 oz. = 2 lb.,          160
+                         -----
+           therefore ÷  2) 2240 lbs.
+                          -----
+                           1120 = number of square feet in a ton.
+
+The worth of this at 1s. a foot (whites) is:--
+
+                     ÷ 20) 1120 ( £56 PER TON.
+                           100
+                          ----
+                            120
+                            120
+
+At 2s. 6d. per foot (the best of pot-metal blues, and rubies
+generally):--
+
+                               56
+                               56
+                               28
+                              ---
+             2-1/2 times 56 = 140        £140 PER TON.
+
+At 5s. a foot (gold-pink, and pale pink, venetian, and choice glasses
+generally):--
+
+                               56
+                          x     5
+                              ---
+                             £280 PER TON.
+
+Therefore these glasses are worth respectively--56 times, 140 times, and
+280 times as much upon the bench as they are when thrown below it! And
+yet I ask you--employer or employed--is it not the case that,
+often--shall we not say "generally"?--in any given job as much goes
+below as remains above if the work is in fairly small pieces? Is not the
+accompanying diagram a fair illustration (fig. 63) of about the average
+relation of the shape cut to its margin of waste?
+
+[Illustration: FIG. 63.]
+
+Employers estimate this waste variously. I have heard it placed as high
+as two-thirds; that is to say, that the glass, when leaded up, only
+measured one-third of the material used, or, in other words, that the
+workman had wasted twice as much as he used. This, I admit, was told me
+in my character as _customer_, and by way of explaining what I
+considered a high charge for work; but I suppose that no one with
+experience of stained-glass work would be disposed to place the amount
+of waste lower than one-half.
+
+Now a good cutter will take between two and three hours to cut a square
+foot of average stained-glass work, fairly simple and large in scale;
+that is to say, supposing his pay one shilling an hour--which is about
+the top price--the material he deals with is about the same value as his
+time if he is using the cheapest glasses only. If this then is the case
+when the highest-priced labour is dealing only with the lowest-priced
+material, we may assume it as the general rule for stained-glass
+cutting, _on the average_, that "_labour is less costly than the
+material on which it is spent_," and I would even say much less costly.
+
+But it is not to be supposed that the little more care in avoiding waste
+which I am advocating would reduce his speed of work more than would be
+represented by two pence or three pence an hour.
+
+But I fear that all suggestions as to mitigating this state of things
+are of little use. The remedy is to play into each other's hands by
+becoming, all of us, complete, all-round craftsmen; breaking down all
+the unnatural and harmful barriers that exist between "artists" and
+"workmen," and so fitting ourselves to take an intelligent interest in
+both the artistic and economic side of our work.
+
+The possibility of this all depends on the personal relations and
+personal influence in any particular shop--and employers and employed
+must worry the question out between them. I am content with pointing out
+the facts.
+
+
+
+
+CHAPTER XIV
+
+     Of Perfection--In Little Things--Cleanliness--Alertness--But not
+     Hurry--Realising your Conditions--False Lead-Lines--Shutting out
+     Light--Bars--Their Number--Their Importance--Precedence--Observing
+     your Limitations--A Result of Complete Training--The Special
+     Limitations of Stained-Glass--Disguising the Lead-Line--No full
+     Realism--No violent Action--Self-Effacement--No
+     Craft-Jugglery--Architectural Fitness founded on Architectural
+     Knowledge--Seeing Work _in Situ_--Sketching in Glass--The Artistic
+     Use of the Lead--Stepping Back--Accepting Bars and Leads--Loving
+     Care--White Spaces to be Interesting--Bringing out the "Quality" of
+     the Glass--Spotting and Dappling--"Builders-Glazing" _versus_
+     Modern Restoring.
+
+The second question of principle that I would dwell upon is that of
+_perfection_.
+
+Every operation in the arts should be perfect. It has to be so in most
+arts, from violin-playing to circus-riding, before the artist dare make
+his bow to the public.
+
+Placing on one side the question of the higher grades of art which
+depend upon special talent or genius--the great qualities of
+imagination, composition, form and colour, which belong to mastership--I
+would now, in this book, intended for students, dwell upon those minor
+things, the doing of which well or ill depends only upon good-will,
+patience, and industry.
+
+Anyone can wash a brush clean; any one can keep the colour on his
+palette neat; can grind it all up each time it is used; can cover it
+over with a basin or saucer when his work is over; and yet these things
+are often neglected, though so easy to do. The painter will _neglect_ to
+wash out his brush; and it will be clogged with pigment and gum, get
+dry, and stick to the palette, and the points of the hair will tear and
+break when it is removed again by the same careless hand that left it
+there.
+
+Another will leave portions of his colour, caked and dry, at the edges
+of his palette for weeks, till all is stale; and then, when the spirit
+moves him, will some day work this in, full of dirt and dust, with the
+fresher colour. Everything, everything should be done well! From the
+highest forms of painting to tying up a parcel or washing out a
+brush;--all tools should be clean at all times, the handles as well as
+the hair--there is _no excuse_ for the reverse; and if your tools are
+dirty, it is by the same defect of your character that will make you
+slovenly in your work. Painting does not demand the same actual
+_swiftness_ as some other arts; nevertheless each touch that you place
+upon the glass, though it may be deliberate, should be deft, athletic,
+perfect in itself; the nerves braced, the attention keen, and the powers
+of soul and body as much on the alert as they would need to be in
+violin-playing, fencing, or dissecting.
+
+This is not to advocate _hurry_. That is another matter altogether, for
+which also there is no excuse. Never hurry, or ask an assistant to
+hurry. Windows are delayed, even promises broken (though that can scarce
+be defended), there may be "ire in celestial minds"; but that is all
+forgotten when we are dead; and we soon shall be, but not the window.
+
+Another thing to note, which applies generally throughout all practice,
+is the wisdom, of getting as near as you can to your conditions. For
+instance, the bits of glass in a window are separated by lead lines;
+pitch-black, therefore, against the light of day outside. Now, when
+waxed up on the plate in the shop for painting, these will be separated
+by thin cracks of light, and in this condition they are usually painted.
+Can't you do better than that? Don't you think it's worth while spending
+half-an-hour to paint false lead lines on the back of the plate? A
+ha'p'orth of lamp-black from the oil-shop, with a little water and
+treacle and a long-haired brush, like a coach-painter's, will do it for
+you (see Plate XIII.).
+
+Another thing: when the window is in its place, each _light_ will be
+surrounded with stone or brick, which, although not so black as the
+lead lines, will tell as a strong dark against the glass. See therefore
+that while you are painting, your glass is surrounded by dark, or at any
+rate not by clear, glittering light. Strips of brown paper, pinned down
+the sides of the light you are painting, will get the thing quite near
+to its future conditions.
+
+As you have been told, the work is fixed in its place by bars of iron,
+and these ought by no means to be despised or ignored or disguised, as
+if they were a troublesome necessity: you must accept fully and
+willingly the conditions of your craft; you must pride yourself upon so
+accepting them, knowing that they are the wholesome checks upon your
+liberty and the proper boundaries of the field in which you have your
+appointed work. There should, in any light more than a foot wide, be
+bars at every foot throughout the length of the light; and these bars
+should be 1/2 inch, 3/4 inch, or 1 inch in section, according to the
+weight of the work. The question then arises: Should the bars be set out
+in their places on the paper, before you begin to draw the cartoon, or
+should you be perfectly free and unfettered in the drawing and then
+_make_ the bars fit in afterwards, by moving them up and down as may be
+needed to avoid cutting across the faces, hands, &c.
+
+I find more difficulty in answering this than any other _technical_
+question in this book. I do not think it can be answered with a hard and
+fast "Yes" or "No." It depends on the circumstances of the case. But I
+incline towards the side of making it the rule to put the bars in first,
+and adapt the composition to them. You may think this a surprising view
+for an artist to take. "Surely," you will say, "that is putting the cart
+before the horse, and making the more important thing give way to the
+less!" But my feeling is that reasonable limitations of any kind ought
+never to be considered as hindrances in a work of art. They are part of
+the problem, and it is only a spirit of dangerous license which will
+consider them as bonds, or will find them irksome, or wish to break them
+through. Stained-glass is not an independent art. It is an accessory to
+architecture, and any limitations imposed by structure and architectural
+propriety or necessity are most gravely to be considered and not lightly
+laid on one side. And in this connection it must be remembered that the
+bars cannot be made to go _anywhere_ to fit a freely designed
+composition: they must be approximately at certain distances on account
+of use; and they must be arranged with regard to each other in the whole
+of the window on account of appearance.
+
+You might indeed find that, in any single light, it is quite easy to
+arrange them at proper and serviceable distances, without cutting across
+the heads or hands of the figures; but it is ten chances to one that you
+can get them to do so, and still be level with each other, throughout a
+number of lights side by side.
+
+The best plan, I think, is to set them out on the side of the
+cartoon-paper before you begin, but not so as to notice them; then first
+roughly strike out the position your most important groups or figures
+are to occupy, and, before you go on with the serious work of drawing,
+see if the bars cut awkwardly, and, if they do, whether a slight
+shifting of them will clear all the important parts; it often will, and
+then all is well; but I do not shrink from slightly altering even the
+position of a head or hand, rather than give a laboured look to what
+ought to be simple and straightforward by "coaxing" the bars up and down
+all over the window to fit in with the numerous heads and hands.
+
+If, by the way, I see fit in any case to adopt the other plan, and make
+my composition first, placing the bars afterwards to suit it, I never
+allow myself to shift them from the level that is convenient and
+reasonable for anything _except_ a head; I prefer even that they should
+cut across a hand, for instance, rather than that they should be placed
+at inconvenient intervals to avoid it.
+
+The principle of observing your limitations is, I do not hesitate to
+say, the most important, and far the most important, of all principles
+guiding the worker in the right practising of any craft.
+
+The next in importance to it is the right exercise of all legitimate
+freedom _within_ those limitations. I place them in this order, because
+it is better to stop short, by nine-tenths, of right liberty, than to
+take one-tenth of wrong license. But by rights the two things should go
+together, and, with the requisite skill and training to use them,
+constitute indeed the whole of the practice of a craft.
+
+Modern division of labour is much against both of these things, the
+observance of which charms us so in the ancient Gothic Art of the Middle
+Ages.
+
+For, since those days, the craft has never been taught as a whole.
+Reader! this book cannot teach it you--no book, can; but it can make
+you--and it was written with the sole object of making you--_wish_ to be
+taught it, and determine to be taught it, if you intend to practise
+stained-glass work at all.
+
+Modern stained-glass work is done by numerous hands, each trained in a
+special skill--to design, or to paint, or to cut, or to glaze, or to
+fire, or to cement--but none are taught to do all; very few are taught
+to do more than one or two. How, then, can any either use rightful
+liberty or observe rightful limitations? They do not know their craft,
+upon which these things depend. And observe how completely also these
+two things depend upon each other. You may be rightly free, _because_
+you have rightly learnt obedience; you know your limitations, and,
+_therefore_, you may be trusted to think, and feel, and act for
+yourself.
+
+This is what makes old glass, and indeed all old art, so full of life,
+so full of interest, so full of enjoyment--in places, and right places,
+so full even of "fun." Do you think the charming grotesques that fill up
+every nook and corner sometimes in the minor detail of mediæval glass or
+carving could ever be done by the method of a "superior person" making a
+drawing of them, and an inferior person laboriously translating them in
+_facsimile_ into the material? They are what they are because they were
+the spontaneous and allowed license and play of a craftsman who knew his
+craft, and could be trusted to use it wisely, at any rate in all minor
+matters.
+
+
+THE LIMITATIONS OF STAINED-GLASS.
+
+The limitations of stained-glass can only be learnt at the bench, and by
+years of patient practice and docile service; but it may be well to
+mention some of them.
+
+_You must not disguise your lead line._ You must accept it willingly, as
+a limitation of your craft, and make it contribute to the beauty of the
+whole.
+
+"But I have a light to do of the 'Good Shepherd,' and I want a landscape
+and sky, and how ugly lead lines look in a pale-blue sky! I get them
+like shapes of cloud, and still it cuts the sky up till it looks like
+'random-rubble' masonry." Therefore large spaces of pale sky are
+"taboo," they will not do for glass, and you must modify your whole
+outlook, your whole composition, to suit what _will_ do. If you must
+have sky, it must be like a Titian sky--deep blue, with well-defined
+masses of cloud--and you must throw to the winds resolutely all idea of
+attempting to imitate the softness of an English sky; and even then it
+must not be in a large mass: you can always break it up with
+branched-work of trees, or with buildings.
+
+_There should be no full realism of any kind._
+
+_No violent action must assert itself in a window._
+
+I do not say that there must not, in any circumstances, be any violent
+action--the subject may demand it; but, if so, it must be so disguised
+by the craftsmanship of the work, or treated so decoratively, or so
+mixed up with the background or surroundings, that you do not see a
+figure in violent action starting prominently out from the window as you
+stand in the church. But, after all, this is a thing of artistic sense
+and discretion, and no rules can be formulated. The Parthenon frieze is
+of figures in rapid movement. Yet what repose! And in stained-glass you
+must aim at repose. Remember,--it is an accessory to architecture; and
+who is there that does not want repose in architecture? Name me a great
+building which does not possess it? How the architects must turn in
+their graves, or, if living, shake in their shoes, when they see the
+stained-glass man turned into their buildings, to display himself and
+spread himself abroad and blow his trumpet!
+
+Efface yourself, my friend; sink yourself; illustrate the building;
+consider its lines and lights and shades; enrich it, complete it, make
+people happier to be in it.
+
+_There must be no craft-jugglery in stained-glass._
+
+The art must set the craft simple problems; it must not set tasks that
+can only be accomplished by trickery or by great effort, disproportioned
+to the importance of the result. But, indeed, you will naturally get the
+habit of working according to this rule, and other reasonable rules, if
+you yourself work at the bench--all lies in that.
+
+_There must be nothing out of harmony with the architecture._
+
+And, therefore, you must know something of architecture, not in order to
+imitate the work of the past and try to get your own mistaken for it,
+but to learn the love and reverence and joy of heart of the old
+builders, so that your spirit may harmonise with theirs.
+
+_Do not shrink from the trouble and expense of seeing the work_ in situ,
+_and then, if necessary, removing it for correction and amendment._
+
+If you have a large window, or a series of windows, to do, it is often
+not a very great matter to take a portion of one light at least down and
+try it in its place. I have done it very often, and I can assure you it
+is well worth while.
+
+
+OF MAKING A SKETCH IN GLASS.
+
+But there is another thing that may help you in this matter, and that is
+to sketch out the colour of your window in small pieces of glass--in
+fact, to make a scale-sketch of it in glass. A scale of one inch to a
+foot will do generally, but all difficult or doubtful combinations of
+colour should be sketched larger--full size even--before you venture to
+cut.
+
+_Work should be kept flat by leading._
+
+One of the main _artistic_ uses of the leadwork in a window is that, if
+properly used, it keeps the work flat and in one plane, and allows far
+more freedom in the conduct of your picture, permitting you to use a
+degree of realism and fulness of treatment greater than you could do
+without it. Work may be done, where this limitation is properly accepted
+and used, which would look vulgar without it; and on the other hand, the
+most Byzantine rigidity may be made to look vulgar if the lead line is
+misused. I have seen glass of this kind where the work was all on one
+plane, and where the artist had so far grasped proper principles as to
+use thick leads, but had _curved these leads in and out across the folds
+of the drapery as if they followed its ridges and hollows_--the thing
+becoming, with all its good-will to accept limitations, almost more
+vulgar than the discredited "Munich-glass" of a few years ago, which
+hated and disguised the lead lines.
+
+_You must step back to look at your work as often and as far as you
+can._
+
+_Respect your bars and lead lines, and let them be strong and many._
+
+_Every bit of glass in a window should look "cared for."_
+
+If there is a lot of blank space that you "don't know how to fill," be
+sure your design has been too narrowly and frugally conceived. I do not
+mean to say that there may not be spaces, and even large spaces, of
+plain quarry-glazing, upon which your subject with its surrounding
+ornament may be planted down, as a rich thing upon a plain thing. I am
+thinking rather of a case where you meet with some sudden lapse or gap
+in the subject itself or in its ornamental surroundings. This is apt
+specially to occur where it is one which leads rather to pictorial
+treatment, and where, unless you have "canopy" or "tabernacle" work, as
+it is called, surrounding and framing everything, you find yourself at a
+loss how to fill the space above or below.
+
+Very little can be said by way of general rule about this; each case
+must be decided on its merits, and we cannot speak without knowing them.
+But two things may be said: First, that it is well to be perfectly bold
+(as long as you are perfectly sincere), and not be afraid, merely
+because they are unusual, of things that you really would like to do if
+the window were for yourself. There are no hard and fast rules as to
+what may or may not be done, and if you are a craftsman and designer
+also--as the whole purpose of this book is to tell you you must be--many
+methods will suggest themselves of making your glass look interesting.
+The golden rule is to handle every bit of it yourself, and then you will
+_be_ interested in the ingenuity of its arrangement; the cutting of it
+into little and big bits; the lacework of the leads; thickening and
+thinning these also to get bold contrasts of strong and slender, of
+plain and intricate; catching your pearly glass like fish, in a net of
+larger or smaller mesh; for, bear in mind always that this question
+relates almost entirely to the _whiter_ glasses. Colour has its own
+reason for being there, and carries its own interest; but the most
+valuable piece of advice that I can think of in regard to stained-glass
+_treatment_ (apart from the question of subject and meaning) is to _make
+your white spaces interesting_.
+
+The old painters felt this when they diapered their quarry-glazing and
+did such grisaille work as the "Five Sisters" window at York. Every bit
+of this last must have been put together and painted by a real craftsman
+delighting in his work. The drawing is free and beautiful; the whole work
+is like jewellery, the colour scheme delightfully varied and irregular.
+The work was loved: each bit of glass was treated on its merits as it
+passed through hand. Working in this way all things are lawful; you may
+even put a thin film of "matt" over any piece to lower it in tone and give
+it richness, or to bring out with emphasis some quality of its texture.
+Some bits will have lovely streaks and swirling lines and bands in
+them--"reamy," as glass-cutters call it--or groups of bubbles and spots,
+making the glass like agate or pebble; and a gentle hand will rub a little
+matt or film over these, and then finger it partly away to bring out its
+quality, just as a jeweller foils a stone. This is quite a different thing
+from smearing a window all over with dirt to make it a sham-antique; and
+where it is desirable to lower the tone of any white for the sake of the
+window, and where no special beauties of texture exist, it is better, I
+think, to matt it and then take out simple _patterns_ from the matt: not
+_outlined_ at all, but spotted and streaked in the matt itself,
+chequered and petalled and thumb-marked, just as nature spots and
+stripes and dapples, scatters daisies on the grass and snowflakes in the
+air, and powders over with chessboard chequers and lacings and "oes and
+eyes of light," the wings of butterflies and birds.
+
+So man has always loved to work when he has been let to choose, and when
+nature has had her way. Such is the delightful art of the basket and
+grass-cloth weaver of the Southern seas; of the ancient Cyprian potter,
+the Scandinavian and the Celt. It never dies; and in some quiet,
+merciful time of academical neglect it crops up again. Such is the,
+often delightful, "builders-glazing" of the "carpenters-Gothic" period,
+or earlier, when the south transept window at Canterbury, and the east
+and west windows at Cirencester, and many such like, were rearranged
+with old materials and new by rule of thumb and just as the glazier
+"thought he would." Heaven send us nothing worse done through too much
+learning! I daresay he shouldn't have done it; but as it came to him to
+do, as, probably, he was ordered to do it, we may be glad he did it just
+so. In the Canterbury window, for instance, no doubt much of the old
+glass never belonged to that particular window; it may have been,
+sinfully, brought there from windows where it did belong. At Cirencester
+there are numbers of bits of canopy and so forth, delightful
+fifteenth-century work, exquisitely beautiful, put in as best they could
+be; no doubt from some mutilated window where the figures had been
+destroyed--for, if my memory serves me, most of them have no figures
+beneath--and surrounded by little chequered work, and stripes and
+banding of the glaziers' own fancy. A modern restorer would have
+delighted to supply sham-antique saints for them, imitating
+fifteenth-century work (and deceiving nobody), and to complete the
+mutilated canopies by careful matching, making the window entirely
+correct and uninteresting and lifeless and accomplished and forbidding.
+The very blue-bottles would be afraid to buzz against it; whereas here,
+in the old church, with the flavour of sincerity and simplicity around
+them, at one with the old carving and the spirit of the old time, they
+glitter with fresh feeling, and hang there, new and old together,
+breaking sunlight; irresponsible, absurd, and delightful.
+
+
+
+
+CHAPTER XV
+
+     A Few Little Dodges--A Clumsy Tool--A Substitute--A Glass Rack--An
+     Inconvenient Easel--A Convenient Easel--A Waxing-up Tool--An Easel
+     with Movable Plates--Making the most of a Room--Handling
+     Cartoons--Cleanliness--Dust--The Selvage Edge--Drying a "Badger"--A
+     Comment.
+
+
+Here, now, follow some little practical hints upon work in general; mere
+receipts; description of time-saving methods and apparatus which I have
+separated from the former part of the book; partly because they are
+mostly exceptions to the ordinary practice, and partly because they are
+of general application, the common-sense of procedure, and will, I hope,
+after you have learnt from the former parts of the book the individual
+processes and operations, help you to marshal these, in order and
+proportion, so as to use them to the greatest advantage and with the
+best results. And truly our stained-glass methods are most wasteful and
+bungling. The ancient Egyptians, they say, made glass, and I am sure
+some of our present tools and apparatus date from the time of the
+Pyramids.
+
+
+A CLUMSY KILN-FEEDER.
+
+What shall we say, for instance, of this instrument (fig. 64), used for
+loading some forms of kiln?
+
+[Illustration: FIG. 64.]
+
+The workman takes the ring-handle in his right hand, rests the shaft in
+the crook of his left elbow, puts the fork under an iron plate loaded
+with glass and weighing about forty pounds, and then, with tug and
+strain, lifts it, ready to slip off and smash at any moment, and,
+grunting, transfers it to the kiln. A little mechanical appliance would
+save nine-tenths of the labour, a stage on wheels raised or lowered at
+will (a thing which surely should not be hard to invent) would bring it
+from the bench to the kiln, and _then_, if needs be, and no better
+method could be found, the fork might be used to put it in.
+
+Meanwhile, as a temporary step in the right direction, I illustrate a
+little apparatus invented by Mr. Heaton, which, with the tray made of
+some lighter substance than iron, of which he has the secret, decreases
+the labour by certainly one-third, and I think a half (fig. 65).
+
+[Illustration: FIG. 65.]
+
+It is indeed only a sort of half-way house to the right thing, but,
+tested one against the other with equal batches of plates, its use is
+certainly less laborious than that of the fork. And that is a great
+gain; for the consequence of these rough ways is that the kiln-man, whom
+we want to be a quiet, observant man, with plenty of leisure and with
+all his strength and attention free to watch the progress of a process
+or experiment, like a chemist in his laboratory, has often two-thirds of
+it distracted by the stress of needless work which is only fit for a
+navvy, and the only tendency of which can be towards turning him into
+one.
+
+[Illustration: FIG. 66.]
+
+
+A GLASS-RACK FOR WASTE PIECES.
+
+Then the cutter, who throws away half the stuff under his bench! How
+easy it would be, if things were thought of from the beginning and the
+place built for the work, to have such width of bench and space of
+window that, along the latter, easily and comfortably within reach,
+should run stages, tier above tier, of strong sheet or thin plate glass,
+sloping at such an angle that the cuttings might lie along them against
+the light, with a fillet to stop them from falling off. Then it would be
+a pleasure, as all handy things are, for the workman to put his bits of
+glass there, and when he wanted a piece of similar colour, to raise his
+head and choose one, instead of wastefully cutting a fresh piece out of
+the unbroken sheet, or wasting his time rummaging amongst the bits on
+the bench. A stage on the same principle for _choosing_ glass is
+illustrated in fig. 67.
+
+But it is in easels that improvement seems most wanted and would be most
+easy, and here I really must tell you a story.
+
+
+AN INCONVENIENT EASEL.
+
+Having once some very large lights to paint, against time, the friends
+in whose shop I was to work (wishing to give me every advantage and to
+_save time_), had had special easels made to take in the main part of
+each light at once. But an "Easel," in stained-glass work, meaning
+always the single slab of plate-glass in a wooden frame, these were of
+that type. I forget their exact size and could hazard no guess at their
+weight, but it took four men to get one from the ground on to the bench.
+Why, I wanted it done a dozen times an hour! and should have wished to
+be able to do it at any moment. Instead of that it was, "Now then, Bill;
+ease her over!" "Steady!" "Now lift!" "All together, boys!" and so
+forth. I wonder there wasn't a strike! But did no one, then, ever see in
+a club or hotel a plate-glass window about as big as a billiard-table,
+and a slim waiter come up to it, and, with a polite "Would you like the
+window open, sir?" quietly lift it with one hand?
+
+[Illustration: FIG. 67.]
+
+
+A CONVENIENT EASEL.
+
+Fig. 68 is a diagram of the kind of easel I would suggest. It can either
+stand on the bench or on the floor, and with the touch of a hand can be
+lifted, weighing often well over a hundredweight, to any height the
+painter pleases, till it touches the roof, enabling him to see at any
+moment the whole of his work at a distance and against the sky, which
+one would rather call an absolute necessity than a mere convenience or
+advantage.
+
+Some of these things were thought out roughly by myself, and have been
+added to and improved from time to time by my painters and apprentices,
+a matter which I shall say a word on by-and-by, when we consider the
+relations which should exist between these and the master.
+
+
+AN IMPROVED TOOL FOR WAXING-UP.
+
+Meanwhile here is another little tool (fig. 69), the invention of one of
+my youngest "hands" (and heads), and really a praiseworthy invention,
+though indeed a simple and self-evident matter enough. The usual tool
+for waxing-up is (1) a strip of glass, (2) a penknife, (3) a stick of
+wood. The thing most to be wished for in whatever is used being, of
+course, that it _should retain the heat_. This youth argued: "If they
+use copper for soldering-bits because it retains heat so well, why not
+use copper for the waxing-up tool? besides, it can be made into a pen
+which will hold more wax."
+
+[Illustration: FIG. 68.]
+
+[Illustration: FIG. 69.]
+
+So said, so done; nothing indeed to make a fuss about, but part of a
+very wholesome spirit of wishing to work with handy tools economically,
+instead of blundering and wasting.
+
+
+AN EASEL WITH MOVABLE PLATES.
+
+But to return for a moment to the easel. I find it very convenient not
+to have it made all of one plate of glass, but to divide it so that
+about four plates make the whole easel of five feet high. These plates
+slip in grooves, and can be let in either at the top or bottom, the
+latter being then stopped by a batten and thumbscrews. By this means a
+light of any length can be painted in sections without a break. For
+supposing you work from below upwards, and have done the first five feet
+of the window, take out all the glass except the top plate, _shift this
+down to the bottom_, and place three empty plates above it, and you can
+join the upper work to the lower by the sample of the latter left in its
+place to start you.
+
+
+HOW TO MAKE THE MOST OF A ROOM.
+
+The great point is to be able to get away as far as you can from your
+work. And I advise you, if your room is small, to have a fair-sized
+mirror (a cheval-glass) and place it at the far end of your room
+opposite the easel where you are painting, and then, standing close by
+the side of your easel, look at your work in the mirror. This will
+double the distance at which you see it, and at the same time present it
+to you reversed; which is no disadvantage, for you then see everything
+under a fresh aspect and so with a fresh eye. Of course, by the use of
+two mirrors, if they be large enough, you can put your work away to any
+distance. You must have seen this in a restaurant where there were
+mirrors, and where you have had presented to you an endless procession
+of your own head, first front then back, going away into the far
+distance.
+
+
+HOW TO HANDLE CARTOONS.
+
+Well, it's really like insulting your intelligence! And if I hadn't seen
+fellows down on their hands and knees rolling and unrolling cartoons
+along the dirty floor, and sprawling all over the studio so that
+everybody had to get out of the way into corners, I wouldn't spend paper
+and ink to tell you that by standing the roll _upright_ and spinning it
+gently round with your hands, freeing first one edge and then another,
+you can easily and quietly unroll and sort out a bundle of a dozen
+cartoons, each twenty feet long, on the space of a small hearth-rug; but
+so it is (fig. 70), and in just the same way you can roll them up again.
+
+
+NEATNESS AND CLEANLINESS.
+
+You should have drawers in the tables, and put the palettes away in
+these with the colour neatly covered over with a basin when you leave
+work. Dust is a great enemy in a stained-glass shop, and it must be kept
+at arm's length.
+
+
+YOU MUST TEAR OFF THE SELVAGE EDGE OF YOUR TRACING CLOTH,
+otherwise the tracing cloth being all cockled at the edge, which,
+however, is not very noticeable, will not lie flat, and you will be
+puzzled to know why it is that you cannot get your cut-line straight;
+tear off the edge, and it lies perfectly flat, without a wrinkle.
+
+
+HOW TO DRY A BIG BRUSH OR BADGER AFTER IT IS WASHED.
+
+I expect you'd try to dry it in front of the fire, and there'd be a
+pretty eight-shilling frizzle! But the way is this: First sweep the wet
+brush downwards with all your force, just as you shake the worst of the
+wet off a dripping umbrella, then take the handle of the brush _between
+the palms of your hands_, with the hair pointing downwards, and rub your
+hands smartly together, with the handle between them, just as an Italian
+waiter whisks up the chocolate. This sends the hair all out like a
+Catherine-wheel, and dries the brush with quite astonishing rapidity.
+Come now! you'd never have thought of that?
+
+[Illustration: FIG. 70.]
+
+       *       *       *       *       *
+
+And why have I reserved these hints till now? surely these are things of
+the work-bench, practical matters, and would have come more conveniently
+in their own place? Why have I--do you ask--after arousing your
+attention to the "great principles of art," gone back again all at once
+to these little matters?
+
+Dear reader, I have done so deliberately to emphasise the _First_ of
+principles, that the right learning of any craft is the learning it
+under a master, and that all else is makeshift; to drive home the lesson
+insisted on in the former volumes of this series of handbooks, and
+gathered into the sentence quoted as a motto on the fly-leaf of one of
+them, that "An art can only be learned in the workshop of those who are
+winning their bread by it."
+
+These little things we have just been speaking of occurred to me after
+the practical part was all written; and I determined, since it happened
+so, to put them by themselves, to point this very lesson. They are just
+typical instances of hundreds of little matters which belong to the
+bench and the workshop, and which cannot all be told in any book; and
+even if told can never be so fully grasped as they would be if shown by
+master to pupil. Years--centuries of practice have made them the
+commonplaces of the shops; things told in a word and learnt in an
+instant, yet which one might go on for a whole lifetime without thinking
+of, and for lack of which our lifetime's work would suffer.
+
+Man's work upon earth is all like that. The things are there under his
+very nose, but he never discovers them till some accident shows them;
+how many centuries of sailing, think you, passed by before men knew that
+the tides went with the moon?
+
+Why then write a book at all, since it is not the best way?
+
+Speaking for myself only, the reasons appear to be: First, because none
+of these crafts is at present taught in its fulness in any ordinary
+shop, and I would wish to give you at least a longing to learn yours in
+that fulness; and, second, because it seems also very advisable to
+interest the general reader in this question of the complete teaching of
+the crafts to apprentices. To insist on the value and necessity of the
+daily and hourly lessons that come from the constant presence, handling,
+and use of all the tools and materials, all the apparatus and all the
+conditions of the craft, and from the interchange of ideas amongst those
+who are working, side by side, making fresh discoveries day by day as to
+what materials will do under the changes that occur in conditions that
+are ever changing.
+
+However, one must not linger further over these little matters, and it
+now becomes my task to return to the great leading principles and try to
+deal with them, and the first cardinal principle of stained-glass work
+surely is that of COLOUR.
+
+
+
+
+CHAPTER XVI
+
+OF COLOUR
+
+
+But how hopeless to deal with it by way of words in a book where actual
+colour cannot be shown!
+
+Nevertheless, let us try.
+
+       *       *       *       *       *
+
+... One thinks of morning and evening; ... of clouds passing over the
+sun; of the dappled glow and glitter, and of faint flushes cast from the
+windows on the cathedral pavement; of pearly white, like the lining of a
+shell; of purple bloom and azure haze, and grass-green and golden spots,
+like the budding of the spring; of all the gaiety, the sparkle, and the
+charm.
+
+And then, as if the evening were drawing on, comes over the memory the
+picture of those graver harmonies, in the full glow of red and blue,
+which go with the deep notes of the great organ, playing requiem or
+evening hymn.
+
+Of what use is it to speak of these things? The words fall upon the ear,
+but the eye is not filled.
+
+All stained-glass gathers itself up into this one subject; the glory of
+the heavens is in it and the fulness of the earth, and we know that the
+showing forth of it cannot be in words.
+
+Is it any use, for instance, to speak of these primroses along the
+railway bank, and those silver buds of the alder in the hollow of the
+copse?
+
+One thinks of a hint here and a hint there; the very sentences come in
+fragments. Yet one thing we may say securely: that the practice of
+stained-glass is a very good way to _learn_ colour, or as much of it as
+can come by learning.
+
+For, consider:--
+
+A painter has his colour-box and palette;
+
+And if he has a good master he may learn by degrees how to mix his
+colour into harmonies;
+
+Doing a little first, cautiously;
+
+Trying the problem in one or two simple tints; learning the combinations
+of these in their various degrees of lighter or darker:
+
+Exhausting, as much as he can, the possibilities of one or two pigments,
+and then adding another and another;
+
+But always with a very limited number of actual separate ones to draw
+upon;
+
+All the infinity of the whole world of colour being in his own hands,
+and the difficulty of dealing with it laid as a burden upon his own
+shoulders, as he combines, modifies, mixes, and dilutes them.
+
+He perhaps has eight or ten spots of pure colour, ranged round his
+palette; and all the rest depends upon himself.
+
+This gives him, indeed, one side of the practice of his art; and if he
+walks warily, yet daringly, step by step, learning day by day something
+more of the powers that lie in each single kind of paint, and as he
+learns it applying his knowledge, bravely and industriously, to add
+strength to strength, brightness to brightness, richness to richness,
+depth to depth, in ever clearer, fuller, and more gorgeous harmony, he
+may indeed become a great painter.
+
+But a more timid or indolent man gets tired or afraid of putting the
+clear, sharp tints side by side to make new combinations of pure and
+vivid colour.
+
+And even a man industrious, alert, and determined may lose his way and
+get confused amongst the infinity of choice, through being badly taught,
+and especially through being allowed at first too great a range, too
+wide a choice, too lavish riches.
+
+A man so trained, so situated, so tempted, stands in danger of being
+contented to repeat old receipts and formulas over and over, as soon as
+he has acquired the knowledge of a few.
+
+Or, bewildered with the lavishness of his means and confused in his
+choice, tends to fall into indecision, and to smear and dilute and
+weaken.
+
+I cannot help thinking that it is to this want of a system of gradual
+teaching of the elementary stages of colour in painting that we owe, on
+the one side, the fashion of calling irresolute and undecided tints
+"art" colours; and, on the other hand, the garishness of our modern
+exhibitions compared with galleries of old paintings. For Titian's
+burning scarlet and crimson and palpitating blue; and Veronese's gold
+and green and white and rose are certainly not "art colours"; and I
+think we must feel the justice and truth of Ruskin's words spoken
+regarding a picture of Linnell's:--
+
+"And what a relief it is for any wholesome human sight, after sickening
+itself among the blank horror of dirt, ditchwater, and malaria, which
+the imitators of the French schools have begrimed our various Exhibition
+walls with, to find once more a bit of blue in the sky and a glow of
+brown in the coppice, and to see that Hoppers in Kent can enjoy their
+scarlet and purple--like Empresses and Emperors." (Ruskin, "Royal
+Academy Notes," 1875.)
+
+From this irresolution and indecision and the dull-colour school
+begotten of it on the one hand, and from garishness on the other,
+stained-glass is a great means of salvation; for in practising this art
+the absolute judgment must, day by day, be exercised between this and
+that colour, there present before it; and the will is braced by the
+necessity of constant choice and decision. In short, by many of the
+modern, academical methods of teaching painting, and especially by the
+unfortunate arrangement, where it exists, of a pupil passing under a
+succession of different masters, I fear the colour-sense is perplexed
+and blunted; while by stained-glass, taught, as all art should be, from
+master to apprentice, while both make their bread by it, the
+colour-sense would be gradually and steadily cultivated and would have
+time to grow.
+
+This at least seems certain: that all painters who have also done
+stained-glass, or indeed any other decorative work in colour, get
+stronger and braver in painting from its practice. So worked Titian,
+Giorgione, Veronese; and so in our days worked Burne-Jones, Rossetti,
+Madox-Brown, Morris; and if I were to advise and prate about what is,
+perhaps, not my proper business, I would say, even to the student of
+oil-painting, "Begin with burnt-umber, trying it in every degree with
+white; transparent over opaque and opaque over transparent; trying how
+near you can get to purple and orange by contrast (and you will get
+nearer than you think); then add sienna at one end and black at the
+other to enlarge the range;--and then get a set of glass samples."
+
+I have said that stained-glass is "a great means of salvation," from
+irresolution and indecision on the one hand and from garishness on the
+other; but it is only a means--the fact of salvation lies always in
+one's own hands--for we must, I fear, admit that "garishness" and
+"irresolution" are not unknown in stained-glass itself, in spite of the
+resources and safeguardings we have attributed to the material.
+Speaking, therefore, now to stained-glass painters themselves, we might
+say that these faults in their own art, as too often practised in our
+days, arise, strange as it may seem, from ignorance of their own
+material, that very material the _knowledge_ of which we have just been
+recommending as a safeguard against these very faults to the students of
+another art.
+
+And this brings us back to our subject.
+
+For the foregoing discussion of painters' methods has all been written
+to draw a comparison and emphasise a contrast.
+
+A contrast from which you, student of stained-glass, I hope may learn
+much.
+
+For as we have tried to describe the methods of the painter in oil or
+water colours, and so point out his advantages and disadvantages, so we
+would now draw a picture of the glass-painter at work; if he works as he
+should do.
+
+For the painter of pictures (we said) has his colour-box of a few
+pigments, from which all his harmonies must come by mixing them and
+diluting them in various proportions, dealing with infinity out of a
+very limited range of materials, and required to supply all the rest by
+his own skill and memory.
+
+Coming each day to his work with his palette clean and his colours in
+their tubes;
+
+Beginning, as it were, all over again each time; and perhaps with his
+heart cold and his memory dull.
+
+But the glass-painter has his specimens of glass round him; some
+hundreds, perhaps, of all possible tints.
+
+He has, with these, to compose a subject in colour;
+
+There is no getting out of it or shirking it;
+
+He places the bits side by side, with no possibility (which the palette
+gives) of slurring or diluting or dulling them; he must choose from the
+clear hard tints;
+
+And he has the whole problem before him;
+
+He removes one and substitutes another;
+
+"This looks better;" "That is a pleasant harmony;" "Ah! but this makes
+it sing!"
+
+He gets them into groups, and combines them into harmonies, tint with
+tint, group with group:
+
+If he is wise he has them always by him;
+
+Always ready to arrange in a movable frame against the window;
+
+He cuts little bits of each; he waxes them, or gums them, into groups on
+sheets of glass;
+
+He tries all his effects in the glass itself; he sketches in glass.
+
+If he is wise he does this side by side with his water-colour sketch,
+making each help the other, and thinking in glass; even perhaps making
+his water-colour sketch afterwards from the glass.
+
+Is it not reasonable?
+
+Is it not far more easy, less dangerous?
+
+He has not to rake in his cold and meagre memory to fish out some poor
+handful of all the possible harmonies;
+
+To repeat himself over and over again.
+
+He has all the colours burning round him; singing to him to use them;
+sounding all their chords.
+
+Is it not the way? Is it not common sense?
+
+Tints! pure tints! What great things they are.
+
+I remember an old joke of the pleasant Du Maurier, a drawing
+representing two fashionable ladies discussing the afternoon's
+occupation. One says: "It's quite too dull to see colours at Madame St.
+Aldegonde's; suppose we go to the Old Masters' Exhibition!"
+
+Rather too bad! but the ladies were not so altogether frivolous as might
+at first appear. I am afraid _Punch_ meant that they were triflers who
+looked upon colour in dress as important, and colour in pictures as a
+thing which would do for a dull day. But they were not quite so far
+astray as this! There are other things in pictures besides colour which
+can be seen with indifferent light. But to match clear tint against
+clear tint, and put together harmonies, there is no getting away from
+the problem! It is all sheer, hard exercise; you want all your light for
+it; there is no slurring or diluting, no "glazing" or "scumbling," and
+it should form a part of the teaching, and yet it never does so, in our
+academies and schools of art. A curious matter this is, that a painter's
+training leaves this great resource of knowledge neglected, leaves the
+whole thing to memory. Out of all the infinite possible harmonies only
+getting what rise in the mind at the moment from the unseen. While
+ladies who want to dress beautifully look at the things themselves, and
+compare one with another. And how nicely they dress. If only painters
+painted half as well. If the pictures in our galleries only looked half
+as harmonious as the crowd of spectators below them! I would have it
+part of every painter's training to practise some craft, or at least
+that branch of some craft, which compels the choosing and arranging, in
+due proportions for harmony, of clear, sharp glowing colours in some
+definite material, from a full and lavish range of existing samples. It
+is true that here and there a painter will arise who has by nature that
+kind of instinct or memory, or whatever it is, that seems to feel
+harmonies beforehand, note by note, and add them to one another with
+infallible accuracy; but very few possess this, and for those who lack I
+am urging this training. For it is a case of
+
+         "the little more and how much it is,
+     And the little less and what worlds away."
+
+Millais hung a daring crimson sash over the creamy-white bed-quilt, in
+the glow of the subdued night-lamp, in his picture of "Asleep," and we
+all thought what a fine thing it was. But we have not thought it so fine
+for the whole art world to burst into the subsequent imitative paroxysm
+of crashing discords in chalk, lip-salve, and skim-milk, which has
+lasted almost to this day.
+
+At any rate, I throw out this hint for pupils and students, that if they
+will get a set of glass samples and try combinations of colour in them,
+they will have a bracing and guiding influence, the strength of which
+they little dream of, regarding one of the hardest problems of their
+art.
+
+This for the student of painting in general: but for the glass-painter
+it is absolutely essential--the central point, the breath-of-life of his
+art.
+
+To live in it daily and all day.
+
+To be ever dealing with it thus.
+
+To handle with the hands constantly.
+
+To try this piece, and that piece, the little more and the little less.
+
+This is the be-all and end-all, the beginning and the end of the whole
+matter, and here therefore follow a few hints with regard to it.
+
+And there is one rule of such dominating importance that all other hints
+group themselves round it; and yet, strangely enough, I cannot remember
+seeing it anywhere written down.
+
+Take three tints of glass--a purple, let us say, a crimson, and a green.
+
+Let it be supposed that, for some reason, you desire that this should
+form a scheme of colour for a window, or part of a window, with, of
+course, in addition, pure white, and probably some tints more neutral,
+greenish-whites and olives or greys, for background.
+
+You choose your purple (and, by-the-bye, almost the only way to get a
+satisfactory one, except by a happy accident now and then, is to double
+gold-pink with blue; this is the only way to get a purple that will
+vibrate, palpitating against the eye like the petal of a pansy in the
+sun). Well, you get your purple, and you get your green--not a
+sage-green, or an "art-green," but a cold, sharp green, like a leaf of
+parsley, an aquamarine, the tree in the "Eve" window at Fairford, grass
+in an orchard about sunset, or a railway-signal lamp at night.
+
+Your crimson like a peony, your white like white silk; and now you are
+started.
+
+You put slabs of these--equal-sized samples, we will suppose--side by
+side, and see "if they will do."
+
+And they don't "do" at all.
+
+Take away the red.
+
+The green and the purple do well enough, and the white.
+
+But you _want_ the red, you say.
+
+Well, _put back a tenth part of it_.
+
+And how now?
+
+Add a still smaller bit of pale pink.
+
+And how now?
+
+Do you see what it all means? It means the rule we spoke of, and which
+we may as well, therefore, now announce:
+
+"HARMONY IN COLOUR DEPENDS NOT ONLY UPON THE ARRANGING OF RIGHT COLOURS
+TOGETHER, BUT THE ARRANGING OF THE RIGHT QUANTITIES AND THE RIGHT
+DEGREES OF THEM TOGETHER."
+
+To which may be added another, _à propos_ of our bit of "pale pink."
+
+THE HARSHEST CONTRASTS, EVEN DISCORDS, MAY OFTEN BE BROUGHT INTO HARMONY
+BY ADDED NOTES.
+
+I believe that these are the two, and I would even almost say the only
+two, great leading principles of the science of colour, as used in the
+service of Art; and we might learn them, in all their fulness, in a
+country walk, if we were simple enough to like things because we like
+them, and let the kind nurse, Nature, take us by the hand. This very
+problem, to wit: Did you never see a purple anemone? against its green
+leaves? with a white centre? and with a thin ring of crimson shaded off
+into pink? And did you never wonder at its beauty, and wonder how so
+simple a thing could strike you almost breathless with pure physical
+delight and pleasure? No doubt you did; but you probably may not have
+asked yourself whether you would have been equally pleased if the
+purple, green, and red had all been equal in quantity, and the pale pink
+omitted.
+
+I remember especially in one particular window where this colour scheme
+was adopted--an "Anemone-coloured" window--the modification of the one
+splash of red by the introduction of a lighter pink which suggested
+itself in the course of work as it went along, and was the pet fancy of
+an assistant--readily accepted.
+
+The window in question is small and in nowise remarkable, but it was in
+the course of a ride taken to see it in its place, on one of those
+glorious mornings when Spring puts on all the pageantry of Summer, that
+the thoughts with which we are now dealing, and especially the thoughts
+of the infinite suggestion which Nature gives in untouched country and
+of the need we have to drink often at that fountain, were borne in upon
+the writer with more than usual force.
+
+To take in fully and often the glowing life and strength and renewal
+direct from Nature is part of every man's proper manhood, still more
+then of every artist's artistry and student's studentship.
+
+And truly 'tis no great hardship to go out to meet the salutary
+discipline when the country is beautiful in mid-April, and the road good
+and the sun pleasant. The Spring air sets the blood racing as you ride,
+and when you stop and stand for a moment to enjoy these things,
+ankle-deep in roadside grass, you can seem to hear the healthy pulses
+beating and see the wavy line of hills beating with them, as you look at
+the sun-warmed world.
+
+It is good sometimes to think where we are in the scheme of things, to
+realise that we are under the bell-glass of this balmy air, which shuts
+us in, safe from the pitch-dark spaces of infinite cold, through which
+the world is sweeping at eighteen miles a second; while we, with all our
+little problems to solve and work to do, are riding warm by this
+fireside, and the orange-tip butterflies with that curious pertinacity
+of flight which is speed without haste are keeping up their incessant,
+rippling patrol, to and fro along the length of every sunny lane, above
+the ditch-side border of white-blossomed keck!
+
+What has all this to do with stained-glass?
+
+Everything, my boy! Be a human! For you have got to choose your place in
+things, and to choose on which side you will work.
+
+A choice which, in these days, more than ever perhaps before, is one
+between such things as these and the money-getting which cares so little
+for them. I have tried to show you one side by speaking of a little part
+of what may be seen and felt on a spring morning, along a ridge of
+untouched hills in "pleasant Hertfordshire:"[1] if you want to see the
+other side of things ride across to Buntingford, and take the train back
+up the Lea Valley. Look at Stratford (and smell it) and imagine it
+spreading, as no doubt it will, where its outposts of oil-mill and
+factory have already led the way, and think of the valley full up with
+slums, from Lea Bridge to Ponders End! For the present writer can
+remember--and that not half a lifetime back--Edmonton and Tottenham,
+Brondesbury and Upton Park, sweet country villages where quiet people
+lived and farmed and gardened amidst the orchards, fields, and hawthorn
+lanes.
+
+Here now live, in mile after mile of jerry-building, the "hands" who,
+never taught any craft or work worthy of a man, spend their lives in
+some little single operation that, as it happens, no machine has yet
+been invented to perform; month after month, year after year, painting,
+let us say, endless repeats of one pattern to use as they are required for
+the borders of pious windows in the churches of this land.
+
+This is the "other side of things," much commended by what is looked on
+as "robust common sense"; and with this you have--nothing to do. Your
+place is elsewhere, and if it needs be that it seems an isolated one,
+you must bear it and accept it. Nature and your craft will solve all;
+live in them, bathe in them to the lips; and let nothing tempt you away
+from them to measure things by the standard of the mart.
+
+Let us go back to our sunny hillside. "It is good for us to be here,"
+for this also is Holy Ground; and you must indeed be much amongst such
+things if you would do stained-glass, for you will never learn all the
+joy of it in a dusty shop.
+
+"So hard to get out of London?"
+
+But get a bicycle then;--only sit upright on it and go slow--and get
+away from these bricks and mortar, to where we can see things like
+these! those dandelions and daisies against the deep, green grass; the
+blazing candles of the sycamore buds against the purple haze of the oak
+copse; and those willows like puffs of grey smoke where the stream
+winds. Did you ever? No, you never! Well--do it then!
+
+But indeed, having stated our _principles_ of colour, the practice of
+those principles and the influence of nature and of nature's hints upon
+that practice are infinite, both in number and variety. The flowers of
+the field and garden; butterflies, birds, and shells; the pebbles of the
+shore; above all, the dry seaweeds, lying there, with the evening sun
+slanting through them. These last are exceedingly like both in colour
+and texture, or rather in colour and the amount of translucency, to fine
+old stained-glass; so also are dead leaves. But, in short, the thing is
+endless. The "wine when it is red" (or amber, as the case may be), even
+the whisky and water, and whisky _without_ water, side by side, make
+just those straw and ripe-corn coloured golden-yellows that are so hard
+to attain in stained-glass (impossible indeed by means of yellow-stain),
+and yet so much to be desired and sought after.
+
+Will you have more hints still? Well, there are many tropical
+butterflies, chiefly among the _Pierinf_, with broad spaces of yellow
+dashed with one small spot or flush of vivid orange or red. Now you know
+how terrible yellow and red may be made to look in a window; for you
+have seen "ruby" robes in conjunction with "yellow-stain," or the still
+more horrible combination where ruby has been acided off from a yellow
+base. But it is a question of the actual quality of the two tints and
+also of their quantity. What I have spoken of looks horrible because the
+yellow is of a brassy tone, as stain so often is, especially on
+green-white glasses, and the red inclining to puce--jam-colour. It is no
+use talking, therefore, of "red and yellow"--we must say _what_ red and
+_what_ yellow, and how much of each. A magenta-coloured dahlia and a
+lemon put together would set, I should think, any teeth on edge; yet
+ripe corn goes well with poppies, but not too many poppies--while if one
+wing of our butterfly were of its present yellow and the other wing of
+the same scarlet as the spot, it would be an ugly object instead of one
+of the delights of God. It is interesting, it is fascinating to take the
+hint from such things--to splash the golden wings of your Resurrection
+Angel as he rolls away the stone with scarlet beads of sunrise, not seen
+but _felt_ from where you stand on the pavement below. I want the reader
+to fully grasp this question of _quantity_, so I will instance the
+flower of the mullein which contains almost the very tints of the
+"lemon," and the "dahlia" I quoted, and yet is beautiful by virtue of
+its _quantities_: which may be said to be of a "lemon" yellow and yet
+can bear (ay! can it _not_?) the little crimson stamens in the heart of
+it and its sage-green leaves around.
+
+And there is even something besides "tint" and "quantity." The way you
+_distribute_ your colour matters very much. Some in washes, some in
+splashes, some in spots, some in stripes. What will "not do" in one way
+will often be just right in the other: yes, and the very way you treat
+your glass when all is chosen and placed together--matt in one place,
+film in another, chequering, cross-hatching, clothing the raw glass with
+texture and bringing out its nature and its life.
+
+Do not be afraid; for the things that yet remain to do are numberless.
+Do you like the look of deep vivid vermilion-red, upon dark cold green?
+Look at the hip-loaded rose-briar burning in the last rays of a red
+October sunset! You get physical pleasure from the sight; the eye seems
+to vibrate to the harmony as the ear enjoys a chord struck upon the
+strings. Therefore do not fear. But mind, it must be in nature's actual
+colour, not merely "green" and "red": for I once saw the head of a
+celebrated tragic actress painted by a Dutch artist who, to make it as
+deathly as he could, had placed the ashen face upon a background of
+emerald-green with spots of actual red sealing-wax. The eye was so
+affected that the colours swung to and fro, producing in a short time a
+nausea like sea-sickness. That is not pleasure.
+
+The training of the colour-sense, like all else, should be gradual;
+springing as it were from small seed. Be reticent, try small things
+first. You are not likely to be asked to do a great window all at once,
+even if you have the misfortune to be an independent artist approaching
+this new art without a gradual training under the service of others. Try
+some simple scheme from the things of Nature. Hyacinths look well with
+their leaves: therefore _that_ green and _that_ blue, with the white of
+April clouds and the black of the tree-stems in the wood are colours that
+can be used together.
+
+You must be prepared to find almost a sort of penalty in this habit of
+looking at everything with the eye of a stained-glass artist. One seems
+after a time to see natural objects with numbers attached to them
+corresponding with the numbers of one's glasses in the racks:
+butterflies flying about labelled "No. 50, deep," or "75_a_, pale," or a
+bit of "123, special streaky" in the sunset. But if one does not obtrude
+this so as to bore one's friends, the little personal discomfort, if it
+exists, is a very small price to pay for the delight of living in this
+glorious fairyland of colour.
+
+Do not think it beneath your dignity or as if you were shirking some
+vital artistic obligation, to take hints from these natural objects, or
+from ancient or modern glass, in a perfectly frank and simple manner;
+nay, even to match your whole colour scheme, tint for tint, by them if
+it seems well to you. You may get help anywhere and from anything, and
+as much as you like; it will only be so much more chance for you; so
+much richer a store to choose from, so much stronger resource to guide
+to good end; for after all, with all the helps you can get, much lies in
+the doing. Do what you like then--as a child: but be sure you _do_ like
+it: and if the window wants a bit of any particular tint, put it there,
+meaning or no meaning. If there is no robe or other feature to excuse
+and account for it in the spot which seems to crave for it,--put the
+colour in, anywhere and anyhow--in the background if need be--a sudden
+orange or ruby "quarry" or bit of a quarry, as if the thing were done in
+purest waywardness. "You would like a bit there if there were an excuse
+for it?" Then there _is_ an excuse--the best of all--that the eye
+demands it. Do it fearlessly.
+
+But to work in this way (it hardly need be said) you must watch and work
+at your glass yourself; for these hints come late on in the work, when
+colour, light and shade, and design are all fusing together into a
+harmony. You can no more forecast these final accidents, which are the
+flower and crown and finish of the whole, than you could forecast the
+lost "Chord";--
+
+     "Which came from the soul of the organ,
+     And entered into mine."
+
+It "comes from the soul" of the window.
+
+We all know the feeling--the climaxes, exceptions, surprises,
+suspensions, in which harmony delights; the change from the last bar of
+the overture to the first of the opening recitative in the "Messiah,"
+the chord upon which the victor is crowned in "The Meistersingers," the
+59th and 60th bars in Handel's "Every Valley." (I hope some of us are
+"old-fashioned" enough to be unashamed of still believing in Handel!)
+
+Or if it may be said that these are hardly examples of the kind of
+accidental things I have spoken of, being rather, indeed, the
+deliberately arranged climax to which the whole construction has been
+leading, I would instance the 12th (complete) bar in the overture to
+"Tannhduser," the 20th and 22nd bar in Chopin's Funeral March, the
+change from the minor to major in Schubert's Romance from "Rosamunde,"
+and the 24th bar in his Serenade (_Ständchen_), the 13th and following
+bars of the Crescendo in the Largo Appassionato of Beethoven's Op. 2. Or
+if you wish to have an example where _all_ is exception, like one of the
+south nave windows in York Minster, the opening of the "Sonata
+Appassionata," Op. 57.
+
+Now how can you forecast such things as these!
+
+Let me draw another instance from actual practice. I was once painting a
+figure of a bishop in what I meant to be a dark green robe, the kind of
+black, and yet vivid, green of the summer leafage of the oak; for it was
+St. Boniface who cut down the heathen oak of Frisia. But the orphreys of
+his cope were to be embroidered in gold upon this green, and therefore
+the pattern had first to be added out in white upon a blue-flashed
+glass, which yellow stain over all would afterwards turn into green and
+gold. And when all was prepared and the staining should have followed,
+my head man sent for me to come to the shop, and there hung the figure
+with its dark green robe with orphreys of _deep blue_ and _silver_.
+
+"I thought you'd like to look at it before we stained it," said he.
+
+"STAIN IT!" I said. "I wouldn't touch it; not for sixpence
+three-farthings!"
+
+There was a sigh of relief all round the shop, and the reply was, "Well,
+so we all thought!"
+
+Just so; therefore the figure remained, and so was erected in its place.
+Now suppose I had had men who did what they were told, instead of being
+encouraged to think and feel and suggest?
+
+A serious word to you about this question of staining. It is a resource
+very easily open to abuse--to excess. Be careful of the danger, and
+never stain without first trying the effect on the back of the
+easel-plate with pure gamboge, and if you wish for a very clear
+orange-stain, mix with the gamboge a little ordinary red ink. It is too
+much the custom to "pick out" every bit of silver "canopy" work with
+dottings and stripings of yellow. A _little_ sometimes warms up
+pleasantly what would be too cold--and the old men used it with effect:
+but the modern tendency, as is the case in all things merely imitative,
+is to overdo it. For the old men used it very differently from those who
+copy them in the way I am speaking of, and, to begin with, used it
+chiefly on _pure white glass_. Much modern canopy work is done on
+greenish-white, upon which the stain immediately becomes that
+greenish-yellow that I have called "brassy." A little of this can be
+borne, when side by side with it is placed stain upon pure white. The
+reader will easily find, if he looks for them, plenty of examples in old
+glass, where the stain upon the white glass has taken even a _rosy_
+tinge exactly like that of a yellow crocus seen through its white
+sheath. It is perhaps owing partly to patina on the old glass, which
+"scumbles" it; but I have myself sometimes succeeded in getting the same
+effect by using yellow-stain on pure white glass. A whole window, where
+the highest light is a greenish white, is to me very unpleasant, and
+when in addition yellow-stain is used, unbearable. This became a fashion
+in stained-glass when red-lead-coloured pigments, started by Barff's
+formula, came into general use. They could not be used on pure white
+glass, and therefore pure white glass was discarded and greenish-white
+used instead. I can only say that if the practice of stained-glass were
+presented to me with this condition--of abstaining from the use of pure
+white--I would try to learn some useful trade.
+
+There is another question of ideals in the treatment of colour in
+stained-glass about which a word must be said.
+
+Those who are enthusiastic about the material of stained-glass and its
+improvement are apt to condemn the degree of heaviness with which
+windows are ordinarily painted, and this to some extent is a just
+criticism. But I cannot go the length of thinking that all matt-painting
+should be avoided, and outline only used; or that stained-glass material
+can, except under very unusual conditions and in exceptional situations,
+be independent of this resource. As to the
+slab-glasses--"Early-English," "Norman," or "stamped-circles"--which are
+chiefly affected by this question, the texture and surface upon which
+their special character depends is sometimes a very useful resource in
+work seen against, or partly against, background of trees or buildings;
+while against an entirely "borrowed" light perhaps, sometimes, it can
+almost dispense with any painting. The grey shadows that come from the
+background play about in the glass and modify its tones, doing the work
+of painting, and doing it much more beautifully. But this advantage
+cannot always be had, for it vanishes against clear sky. It is all,
+therefore, a question of situation and of aspect, and I believe the
+right rule to be to do in all cases what seems best for every individual
+bit of glass--that each piece should be "cared for" on its merits and
+"nursed," so to speak, and its qualities brought out and its beauty
+heightened by any and every means, just as if it were a jewel to be cut
+(or left uncut) or foiled (or left unfoiled)--as Benvenuto Cellini would
+treat, as he tells you he _did_ treat, precious stones. There is a
+fashion now of thinking that gems should be uncut. Well, gems are hardly
+a fair comparison in discussing stained-glass; for in glass what we aim
+at is the effect of a composition and combination of a multitude of
+things, while gems are individual things, for the most part, to be
+looked at separately. But I would not lay down a rule even about gems.
+Certainly the universal, awkward, faceting of all precious stones--which
+is a relic of the mid-Victorian period--is a vulgarity that one is glad
+to be rid of; but if one _wants_ for any reason the special sparkle,
+here or there, which comes from it, why not use it? I would use it in
+_stained-glass_--have done so. If I have got my window already brilliant
+and the whites pure white, and still want, over and above all this, my
+"Star of the Nativity," let us say, to sparkle out with a light that
+cannot be its own, shall I not use a faceted "jewel" of glass, forty
+feet from the eye, where none can see what it is but only what it does,
+just because it would be a gross vulgarity to use it where it would
+pretend to be a diamond?
+
+The safe guide (as far as there can be a _guide_ where I have maintained
+that there should not be a _rule_) is, surely, to generally get the
+depth of colour that you want by the glass itself, _if you can_, and
+therefore with that aim to deal with rich, full-coloured glass and to
+promote its manufacture. But this being once done and the resource
+carried to its full limit, there is no reason why you should deny
+yourself the further resource of touching it with pigment to any extent
+that may seem fit to you as an artist, and necessary to get the effect
+of colour and texture that you are aiming at, in the thing seen as a
+whole. As to the exaggeration of making accidental streaks in the glass
+do duty for folds of drapery, and manufacturing glass (as has been done)
+to meet this purpose, I hold the thing to be a gross degradation and an
+entire misconception of the relation of materials to art. You may also
+lay this to mind, as a thing worthy of consideration, that all old glass
+was painted, and that no school of stained-glass has ever existed which
+made a principle of refusing this aid. I would never argue from this that
+such cannot exist, but it is a thing to be thought on.
+
+Throw your net, then, into every sea, and catch what you can. Learn what
+purple is, in the north ambulatory at York; what green is, in the east
+window of the same, in the ante-chapel of New College, Oxford, and in
+the "Adam and Eve" window in the north aisle at Fairford; what blue and
+red are, in the glorious east window of the nave at Gloucester, and in
+the glow and gloom of Chartres and Canterbury and King's College,
+Cambridge. And when you have got all these things in your mind, and
+gathered lavishly in the field of Nature also, face your problem with a
+heart heated through with the memory of them all, and with a will braced
+as to a great and arduous task, but one of rich reward. For remember
+this (and so let us draw to an end), that in any large window the spaces
+are so great and the problems so numerous that a _few_ colours and
+groupings of colour, however well chosen, will not suffice. Set out the
+main scheme of colours first: those that shall lead and preponderate and
+convey your meaning to the mind and your intended impression to the eye.
+But if you stop here, the effect will be hard and coarse and
+cold-hearted in its harmonies, a lot of banging notes like a band all
+brass, not out of tune perhaps, but craving for the infinite embroidery
+of the strings and wood.
+
+When, therefore, the main relations of colour have been all set out and
+decided for your window, turn your attention to _small_ differences, to
+harmonies _round_ the harmonies. Make each note into a chord, each tint
+into a group of tints, not only the strong and bold, but also the subtle
+and tender; do not miss the value of small modifications of tint that
+soften brilliance into glow. Study how Nature does it on the petals of
+the pansy or sweet-pea. You think a pansy is purple, and there an end?
+but cut out the pale yellow band, the orange central spot, the faint
+lilacs and whites in between, and where is your pansy gone?
+
+       *       *       *       *       *
+
+And here I must now leave it to you. But one last little hint, and do
+not smile at its simplicity.
+
+For the problem, after all, when you have gathered all the hints you can
+from nature or the past, and collected your resources from however
+varied fields, resolves itself at last into one question--"_How shall I
+do it in glass?_" And the practical solving of this problem is in the
+handling of the actual bits of coloured glass which are the tools of
+your craft. And for manipulating these I have found nothing so good as
+that old-fashioned toy--still my own delight when a sick-bed enforces
+idleness--the kaleidoscope. A sixpenny one, pulled to pieces, will give
+you the knowledge of how to make it; and you will find a "Bath-Oliver"
+biscuit-tin, or a large-sized millboard "postal-roll" will make an
+excellent instrument. But the former is best, because you also then have
+the lid and the end. If you cut away all the end of the lid except a rim
+of one-eighth of an inch, and insert in its place with cement a piece of
+ground-glass, and then, inside this, have another lid of clear glass
+cemented on to a rim of wood or millboard, you can, in the space between
+the two, place chips of the glasses you think of using; and, replacing
+the whole on the instrument, a few minutes of turning with the hand will
+give you, not hundreds, but thousand of changes, both of the
+arrangement, and, what is far more important, of the _proportions_ of
+the various colours. You can thus in a few moments watch them pass
+through an almost infinite succession of changes in their relation to
+each other, and form your judgment on those changes, choosing finally
+that which seems best. And I really think that the fact of these
+combinations being presented to us, as they are by the action of the
+instrument, arranged in ordered shapes, is a help to the judgment in
+deciding on the harmonies of colour. It is natural that it should be so.
+"Order is Heaven's first law." And it is right that we should rejoice in
+things ordered and arranged, as the savage in his string of beads, and
+reasonable that we should find it easier to judge them in order rather
+than confused.
+
+Each in his place. How good a thing it is! how much to be desired! how
+well if we ourselves could be so, and know of the pattern that we make!
+For our lives are like the broken bits of glass, sadly or brightly
+coloured, jostled about and shaken hither and thither, in a seeming
+confusion, which yet we hope is somewhere held up to a light in which
+each one meets with his own, and holds his place; and, to the Eye that
+watches, plays his part in a universal harmony by us, as yet, unseen.
+
+[1] West of the road between Welwyn and Hitchin.
+
+
+
+
+CHAPTER XVII
+
+OF ARCHITECTURAL FITNESS
+
+
+Come, in thought, reader, and stand in quiet village churches, nestling
+amongst trees where rooks are building; or in gaps of the chalk downs,
+where the village shelters from the wind; or in stately cathedrals,
+where the aisles echo to the footstep and the sound of the chimes comes
+down, with the memory of the centuries which have lived and died. Here
+the old artists set their handmark to live now they are gone, and we who
+see it today see, if our eye be single, with what sincerity they built,
+carved, or painted their heart and life into these stones. In such a
+spirit and for such a memorial you too must do your work, to be weighed
+by the judgment of the coming ages, when you in turn are gone, in the
+same balance as theirs--perhaps even side by side with it.
+
+And will you dare to venture? Have no fear if you also bring your best.
+But if we enter on work like this as to a mere market for our wares, and
+with no other thought than to make a brisk business with those that buy
+and sell; we well may pray that some merciful scourge of small cords
+drive us also hence to dig or beg (which is more honourable), lest worse
+befall us!
+
+And I do not say these things because this or that place is "God's
+house." All places are so, and the first that was called so was the bare
+hillside; but because you are a man and have indeed here arrived, as
+there the lonely traveller did, at the arena of your wrestling. But,
+granted that you mean to hold your own and put your strength into it, I
+have brought you to these grave walls to consult with them as to the
+limits they impose upon your working.
+
+And perhaps the most important of all is already observed by your
+_being_ here, for it is important that you should visit, whenever
+possible, the place where you are to do work; if you are not able to do
+this, get all the particulars you can as to aspect and surroundings. And
+yet a reservation must be made, even upon all this; for everything
+depends upon the way we use it, and if you only have an eye to the
+showing off of your work to advantage, treating the church as a mere
+frame for your picture, it would be better that your window should
+misfit and have to be cut down and altered, or anything else happen to
+it that would help to put it back and make it take second place. It is
+so hard to explain these things so that they cannot be misconstrued; but
+you remember I quoted the windows at St. Philip's, Birmingham, as an
+example of noble thought and work carried to the pitch of perfection and
+design. But that was in a classic building, with large, plain, single
+openings without tracery. Do you think the artist would have let himself
+go, in that full and ample way, in a beautiful Gothic building full of
+lovely architectural detail? Not so: rather would he have made his
+pictures hang lightly and daintily in the air amongst the slender
+shafts, as in St. Martin's Church in the same town, at Jesus College and
+at All Saints' Church, Cambridge, at Tamworth; and in Lyndhurst, and
+many another church where the architecture, to say truth, had but
+slender claims to such respect.
+
+       *       *       *       *       *
+
+In short, you must think of the building first, and make your windows
+help it. You must observe its scale and the spacing and proportions of
+its style, and place your own work, with whatever new feeling and new
+detail may be natural to you, well within those circumscribing bounds.
+
+But here we find ourselves suddenly brought sharp up, face to face with
+a most difficult and thorny subject, upon which we have rushed without
+knowing it. "Must we observe then" (you say) "the style of the building
+into which we put our work, and not have a style of our own that is
+native to us?"
+
+"This is contrary to all you have been preaching! The old men did not
+so. Did they not add the fancies of their own time to the old work, and
+fill with their dainty, branching tracery the severe, round-headed,
+Norman openings of Peterborough and Gloucester? Did fifteenth-century
+men do thirteenth-century glass when they had to refill a window of that
+date?" No. Nor must you. Never imitate, but graft your own work on to
+the old, reverently, and only changing from it so far forth as you, like
+itself, have also a living tradition, springing from mastery of
+craft--naturally, spontaneously, and inevitably.
+
+Whether we shall ever again have such a tradition running throughout all
+the arts is a thing that cannot possibly be foretold. But three things
+we may be quite sure of.
+
+First, that if it comes it will not be by way of any imitative revival
+of a past style;
+
+Second, that it will be in harmony with the principles of Nature; and
+
+Third, that it will be founded upon the crafts, and brought about by
+craftsmen working in it with their own hands, on the materials of
+architecture, designing only what they themselves can execute, and
+giving employment to others only in what they themselves can do.
+
+A word about each of these three conditions.
+
+In the course of the various attempted revivals in architecture that
+have taken place during the past sixty years, it has been frequently
+urged both by writers and architects that we should agree to revive some
+_one_ style of ancient art that might again become a national style of
+architecture. It would, indeed, no doubt be better, if we must speak in
+a dead language, to agree to use only one, instead of our present
+confusion of tongues: but what, after all, is the adopting of this
+principle at all but to engage once again in the replanting of a
+full-grown tree--the mistake of the Renaissance and the Gothic revival
+repeated? Such things never take firm root or establish healthy growth
+which lives and goes on of its own vitality. They never succeed in
+obtaining a natural, national sympathy and acceptance. The movement is a
+scholarly and academic one, and the art so remains. The reaction against
+it is always a return to materials, and almost always the first result
+of this is a revival of simplicity. People get tired of being surrounded
+with elaborate mouldings and traceries and other architectural features,
+which are not the natural growth of their own day but of another day
+long since dead, which had other thoughts and moods, feelings and
+aspirations. "Let us have straightforward masonry and simple openings,
+and ornament them with something from Nature."
+
+So in the very midst of the pampered and enervated over-refinement of
+Roman decay, Constantine did something more than merely turn the
+conquering eagle back, against the course of the heavens, for which
+Dante seems to blame him,[2] when he established his capital at
+Byzantium; for there at once upon the new soil, and in less than a
+single century, sprang to life again all the natural modes of building
+and decoration that, despised as barbaric, had been ignored and
+forgotten amid the Roman luxury and sham.
+
+It is a curious feature of these latest days of ours that this searching
+after sincerity should seem to be leading us towards a similar revival;
+taking even very much the same forms. We went back, at the time of the
+Gothic revival, to the forgotten Gothic art of stained-glass; now tired,
+as it would seem, of the insincerity and mere spirit of imitation with
+which it and similar arts have been practised, a number of us appear to
+be ready to throw it aside, along with scholarly mouldings and
+traceries, and build our arts afresh out of the ground, as was done by
+the Byzantines, with plain brickwork, mosaic, and matched slabs of
+marble. Definite examples in recent architecture will occur to the
+reader. But I am thinking less of these--which for the most part are
+deliberate and scholastic revivals of a particular style, founded on the
+study of previous examples and executed on rigid academic methods--than
+of what appears to be a widespread awakening to principles of
+simplicity, sincerity, and common sense in the arts of building
+generally. Signs are not wanting of a revived interest in building--a
+revived interest in materials for their own sake, and a revived practice
+of personally working in them and experimenting with them. One calls to
+mind examples of these things, growing in number daily--plain and strong
+furniture made with the designer's own hands and without machinery, and
+enjoyed in the making--made for actual places and personal needs and
+tastes; houses built in the same spirit by architects who condescend to
+be masons also; an effort here and an effort there to revive the common
+ways of building that used to prevail--and not so long ago--for the
+ordinary housing and uses of country-folk and country-life, and which
+gave us cottages, barns, and sheds throughout the length and breadth of
+the land; simple things for simple needs, built by simple men, without
+self-consciousness, for actual use and pleasant dwelling; traditional
+construction and the habits of making belonging to the country-side.
+These still linger in the time-honoured ways of making the waggon and
+the cart and the plough; but they have vanished from architecture and
+building except in so far as they are being now, as I have said,
+consciously and deliberately revived by men who are going back from
+academic methods, to found their arts once more upon the actual making
+of things with their own hand and as their hand and materials will guide
+them.
+
+This was what happened in the time to which I have referred: in the dawn
+of the Christian era and of a new civilisation; and it has special
+interest for us of today, because it was not a case of an infant or
+savage race, beginning all things from seed; but the revival, as in
+Sparta, centuries before it, of simplicity and sincerity of life, in the
+midst of enervation, luxury, and decay.
+
+This seems our hope for the future.
+
+There has already gathered together in the great field of the arts of
+today a little Byzantium of the crafts setting itself to learn from the
+beginning how things are actually made, how built, hammered, painted,
+cut, stitched; casting aside theories and academical thought, and
+founding itself upon simplicity, and sincerity, and materials. And the
+architect who condescends, or, as we should rather say, aspires, to be a
+builder and a master-mason, true director of his craft, will, if things
+go on as they seem now going, find in the near future a band around him
+of other workers so minded, and will have these bright tools of the
+accessory crafts ready to his hand. This it is, if anything, that will
+solve all the vexed questions of "style," and lead, if anything will, to
+the art of the times to be. For the reason why the nineteenth century
+complained so constantly that it had "no style of architecture" was
+surely because it had _every_ style of architecture, and a race of
+architects who could design in every style because they could build in
+no style; knew by practical handling and tooling nothing of the real
+natures and capacities of stone or brick or wood or glass; received no
+criticism from their materials; whereas these should have daily and
+hourly moulded their work and formed the very breath of its life,
+warning and forbidding on the one hand, suggesting on the other, and so
+directing over all.
+
+I have thought fit, dear student, to touch on these great questions in
+passing, that you may know where you stand; but our real business is
+with ourselves: to make ourselves so secure upon firm standing ground,
+in our own particular province, that when the hour arrives, it may find
+in us the man. Let us therefore return again from these bright hopes to
+consider those particular details of architectural fitness which are our
+proper business as workers in glass.
+
+What, then, in detail, are the rules that must guide us in placing
+windows in ancient buildings? But first--_may_ we place windows in
+ancient buildings at all? "No," say some; "because we have no right
+to touch the past; it is 'restoration,' a word that has covered, in
+the past," they say (and we must agree with them), "a mass of artistic
+crime never to be expiated, and of loss never to be repaired." "Yes,"
+say others, "because new churches will be older in half-an-hour--
+half-an-hour older; for the world has moved, and where will you draw
+the line? Also, glass has _to be renewed_, you must put in something,
+or some one must."
+
+Let each decide the question for himself; but, supposing you admit that
+it is permissible, what are the proper restrictions and conditions?
+
+You must not tell a lie, or "match" old work, joining your own on to it
+as if itself were old.
+
+Shall we work in the style of the "New art," then--"_l'art Nouveau_"?
+the style of the last new poster? the art-tree, the art-bird, the
+art-squirm, and the ace of spades form of ornament?
+
+Heaven in mercy defend us and forbid it!
+
+Canopies are venerable; thirteenth-century panels and borders are
+venerable, the great traditional vestments are so, and liturgy, and
+symbolism, and ceremony. These are not things of one age alone, but
+belong to all time. Get, wherever possible, authority on all these
+points.
+
+Must we work in a "style," then--a "Gothic" style?
+
+No.
+
+What rule, then?
+
+It is hard to formulate so as to cover all questions, but something
+thus:--
+
+Take forms, and proportions, and scale from the style of the church you
+are to work in.
+
+Add your own feeling to it from--
+
+(1) The feeling of the day, but the best and most reverent feeling.
+
+(2) From Nature.
+
+(3) From (and the whole conditioned by) materials and the knowledge of
+craft.
+
+Finally, let us say that you must consider each case on its merits, and
+be ready even sometimes perhaps to admit that the old white glass may be
+better for a certain position than your new glass could be, while old
+_stained-glass_, of course, should always be sacred to you, a thing to
+be left untouched. Even where new work seems justifiable and to be
+demanded, proceed as if treading on holy ground. Do not try crude
+experiments on venerable and beautiful buildings, but be modest and
+reticent; know the styles of the past thoroughly and add your own fresh
+feeling to them reverently. And in thought do not think it necessary to
+be novel in order to be original. There is quite enough originality in
+making a noble figure of a saint, or treating with reverent and
+dignified art some actual theme of Scripture or tradition, and working
+into its detail the sweetness of nature and the skill of your hands,
+without going into eccentricity for the sake of novelty, and into weak
+allegory to show your originality and independence, tired with the
+world-old truths and laws of holy life and noble character. And this
+leads us to the point where we must speak of these deep things in the
+great province of thought.
+
+[2] Paradise, canto vi. 1.
+
+
+
+
+CHAPTER XVIII
+
+OF THOUGHT, IMAGINATION, AND ALLEGORY
+
+
+"_The first thing one should demand of a man who calls himself an artist
+is that he has something to say, some truth to teach, some lesson to
+enforce. Don't you think so?_"
+
+Thus once said to me an artist of respectable attainment.
+
+"_I don't care a hang for subject; give me good colour, composition,
+fine effects of light, skill in technique, that's all one wants. Don't
+you think so?_"
+
+Thus once said to me a member of a window-committee, himself also an
+artist.
+
+To both I answered, and would answer with all the emphasis possible--No!
+
+The _first_ duty of an artist, as of every other kind of worker, is to
+know his business; and, unless he knows it, all the "truths" he wishes
+to "teach," and the lessons he wishes to enforce, are but degraded and
+discredited in the eyes of men by his bungling advocacy.
+
+On the other hand, the artist who has trained himself to speak with the
+tongues of angels and after all has nothing to say, is also, to me, an
+imperfect being. What follows is written, as the whole book is written,
+for the young student, just beginning his career and feeling the
+pressure and conflict of these questions. For such I must venture to
+discuss points which the wise and the experienced may pass by.
+
+The present day is deluged with allegory; and the first thing three
+students out of four wish to attempt when they arrive at the stage of
+original art is the presentation, by figures and emblems, of some deep
+abstract truth, some problem of the great battle of life, some force of
+the universe that they begin to feel around them, pressing upon their
+being. Forty years ago such a thing was hardly heard of. In the
+sketching-clubs at the Academies of that day, the historical, the
+concrete, or the respectably pious were all that one ever saw. We can
+hardly realise it, the art of the late sixties. The pre-Raphaelite
+brotherhood, as such, a thing of the past, and seemingly leaving few
+imitators. Burne-Jones just heard of as a strange, unknown artist, who
+wouldn't exhibit his pictures, but who had done some queer new kind of
+stained-glass windows at Lyndhurst, which one might perhaps be curious
+to see when we went (as of course we must) to worship "Leighton's great
+altar-piece." Nay, ten years later, at the opening of the Grosvenor
+Gallery, the new, imaginative, and allegorical art could be met with a
+large measure of derision, and _Punch_ could write, regarding it, an
+audacious and contemptuous parody of the "Palace of Art"; while, abroad,
+Botticelli's _Primavera_ hung over a door, and the attendants at the
+_Uffizii_ were puzzled by requests, granted grudgingly (_if_ granted), to
+have his other pictures placed for copying and study! Times have
+altogether changed, and we now see in every school competition--often
+set as the subject of such--abstract and allegorical themes, demanding
+for their adequate expression the highest and deepest thought and the
+noblest mood of mind and views of life.
+
+It is impossible to lay down any hard and fast rule about these things,
+for each case must differ. There is such a thing as _genius_, and where
+that is there is but small question of rules or even of youth or age,
+maturity or immaturity. And even apart from the question of genius the
+mind of childhood is a very precious thing, and "the thoughts of youth
+are long, long thoughts." Nay, the mere _fact_ of youth with its trials,
+is a great thing; we shall never again have such a chance, such fresh,
+responsive hearts, such capacity for feeling--for suffering--that school
+of wisdom and source of inspiration! It is well to record its lessons
+while they are fresh, to jot down for ourselves, if we can, something of
+the passing hours; to store up their thoughts and feelings for future
+expression perhaps, when our powers of expression have grown more worthy
+of them; but it is not well to try to make universal lessons out of, or
+universal applications of, what we haven't ourselves learned. Our own
+proper lesson at this time is to learn our trade; to strengthen our weak
+hands and train the ignorance of our mind to knowledge day by day,
+strenuously, and only _spurred on by_ the deep stirrings of thought and
+life within us, which generally ought to remain for the present
+_unspoken_.
+
+A great point of happiness in this dangerous and critical time is to
+have a definite trade; learnt in its completeness and practised day by
+day, step by step, upwards from its elements, in constant subservience
+to wise and kind mastership. This indeed is a golden lot, and one rare
+in these days; and perhaps we must not look to be so shielded. This was
+the sober and happy craftsmanship of the Middle Ages, and produced for
+us all that imagery and ornature, instinct with gaiety and simplicity of
+heart, which decorates, where the hand of the ruthless restorer has
+spared it, the churches and cathedrals of Europe.
+
+But in these changeful days it would be rash indeed to forecast where
+lies the sphere of duty for any individual life. It may lie in the
+reconstruction by solitary, personal experiment, of some forgotten art
+or system, the quiet laying of foundation for the future rather than
+building the monument of today. Or perhaps the self-devoted life of the
+seer may be the Age's chief need, and it is not a Giotto that is wanted
+for the twentieth century but a Dante or a Blake, with the accompanying
+destiny of having to prove as they did--
+
+                 "si come sa di sale
+     Lo pane altrui, e com'h duro calle
+     Lo scendere e'l salir per l'altrui scale."[3]
+
+But, however these things be, whether working happily in harmony with
+the scheme of things around us, and only concerned to give it full
+expression, or not; whether we are the fortunate apprentices of a
+well-taught trade, gaining secure and advancing knowledge day by day, or
+whether we are lonely experimentalists, wringing the secret from
+reluctant Nature and Art upon some untrodden path; there is one last
+great principle that covers all conditions, solves all questions, and is
+an abiding rock which remains, unfailing foundation on which all may
+build; and that is the constant measuring of our smallness against the
+greatness of things, a thing which, done in the right spirit, does not
+daunt, but inspires. For the greatness of all things is ours for the
+winning, almost for the asking.
+
+The great imaginative poets and thinkers and artists of the
+mid-nineteenth century have drawn aside for us the curtain of the world
+behind the veil, and he would be an ambitious man who would expect to
+set the mark higher, in type of beauty or depth of feeling, than they
+have placed it for us; but all must hope to do so, even if they do not
+expect it; for the great themes are not exhausted or ever to be
+exhausted; and the storehouse of the great thought and action of the
+past is ever open to us to clothe our nakedness and enrich our poverty;
+we need only ask to have.
+
+"Ah!" said Coningsby, "I should like to be a great man."
+
+The stranger threw at him a scrutinising glance. His countenance was
+serious. He said in a voice of almost solemn melody--
+
+"Nurture your mind with great thoughts. To believe in the heroic makes
+heroes."[4]
+
+All the great thoughts of the world are stored up in books, and all the
+great books of the world, or nearly all, have been translated into
+English. You should make it a systematic part of your life to search
+these things out and, if only by a page or two, try how far they fit
+your need. We do not enough realise how wide a field this is, how great
+an undertaking, how completely unattainable except by carefully
+husbanding our time from the start, how impossible it is in the span of
+a human life to read the great books unless we strictly save the time
+which so many spend on the little books. Ruskin's words on this subject,
+almost harsh in their blunt common sense, bring the matter home so well
+that I cannot refrain from quoting them.[5]
+
+"Do you know, if you read this, that you cannot read that--that what you
+lose today you cannot gain to-morrow? Will you go and gossip with your
+housemaid, or your stable-boy, when you may talk with queens and kings;
+or flatter yourselves that it is with any worthy consciousness of your
+own claims to respect that you jostle with the common crowd for entrie
+here, and audience there, when all the while this eternal court is open
+to you, with its society wide as the world, multitudinous as its days,
+the chosen, and the mighty, of every place and time? Into that you may
+enter always; in that you may take fellowship and rank according to your
+wish; from that, once entered into it, you can never be outcast but by
+your own fault; by your aristocracy of companionship there, your own
+inherent aristocracy will be assuredly tested, and the motives with
+which you strive to take high place in the society of the living,
+measured, as to all the truth and sincerity that are in them, by the
+place you desire to take in this company of the Dead."
+
+This is the great world of BOOKS that is open to you; and how shall you
+find your way in it, in these days, amongst the plethora of the second
+and third and fourth rate, shouting out at you and besieging your
+attention on every stall? It is no more possible to give you entire
+guidance towards this than to give complete advice on any other problem
+of life; your own nature must be your guide, choosing the good and
+refusing the evil in the degree in which itself is good or evil. But one
+may name some landmarks, set up some guide-posts, and the best of all
+guidance surely is not that of a guide-post, but that of a guide, a
+kindly hand of one who knows the way, to take your hand.
+
+Do you ask for such a guide? A man of our own day, in full view of all
+its questions from the loftiest to the least, and heart and soul engaged
+in them, with deep and sympathetic wisdom born of his own companionship
+with all the great thoughts of the ages? One surely need not hesitate a
+moment in naming as the one for our special needs the writer we have
+just quoted.
+
+Scattered up and down the whole of his works is constant reference to
+and commentary upon the great themes of all ages, the great creeds of
+all peoples.
+
+"Queen of the Air," "Aratra Pentelici," "Ariadne Florentina," "The
+Mornings in Florence," "St. Mark's Rest," "The Oxford Inaugural
+Lectures," "The Bible of Amiens," "Fors Clavigera."
+
+With these as portals you can enter by easy steps into the whole
+universe of great things: the divine myth and symbolism of the old pagan
+world (as we call it) and of more recent Christendom; all the makers of
+ancient Greece and Italy and of our own England; worship and kingship
+and leadership, and the high thought and noble deed of all times. And
+clustering in groups round these centres is the world of books. All
+Theology, Philosophy, Poetry, Sacred History; Homer, Plato, Virgil, the
+Bible, and the Breviary. The great doctors and saints, kings and heroes,
+poets and painters, Gerome and Dominic and Francis; St. Louis and
+Coeur-de-Lion; Dante, St. Jerome, Chaucer, and Froissart; Botticelli,
+Giotto, Angelico; the "Golden Legend"; and many another ancient or
+modern legend and story or passage from the history of some great and
+splendid life, or illuminating hint upon the beauties of liturgy and
+symbolism. They, and a hundred other things, are all gathered up and
+introduced to us in Ruskin's books; and we are shown them from the exact
+standpoint from which they are most likely to appeal to us, and be of
+use. There never was a great world made so easy and pleasant of entrance
+for the adventuring traveller; you have only to enter and take
+possession.
+
+Do you incline towards myth and symbolism and allegory--the expression
+of abstract thought by beautiful figures? Read the myths of Greece
+expounded to you in their exquisite spirituality in the "Queen of the
+Air." Or is your bent devotion and the devout life, expressed in
+thrilling story and gorgeous colour? Read, say, the life of St.
+Catherine or of St. George in the "Golden Legend." Or are you in love,
+and would express its spring-time beauty? Translate into your own native
+language of form and colour "The Romaunt of the Rose."
+
+For the great safeguard and guide in the perilous forest of fancy is to
+find enough interest in the actual facts of some history or the
+qualities of some heroic character, whether real or fabled, round which
+at first you may group your thought and allegory. Listen to _them_, and
+try to formulate and illustrate _their_ meaning, not to announce your
+own. Do not set puzzles, or set things that will be puzzling, without
+the highest and deepest reasons and the apostleship urgently laid upon
+you so to do--but let your allegory surround some definite subject, so
+that men in general can see it and say, "Yes, that is so and so," and go
+away satisfied rather than puzzled and affronted; leaving the inner few
+for whom you really speak, the hearts that, you hope, are waiting for
+your message, to find it out (and you need have no fear that they will
+do so), and to say, "Yes, that _means_ so and so, and it is a good
+thought."
+
+For, remember always that, even if you conceive that you have a mission
+laid upon you to declare Truth, it is most sternly conditioned by an
+obligation, as binding as itself and of as high authority, to set forth
+Beauty: the holiness of beauty equally with the beauty of holiness. No
+amount of good intent can make up for lack of skill; it is your business
+to know your business. Youth always would begin with allegory, but the
+ambition of the good intention is generally in exactly the reverse
+proportion to the ability to carry it out in expression. But the true
+allegory that appeals to all is the presentment of noble natures and of
+noble deeds. Where, for most people at any rate, is the "allegory" in
+the Theseus or the Venus of Milo? Yet is not the whole race of man the
+better for them?
+
+Work, therefore, quietly and continually at the great themes ready set
+for you in the story of the past and "understanded of the people," while
+you are patiently strengthening and maturing your powers of art in
+safety, sheltered from yourself, and sheltered from the condemnation due
+to the too presumptuous assumption of apostleship. For it is one thing
+to stand forth and say, "_I_ have a message to deliver to the world,"
+and quite another to say, "_There is_ such a message, and it has fallen
+to me to be its mouthpiece; woe is me, because I am a man of unclean
+lips." It is needless, therefore--nay, it is harmful--to be always
+breaking your heart against tasks beyond your strength. Work in some
+little province; get foothold and grow outwards from it; go on from
+weakness to strength, and then from strength to the stronger, doing the
+things you _can_ do while you practise towards the things you hope to
+do, and illustrating impersonal themes until the time comes for you to
+try your own individual battle in the great world of thought and
+feeling; till, mature in strength equal to the portrayal of great
+natures, the Angels of God as shown forth by you may be recognised as
+indeed Spirit, and His Ministers as flaming Fire.
+
+There is even yet one last word, and that is, in all the _minor_
+symbolism surrounding your subjects, to observe a due proportion. For
+you may easily be tempted to allow some beautiful little fancy, not
+essential to the subject, to find expression in a form or symbol that
+will thrust itself unduly on the attention, and will only puzzle and
+distract.
+
+Never let little things come first, and never let them be allowed at all
+to the damage, or impairing, or obscuring of the simplicity and dignity
+of the great things; remembering always that the first function of a
+window is to have stately and seemly figures in beautiful glass, and not
+to arrest or distract the attention of the spectator with puzzles. Given
+the great themes adequately expressed, the little fancies may then
+cluster round them and will be carried lightly, as the victor wears his
+wreath; while, on the other hand, if these be lacking no amount of
+symbolism or attribute will supply their place. "_Cucullus non facit
+monachum_," as the old proverb says--"It is not the hood that makes the
+monk," but the ascetic face you depict within it. Indeed, rather beware
+of trusting even to the ordinary, well-recognised symbols in common use,
+and being misled by them to think you have done something you have not
+done; and rather withhold these until the other be made sure. Get your
+figures dignified and your faces beautiful; show the majesty or the
+sanctity that you are aiming at in these alone, and your saint will be
+recognised as saintly without his halo of glory, and your angel as
+angelic without his tongue of flame.
+
+       *       *       *       *       *
+
+In my own practice, when drawing from the life, I make a great point of
+keeping back all these ornaments and symbols of attribute, until I feel
+that my figure alone expresses itself fully, as far as my powers go,
+without them. No ornament upon the robe, or the crosier, or the sword;
+above all, no circle round the head, until--the figure standing out at
+last and seeming to represent, as near as may be, the true pastor or
+warrior it claims to represent--the moment arrives when I say, "Yes, I
+have done all I can,--_now_ he may have his nimbus!"
+
+[3]
+
+                           "how tastes of salt
+     The bread of others, and how is hard the passage
+     To go down and to go up by other's stairs."
+
+                           --_Paradise,_ xvii. 58.
+
+[4] Coningsby, Book iii. ch. i.
+
+[5] "Sesame and Lilies," Lecture 1.
+
+
+
+
+CHAPTER XIX
+
+     Of General Conduct and Procedure--Amount of Legitimate
+     Assistance--The Ordinary Practice--The Great Rule--The Second Great
+     Rule--Four Things to Observe--Art _v._ Routine--The Truth of the
+     Case--The Penalty of Virtue in the Matter--The Compensating
+     Privilege--Practical Applications--An Economy of Time in the
+     Studio--Industry--Work "To Order"--Clients and Patrons--And
+     Requests Reasonable and Unreasonable--The Chief Difficulty the
+     Chief Opportunity--But ascertain all Conditions before starting
+     Work--Business Habits--Order--Accuracy--Setting out Cartoon
+     Forms--An Artist must Dream--But Wake--Three Plain Rules.
+
+
+Having now described, as well as I can, the whole of your equipment--of
+hand, and head, and heart--your mental and technical weapons for the
+practice of stained-glass, there now follow a few simple hints to guide
+you in the use of them; how best to dispose your forces, and on what to
+employ them. This must be a very broken and fragmentary chapter, full of
+little everyday matters, very different to the high themes we have just
+been trying to discuss--and relating chiefly to your conduct of the
+thing as a business, and your relationships with the interests that
+surround you; modes of procedure, business hints, practical matters. I
+am sorry, just as you were beginning (I hope) to be warmed to the
+subject, and fired with the high ambitions that it suggests, to take and
+toss you into the cold world of matter-of-fact things; but that is life,
+and we have to face it. Open the door into the cold air and let us bang
+at it straight away!
+
+Now there is one great and plain question that contains all the rest;
+you do not see it now, but you will find it facing you before you have
+gone very far. The great question, "Must I do it all myself, or may I
+train pupils and assistants?"
+
+Let us first amplify the question and get it fairly and fully stated.
+Then we shall have a better chance of being able to answer it wisely.
+
+I have described or implied elsewhere the usual practice in the matter
+amongst those who produce stained-glass on a large scale. In great
+establishments the work is divided up into branches: designers,
+cartoonists, painters, cutters, lead workers, kiln-men: none of whom, as
+a rule, know any branch of the work except their own.
+
+Obviously one of the principal contentions of this book is against the
+idea that such division, as practised, is an ideal method.
+
+On the other hand, you will gather that the writer himself uses the
+service of assistants.
+
+While in the plates at the end are examples of glass where everything
+has been done by the artists themselves (Plates I., II., III., IV.,
+VII.).
+
+I must freely confess that when I first saw in the work of these men the
+beauty resulting from the personal touch of the artist on the whole of
+the cutting and leading, a qualm of doubt arose whether the practice of
+admitting _any_ other hand to my assistance was not a compromise to some
+extent with absolute ideal; whether it were not the only right plan,
+after all, to do the whole oneself; to sit down to the bench with one's
+drawing, and pick out the glass, piece by piece, on its merits,
+carefully considering each bit as it passed through hand; cutting it and
+trimming it affectionately to preserve its beauties, and, later, leading
+it into its place with thicker or thinner lead, in the same careful
+spirit. But I do not think so. I fancy the truth to be that the _whole_
+business should be opened up to all, and afterwards each should
+gravitate to his place by natural fitness. For the cartoonist _once
+having the whole craft_ requires more constant practice in drawing to
+keep himself a good cartoonist than he would get if he also did all the
+other work of each window; quantity being in this matter even essential
+to quality. I think we must look for more monumental figures, achieved
+by the delegation of minor craft matters, in short, by co-operation.
+Nevertheless, I have never felt less certainty in pronouncing on any
+question of my craft than in this particular matter; whether, to get the
+best attainable results, one should do the whole of the work oneself. On
+the other hand, I never felt _more_ certainty in pronouncing on any
+question of the craft, than now in laying down as an absolute rule and
+condition of doing good work at all: that one should be _able_ to do the
+whole of the work oneself. _That_ is the key to the whole situation, but
+it is not the whole key; for following close upon it comes the rule that
+springs naturally out of it; that, being a master oneself, one must make
+it one's object to train all assistants towards mastership also: to give
+them the whole ladder to climb. This at least has been the case with the
+work of my own which is shown in the other collotypes. There has been
+assistance, but every one of those assisting has had the opportunity to
+learn to make, and according to the degree of his talent is actually
+able to make, the whole of a stained-glass window himself. There is not
+a touch of painting on any of the panels shown which is not by a hand
+that can also cut and lead and design and draw, and perform all the
+other offices pertaining to stained-glass noted in the foregoing pages.
+
+Speaking generally, I care not whether a man calls himself Brown, or
+Brown and Co., or, co-operating with others, works under the style of
+Brown, Jones and Robinson, so long as he observe four things.
+
+(1) Not to direct what he cannot practise;
+
+(2) To make masters of apprentices, or aim at making them;
+
+(3) To keep his hand of mastery over the whole work personally at all
+stages; and
+
+(4) To be prepared sometimes to make sacrifices of profit for the sake
+of the Art, should the interests of the two clash.
+
+Such an one we must call an artist, a master, and a worthy craftsman. It
+is almost impossible to describe the deadening influence which a routine
+embodying the reverse of these four things has upon the mind of those
+who should be artists. Under this influence not only is the subdivision
+of labour which places each successive operation in separate hands
+accepted as a matter of course, but into each operation itself this
+separation imports a spirit of lassitude and dulness and compliance with
+false conditions and limited aims which would seem almost incredible in
+those practising what should be an inspiring art. To men so trained, so
+employed, all counsels of perfection are foolishness; all idea of
+tentative work, experiment, modification while in progress, is looked
+upon as mere delusion. To them work consists of a series of never-varied
+formulas, all fitting into each other and combined to aim at producing a
+definite result, the like of which they have produced a thousand times
+before and will produce a thousand times again.
+
+"With us," once said, to a friend of the writer, a man so trained, "it's
+a matter of judgment and experience. It's all nonsense this talk about
+seeing work at a distance and against the sky, and so forth, while as to
+the ever taking it down again for retouching after once erecting it,
+that could only be done by an amateur. We paint a good deal of the work
+on the bench, and never see it as a whole until it's leaded up; but then
+we know what we want and get it."
+
+"We know what we want!" To what a pass have we come that such a thing
+could be spoken by any one engaged in the arts! Were it wholly and
+universally true, nothing more would be needed in condemnation of wide
+fields of modern practice in the architectural and applied arts, for,
+most assuredly it is a sentence that could never be spoken of any one
+worthy of the name of artist that ever lived. Whence would you like
+instances quoted? Literature? Painting? Sculpture? Music? Their name is
+legion in the history of all these arts, and in the lives of the great
+men who wrought in them.
+
+For a taste--
+
+Did Michael Angelo "know what he wanted" when, half-way through his
+figure, he found the block not large enough, and had to make the limb
+too short?
+
+Did Beethoven know, when he evolved a movement in one of his concerted
+pieces out of a quarrel with his landlady? and another, "from singing or
+rather roaring up and down the scale," until at last he said, "I think I
+have found a motive"--as one of his biographers relates? Tennyson, when
+he corrected and re-corrected his poems from youth to his death? Dürer,
+the precise, the perfect, able to say, "It cannot be better done," yet
+re-engraving a portion of his best-known plate, and frankly leaving the
+rejected portion half erased?[6] Titian, whose custom it was to lay
+aside his pictures for long periods and then criticise them, imagining
+that he was looking at them "with the eyes of his worst enemy"?
+
+There is not, I suppose, in the English language a more "perfect" poem
+than "Lycidas." It purports to have been written in a single day, and
+its wholeness and unity and crystalline completeness give good colour to
+the thought that it probably was so.
+
+     "Thus sang the uncouth swain to the oaks and rills,
+       While the still morn went out with sandals gray;
+     He touched the tender stops of various quills,
+       With eager thought warbling his Doric lay:
+     And now the sun had stretched out all the hills,
+       And now was dropt into the western bay:
+     At last he rose, and twitched his mantle blue;
+     To-morrow, to fresh woods and pastures new."
+
+Yet, regarding it, the delightful Charles Lamb writes:[7]--
+
+"I had thought of the _Lycidas_ as of a full-grown beauty,--as springing
+with all its parts absolute,--till, in evil hour, I was shown the
+original copy of it, together with the other minor poems of its author,
+in the library of Trinity, kept like something to be proud of. I wish
+they had thrown them in the Cam, or sent them, after the later cantos of
+Spenser, into the Irish Channel. How it staggered me to see the fine
+things in their ore!--interlined, corrected, as if their words were
+mortal, alterable, displaceable at pleasure; as if they might have been
+otherwise, and just as good; as if inspiration were made up of parts,
+and those fluctuating, successive, indifferent! I will never go into the
+workshop of any great artist again, nor desire a sight of his picture,
+till it is fairly off the easel; no, not if Raphael were to be alive
+again, and painting another Galatea."
+
+But the real truth of the case is that whatever "inspiration" may be,
+and whether or not "made up of parts," it, or man's spirit and will in
+all works of art, has to _deal with_ things so made up; and not only so,
+but also as described by the other words here chosen: _fluctuating_,
+_successive_, and _indifferent_. You have to deal with the whole sum of
+things all at once; the possible material crowds around the artist's
+will, shifting, changing, presenting at all stages and in all details of
+a work of art, infinite and continual choice. "Nothing," we are told,
+"is single," but all things have relations with each other. How much
+more, then, is it true that every bit of glass in a window is the centre
+of such relations with its brother and sister pieces, and that nothing
+is final until all is finished? A work of art is like a battle; conflict
+after conflict, manoeuvre after manoeuvre, combination after
+combination. The general does not pin himself down from the outset to
+one plan of tactics, but watches the field and moulds its issues to his
+will, according to the yielding or the resistance of the opposing
+forces, keeping all things solvent until the combinations of the strife
+have woven together into a soluble problem, upon which he can launch the
+final charge that shall bring him back with victory.
+
+So also is all art, and you must hold all things in suspense. Aye! the
+last touch more or less of light or shade or colour upon the smallest
+piece, keeping all open and solvent to the last, until the whole thing
+rushes together and fuses into a harmony. It is not to be done by
+"judgment and experience," for all things are new, and there are no two
+tasks the same; and it is impossible for you from the outset to "know
+what you want," or to know it at any stage until you can say that the
+whole work is finished.
+
+"But if we work on these methods we shall only get such a small quantity
+of work done, and it will be so costly done on a system like that you
+speak of! Make my assistants masters, and so rivals! put a window in,
+and take it out again, forsooth!" What remedy or answer for this?
+
+Well--setting aside the question of the more or less genius--there are
+only two solutions that I can see:--an increase in industry or a
+possible decrease in profit, though much may be accomplished in
+mitigation of these hard conditions, if they prove _too_ hard, by a good
+and economical system of work, and by time-saving appliances and
+methods.
+
+But, after all, you were not looking out for an easy task, were you, in
+this world of stress and strain to have the privileges of an artist's
+life without its penalties? Why, look you, you must remember that
+besides the business of "saving your soul," which you may share in
+common with every one else, _you_ have the special privilege of
+_enjoying for its own sake your personal work in the world_.
+
+And you must expect to pay for that privilege at some corresponding
+personal cost; all the more so in these days when your lot is so
+exceptional a fortune, and when to enjoy daily work falls to so few.
+Nevertheless, when I say "enjoy" I do not mean that art is easy or
+pleasant in the way that ease is pleasant; there is nothing harder; and
+the better the artist, probably the harder it is. But you enjoy it
+because of its privileges; because beauty is delightful; because you
+know that good art does high and unquestioned service to man, and is
+even one of the ways for the advancing of the kingdom of God.
+
+That should be pleasure enough for any one, and compensation for any
+pains. You must learn the secret of human suffering--and you can only
+learn it by tasting it--because it is yours to point its meaning to
+others and to give the message of hope.
+
+In this spirit, then, and within these limitations, must you guide your
+own work and claim the co-operation of others, and arrange your
+relationships with them, and the limits of their assistance and your
+whole personal conduct and course of procedure:--
+
+To be yourself a master.
+
+To train others up to mastery.
+
+To keep your hand over the whole.
+
+To work in a spirit of sacrifice.
+
+These things once firmly established, questions of procedure become
+simple. But a few detached hints may be given. I shall string them
+together just as they come.
+
+_An Economy of Time in the Studio._--Have a portion of your studio or
+work-room wall lined with thin boarding--"picture-backing" of 1/8 inch
+thick is enough, and this is to _pin things on to_. The cartoon is what
+you are busy upon, but you must "think in glass" all the time you are
+drawing it. Have therefore, pinned up, a number of slips of paper--a
+foolscap half-sheet divided _vertically_ into two long strips I find
+best.
+
+On these write down every direction to the cutter, or the painter, or
+the designer of minor ornament, _the moment it comes into your mind_, as
+you work at the charcoal drawing. If you once let the moment pass you
+will never remember these things again, but you will have them
+constantly forced back upon your memory, by the mistranslations of your
+intention which will face you when you first see your work in the glass.
+This practice is a huge saving of time--and of disappointment. But you
+also want this convenient wall space for a dozen other needs; for
+tracings and shiftings of parts, and all sorts of essays and suggestions
+for alteration.
+
+_That we should work always._--I hope it is not necessary to urge the
+importance of _work_. It is not of much use to work only when we _feel
+inclined_; many people very seldom do feel naturally inclined. Perhaps
+there are few things so sweet as the triumph of working _through_
+disinclination till it is leavened through with the will and becomes
+enjoyment by becoming conquest. To work through the dead three o'clock
+period on a July afternoon with an ache in the small of one's back and
+one's limbs all a-jerk with nervousness, drooping eyelids, and a general
+inclination to scream. At such a time, I fear, one sometimes falls back
+on rather low and sordid motives to act as a spur to the lethargic will.
+I think of the shortness of the time, the greatness of the task, but
+also of all those hosts of others who, if I lag, must pass me in the
+race. Not of actual rivals--or good nature and sense of comradeship
+would always break the vision--but of possible and unknown ones whom it
+is my habit to club all together and typify under the style and title of
+"that fellow Jones." And at such a time it is my habit to say or think,
+"Aha! I bet Jones is on his back under a plane tree!"--or thoughts to
+that effect--and grasp the charcoal firmer.
+
+It is habits and dodges and ways of thinking such as these that will
+gradually cultivate in you the ability to "stand and deliver," as they
+say in the decorative arts. For, speaking now to the amateur (if any
+such, picture-painter or student, are hesitating on the brink of an art
+new to them), you must know that these arts are not like
+picture-painting, where you can choose your own times and seasons: they
+are always done to definite order and expected in a definite time; and
+that brings me to speak of the very important subject of "Clients."
+
+_Of Clients and Patrons._--It must, of course, be left to each one to
+establish his own relations with those who ask work of him; but a few
+hints may be given.
+
+You will get many requests that will seem to you unreasonable and
+impossible of carrying out--some no doubt will really be so; but at
+least _consider them_. Remember what we said a little way back--not to
+be set on your own allegory, but to accept your subject from outside and
+add your poetic thought to it. And also what in another place we said
+about keeping all "solvent"--so do with actual suggestion of subject and
+with the wishes of your client: treat the whole thing as "raw material,"
+and all surrounding questions as factors in one general problem. Here
+also Ruskin has a pregnant word of advice--as indeed where has he
+not?--"A great painter's business is to do what the public ask of him,
+in the way that shall be helpful and instructive to them."[8] You cannot
+always do what people ask, but you can do it more often than a
+headstrong man would at first think.
+
+I was once doing a series of small square panels, set at intervals in
+the height of some large, tall windows, and containing Scripture
+subjects, the intermediate spaces being filled with "grisaille" work.
+The subjects, of course, had to be approximately on one scale, and
+several of them became very tough problems on account of this
+restriction. However, all managed to slip through somehow till we came
+to "Jacob's Ladder," and there I stood firm, or perhaps I ought rather
+to say _stuck fast_. "How is it possible," I said to my client, "that
+you can have a picture of the 'Fall' in one panel with Eve's figure
+taking up almost the whole height of it, and have a similar panel with
+'Angels Ascending and Descending' up and down a ladder? There are only
+two ways of doing it--to put the ladder far off in a landscape, which
+would reduce it to insignificance, and besides be unsuitable in glass;
+or to make the angels the size of dolls. Don't you see that it's
+impossible?" No, he didn't see that it was impossible. What he wanted
+was "Jacob's Ladder"; the possibility or otherwise was nothing to him.
+He said (what you'll often hear said, reader, if you do stained-glass),
+"I don't, of course, know anything about art, and I can't say how this
+could be done; that is the artist's province."
+
+It was in my younger days, and I'm afraid I must have replied to the
+effect that it was not a question of art but of common reason, and that
+the artist's province did not extend to making bricks without straw or
+making two and two into five; and the work fell through. But had I the
+same thing to deal with now I should waste no words on it, but run the
+"ladder" right up out of the panel into the grisaille above; an
+opportunity for one of those delightful naïve _exceptions_ of which old
+art is so full--like, for instance, the west door of St. Maclou at
+Rouen, where the crowd of falling angels burst out of the tympanum, bang
+through the lintel, defying architecture as they defied the first great
+Architect, and continue their fall amongst the columns below. "Angels
+Descending," by-the-bye, with a vengeance! And if the bad ones, why not
+the good? I might just as well have done it, and probably it would have
+been the very thing out of the whole commission which would have
+prevented the series from being the tame things that such sometimes are.
+Anyway, remember this--for I have invariably found it true--that _the
+chief difficulty of a work of art is always its chief opportunity_. A
+thing can be looked at in a thousand and one ways, and something
+dauntingly impossible will often be the very thing that will shake your
+jogtrot cart out of its rut, make you whip up your horses, and get you
+right home.
+
+BUT
+
+Observe this--that all these wishes of the client should be most
+strictly ascertained _beforehand_; all possibility of midway criticism
+and alteration prevented. Thresh the thing well out in the preliminary
+stages and start clear; as long as it _is_ raw material, all in
+solution, all hanging in the balance--you can do anything. It is like
+"clay in the hands of the potter," and you can make the vessel as you
+please: "Out of the same lump making one vessel to honour and another to
+dishonour." But when the work is _half-done_, when colour is calling out
+to colour, and shape to shape, and thought to thought, throughout the
+length and breadth of the work; when the ideas and the clothing of them
+are all fusing together into one harmony; when, in short, the thing is
+becoming that indestructible, unalterable unity which we call a Work of
+Art:--then, indeed, to be required to change or to reconsider is a real
+agony of impossibility; tearing the glowing web of thought, and form,
+and fancy into a destruction never to be reconstructed, and which no
+piecing or patching will mend.
+
+There are many minor points, but they are really so entirely matters of
+experience, that it hardly seems worth while to dwell upon them. Start
+with recognising the fact that you must try to add business habits and
+sensible and economical ways to your genius as an artist; in short,
+another whole side to your character; and keep that ever in view, and
+the details will fall into their places.
+
+_Have Everything in Order._--Every letter relating to a current job
+should be findable at a moment's notice in an office "letter basket,"
+rather wider than a sheet of foolscap paper, and with sides high enough
+to allow of the papers standing upright in unfolded sheets, each group
+of them behind a card taller than the tallest kind of ordinary document,
+and bearing along the top edge in large red letters--Roman capitals for
+choice--the name of the work: and it need hardly be said that these
+should be arranged in alphabetical order. For minor matters too small
+for such classification it is well to have, in the _front_ place in the
+basket, cards dividing the alphabet itself into about four parts, so
+that unarranged small matters can be still kept roughly alphabetical.
+When the work is done, transfer all documents to separate labelled
+portfolios--a folded sheet of the thickest brown paper, such as they put
+under carpets, is very good--and store them away for reference. Larger
+portfolios for all _templates_, tracings, or architects' details or
+drawings relating to the work. If you have not a good system with regard
+to the ordering of these things, believe me the mere _administration_ of
+a very moderate amount of work will take you _all your day_.
+
+So also with _measurement_.
+
+
+ON ACCURACY IN MEASUREMENT.
+
+In one of Turgenieff's novels a Russian country proverb is
+quoted--"Measure thrice, cut once." It is a golden rule, and should be
+inscribed in the heart of every worker, and I will add one that springs
+out of it--"Never trust a measurement unless it has been made by
+yourself, or for yourself--to your order."
+
+The measurements on architects' designs, or even working drawings, can
+never be trusted for the dimensions of the built work. Even the
+builders' templates, by which the work was built, cannot be, for the
+masons knock these quite enough out, in actual building, to make your
+work done by these guides a misfit. Have your own measurements taken
+again. Above all, beware of trusting to the supposed verticals or
+horizontals in built work, especially in tracery. A thing may be
+theoretically and intentionally at a certain angle, but actually at
+quite a different one. If level is important, take it yourself with
+spirit-level and plumb-line.
+
+With regard to accuracy of work _in the shop_, where it depends on
+yourself and the system you observe, I cannot do better than write out
+for you here the written notice by which the matter is regulated in my
+own practice with regard to cartoons.
+
+_"Rules to be Observed in Setting out Forms for Cartoons._
+
+"In every case of setting out any form, or batch of forms, for new
+windows the truth of the first long line ruled must be _tested_ by
+stretching a thread.
+
+If the lath is proved to be out, it must at once be sent to a joiner to
+be accurately 'shot,' and the accuracy of _both_ its edges must then be
+tested with a thread.
+
+The first right angle made (for the corner of the form) must also be
+tested by raising a perpendicular, with a radius of the compasses not
+less than 6 inches and with a needle-pointed pencil, and by the
+subjoined formula and no other.
+
+From a given point in a given straight line to raise a perpendicular.
+Let A B be the given straight line (this must be the _long_ side of the
+form, and the point B must be one corner of the base-line): it is
+required to raise from the point B a line perpendicular to the line A B.
+
+[Illustration: FIG. 71.]
+
+(1) Prolong the line A B at least 6 inches beyond B (if there is not
+room on the paper, it must be pinned on to a smooth board, and a piece
+of paper pinned on, so as to meet the edge of it, and continue it to the
+required distance).
+
+(2) With the centre B (the compass leg being in all cases placed with
+absolute accuracy, using a lens if necessary to place it) describe the
+circle C D E.
+
+(3) With the centres C and E, and with a radius of not less than 9
+inches, describe arcs intersecting at F and G.
+
+(4) Join F G.
+
+Then, if the work has been correctly done, the line F G will _pass
+through the point_ B, and be perpendicular to the line A B. If it does
+not do so, the work is incorrect, and must be repeated.
+
+When the base and the springing-line are drawn on the form, the form
+must be accurately measured from the bottom upwards, and _every foot
+marked on both sides_. Such markings to be in fine pencil-line, and
+to be drawn from the sides of the form to the extreme margin of the
+paper, and you are not to trust your eye by laying the lath flat down
+and ticking off opposite the inch-marks, but you are to stand the lath
+on its edge, so that the inch-marks actually meet the paper, and then
+tick opposite to them.
+
+Also if there are any bars in the window to be observed, the places of
+these must be marked, and it must be made quite clear whether the mark
+is the middle of the bar or its edge; and all this marking must be done
+lightly, but very carefully, with a needle-pointed pencil.
+
+In every case where the forms are set out from templates, the accuracy
+of the templates must be verified, and in the event of the base not
+being at right angles with the side, a true horizontal must be made from
+the corner which is higher than the other (the one therefore which has
+the obtuse angle) and marked within the untrue line; and all
+measurements, whether of feet, bars, or squaring-out lines, or levels
+for canopies, bases, or any other divisions of the light, must be made
+upwards FROM THIS TRUE LEVEL LINE."
+
+These rules, I suppose, have saved me on an average an hour a day since
+they were drawn up; and, mark you, an hour of _waste_ and an hour of
+_worry_ a day--which is as good as saving a day's work at the least.
+
+An artist must dream; you will not charge me with undervaluing that; but
+a decorator must also wake, and have his wits about him! Start,
+therefore, in all the outward ordering of your career with the three
+plain rules:--
+
+(1) To have everything orderly;
+
+(2) To have everything accurate;
+
+(3) To bring everything and every question to a point, _at the time_,
+and clinch it.
+
+[6] "Ariadne Florentina," p. 31.
+
+[7] "A Saturday's Dinner."
+
+[8] "Aratra Pentelici," p. 253.
+
+
+
+
+CHAPTER XX
+
+A STRING OF BEADS
+
+
+Is there anything more to say?
+
+A whole world-full, of course; for every single thing is a part of all
+things. But I have said most of my say; and I could now wish that you
+were here that you might ask me aught else you want.
+
+A few threads remain that might be gathered up--parting words, hints
+that cannot be classified. I must string them together like a row of
+beads; big and little mixed; we will try to get the big ones more or
+less in the middle if we can.
+
+Grow everything from seed.
+
+All seeds that are living (and therefore worth growing) have the power
+in them to grow.
+
+But so many people miss the fact that, on the other hand, _nothing else_
+will grow; and that it is useless in art to transplant full-grown trees.
+
+This is the key to great and little miseries, great and little mistakes.
+
+Were you sorry to be on the lowest step of the ladder? Be glad; for all
+your hopes of climbing are in that.
+
+And this applies in all things, from conditions of success and methods
+of "getting work" up to the highest questions of art and the "steps to
+Parnassus," by which are reached the very loftiest of ideals.
+
+I must not linger over the former of these two things or do more than
+sum it up in the advice, to take anything you can get, and to be glad,
+not sorry, if it is small and comes to you but slowly. Simple things,
+and little things, and many things, are more needed in the arts today
+than complex things and great and isolated achievements. If you have
+nothing to do for others, do some little thing for yourself: it is a
+seed, presently it will send out a shoot of your first "commission," and
+that will probably lead to two others, or to a larger one; but pray to
+be led by small steps; and make sure of firm footing as you go, for
+there is such a thing as trying to take a _leap_ on the ladder, and
+leaping off it.
+
+So much for the seed of success.
+
+The seed of craftsmanship I have tried to describe in this book.
+
+The seed of ornament and design, it is impossible to treat of here; it
+would require as large a book as this to itself: but I will hazard the
+devotion of a page each to the A and the B of my own A B C of the
+subject as I try to teach it to my pupils, and put them before you
+without comment, hoping they may be of some slight use. (See figs. 72
+and 73.)
+
+But though I said that nothing will grow but seed, it does not, of
+course, follow that every seed will grow, or, if it does, that you
+yourself will reap the exact harvest you expect, or even recognise it in
+its fruitage as the growth of what you have sown. Expect to give much
+for little, to lose sight of the bread cast on the waters, not even sure
+that you will know it again even if you find it after many days. You
+never know, and therefore do not count your scalps too carefully or try
+to number your Israel and Judah. Neither, on the other hand, allow your
+seed to be forced by the hothouse of advertising or business pushing, or
+anything which will distract or distort that quiet gaze upon the work by
+which you love it for its own sake, and judge it on its merits; all such
+sidelights are misleading, since you do not know whether it is intended
+that this or that shall prosper or both be alike good.
+
+How many a man one sees, earnest and sincere at starting, led aside off
+the track by the false lights of publicity and a first success. Art is
+peace. Do things because you love them. If purple is your favourite
+colour, put purple in your window; if green, green; if yellow, yellow.
+Flowers and leaves and buds because you love them. Glass because you
+love it. It is not that you are to despise either fame or wealth.
+Honestly acquired both are good. But you must bear in mind that the
+pursuit of these separately by any other means than perfecting your work
+is a thing requiring great outlay of TIME, and you cannot afford to
+withdraw any time from your work in order to acquire them.
+
+[Illustration: FIG. 72. Design consists of arrangement. Let us practise
+arrangement separately, and on its simplest terms. Take the simplest
+possible arranged form, and make all ornament spring from this, without,
+for a considerable time changing its character, or making any additions
+of a different character to it. If we are not then to do this what
+resource have we? we may change its direction. Proceed then to do so,
+observing a few very simple rules. 1. Do the work in single "stitches"
+2. & to each arm of the cross in turn. 3 keep a record of each step;
+that is, as soon as you have got any definite developement from your
+original form, put that down on paper and leave it, drawing it over
+again and developing from the second drawing. The fourth rule is the
+most important of all: 4. Keep "on the spot" as much as possible, i.e.
+take a number of single steps from the point you have arrived at, not a
+number of consecutive steps leading farther from it. For example: "b"
+here is a single step from "a", you do one thing. I do not want you to
+go on developing from it [fig. "b"] as "c", "d" & "e" until you have
+gone back to fig. "a" and made all the immediately possible steps to be
+taken from it, one of wh. is shown, fig "f."
+
+[Illustration: a]
+
+[Illustration: b]
+
+[Illustration: c]
+
+[Illustration: c]
+
+[Illustration: d]
+
+[Illustration: e]
+
+[Illustration: f]]
+
+[Illustration: FIG. 73. Seed of design as applied to Craft & Material.
+Suppose you have three simple openings. (fig. 'a'.) garret windows, or
+passage windows, we will suppose, each with a central horizontal bar:
+and suppose you have a number of pieces of glass to use up already cut
+to one gauge, and that six of these fill a window, can you get any
+little variety by arrangement on the following terms. 1. Treating both
+upper and lower ranges alike 2. Allowing yourself to halve them,
+vertically only. 3. Not wasting any glass. 4. Not halving more than two
+in each light. How is this, fig. b? you despise it? so absurdly simple?
+It is the key to all simple ornament in leaded glass. Exhaust all the
+possible varieties, there are at least nine. Do them. That's all.
+
+[Illustration: A]
+
+[Illustration: B]
+
+[Illustration]
+
+[Illustration] ]
+
+In these days and in our huge cities there are so many avenues open to
+celebrity, through Society, the Press, Exhibition, and so forth, that a
+man once led to spend time on them is in danger of finding half his
+working life run away with by them before he is aware, while even if
+they are successful the success won by them is a poor thing compared to
+that which might have been earned by the work which was sacrificed for
+them. It becomes almost a profession in itself to keep oneself
+notorious.
+
+To spend large slices out of one's time in the mere putting forward of
+one's work, _showing_ it apart from _doing_ it, necessary as this
+sometimes is, is a thing to be done grudgingly; still more so should one
+grudge to be called from one's work here, there, and everywhere by the
+social claims which crowd round the position of a public man.
+
+       *       *       *       *       *
+
+There are strenuous things enough for you in the work itself without
+wasting your strength on these. We will speak of them presently; but a
+word first upon originality.
+
+Don't _strive_ to be original; no one ever got Heaven's gift of
+invention by saying, "I must have it, and since I don't feel it I must
+assume it and pretend it;" follow rather your master patiently and
+lovingly for a long time; give and take, echo his habits as Botticelli
+echoed Filippo Lippi's, but improve upon them; add something to them if
+you can, as he also did, and pass then on, as he also did, to the
+_little_ Filippo--Filippino--making him a truer and sweeter heart than
+his father, out of the well of truth and sweetness with which
+Botticelli's own heart was brimming. Do this, but at the same time
+expect with happy patience, as a boy longs for his manhood, yet does not
+try to hasten it and does not pretend to forestall it, the time when
+some fresh idea in imagination, some fresh method in design, some fresh
+process in craftsmanship, will come to you as a reward of patient
+working--and come by accident, as all such things do, lest you should
+think it your own and miss the joy of knowing that it is not yours but
+Heaven's.
+
+And when this comes, guard it and mature it carefully. Do not throw it
+out too lavishly broadcast with the ostentation of a generous genius
+having gifts to spare. Share it with proved and worthy friends, when
+they notice it and ask you about it, but in the meanwhile develop and
+cultivate it as a gardener does a tree. And this leads me to the most
+important point of all--namely, the value, the all-sufficing value, of
+_one_ new step on the road of Beauty. If such is really granted you,
+consider it as enough for your lifetime. One such thing in the history
+of the arts has generally been enough for a century; how much more,
+then, for a generation.
+
+For indeed there is only one rule for fine work in art, that you should
+put your whole strength, all the powers of mind and body into every
+touch. Nothing less will do than that. You must face it in drawing from
+the life. Try it in its acutest form, not from the posed, professional
+model, who will sit like a stone; try it with children, two years old or
+so; the despair of it, the exhaustion: and then, in a flash, when you
+thought you had really done somewhat, a still more captivating,
+fascinating gesture, which makes all you have done look like lead. Can
+you screw your exhaustion up _again,_ sacrifice all you have done, and
+face the labour of wrestling with the new idea? And if you do? You are
+sick with doubt between the new and the old. You ask your friends; you
+probably choose wrong; your judgment is clouded by the fatigue of your
+previous toil.
+
+But you have gained strength. That is the real point of the thing. It is
+not what you have done in this instance, but what you have become in
+doing it. Next time, fresh and strong, you will dash the beautiful
+sudden thought upon the paper and leave it, happy to make others happy,
+but only through the pains you took before, which are a small price to
+pay for the joy of the strength you have gained.
+
+This is the rule of great work. Puzzle and hesitation and compromise can
+only occur because you have left some factor of the problem out of
+count, and this should never be. Your business is to take all into
+account and to sacrifice everything, however fascinating and tempting it
+may be in itself, if it does not fit in as part of an harmonious
+_whole_. Remember in this case, when loth to make such sacrifice, the
+old saying that "there's as good fish in the sea as ever came out."
+Brace yourself to try for something still better. Recast your
+composition. If it is defective, the defect all comes from some want of
+strenuousness as you went along. It is like getting a bit of your figure
+out of drawing because your eye only measured some portion of it with
+one or two portions of the rest and not with the whole figure and
+attitude. Every student knows the feeling. So in your composition: you
+may get impossible levels, impossible relations between the subject and
+the surrounding canopy: perhaps one coming in front of the other at one
+point and the reverse at another point. You drew the thing dreamily: you
+were not alert enough. And now you must waste what you had got to love,
+because though it's so pretty it is not fitting.
+
+But sometimes it will happen that some line of your composition is thus
+hacked off by no fault of yours, by some mismeasurement of a bar by your
+builder, or some change of mind or whim of your client, who "likes it
+all but"---- (some vital feature). As we have said, this is not quite a
+fair demand to be made upon the artist, but it will sometimes occur,
+whatever we do. Pull yourself together, and, before you stand out about
+it and refuse to change, consider. Try the modification, and try it in
+such an aroused and angry spirit as shall flame out against the
+difficulty with force and heat. Let the whole thing be as fuel of fire,
+and the reward will be given. The chief difficulty may become--it is
+more than an even chance that it does become--the chief glory, and that
+the composition will be like the new-born Phoenix, sprung from the
+ashes of the old and thrice as fair.
+
+Then also strike while the iron is hot, and work while you're warm to
+it. When you have done the main figure-study and slain its difficulty
+you feel braced up, your mind clear, and you see your way to link it in
+with the surroundings. Will you let it all get cold because it is toward
+evening and you are physically tired, when another hour would set the
+whole problem right for next day's work; now, while you are warm, while
+the beauty of the model you have drawn from is still glowing in you with
+a thousand suggestions and possibilities? You will do in another hour
+now what would take you days to do when the fire has died down--if you
+ever do it at all.
+
+It is after a day's work such as this that one feels the true delight of
+the balm of Nature. For conquered difficulty brings new insight through
+the feeling of new power; and new beauties are seen because they are
+felt to be attainable, and by virtue of the assurance that one has got
+distinctly a step nearer to the veil that hides the inner heart of
+things which is our destined home.
+
+It is after work like this, feeling the stirrings of some real strength
+within you, promising power to deal with nature's secrets by-and-by,
+that you see as never before the beauty of things.
+
+The keen eyes that have been so busy turn gratefully to the silver of
+the sky with the grey, quiet trees against it and the watery gleam of
+sunset like pale gold, low down behind the boughs, where the robin, half
+seen, is flitting from place to place, choosing his rest and twittering
+his good-night; and you think with good hope of your life that is
+coming, and of all your aspirations and your dreams. And in the
+stillness and the coolness and the peace you can dwell with confidence
+upon the thought of all the Unknown that is moving onward towards you,
+as the glow which is fading renews itself day by day in the East,
+bringing the daily task with it.
+
+You feel that you are able to meet it, and that all is well; that there
+are quiet and good things in store, and that this constant renewal of
+the glories of day and night, this constant procession of morning and
+evening as the world rolls round, has become almost a special possession
+to you, to which only those who pay the price have entrance, an
+inheritance of your own as a reward of your endeavour and acquired
+power, and leading to some purposed end that will be peace.
+
+       *       *       *       *       *
+
+Stained-glass, stained-glass, stained-glass! At night in the lofty
+church windows the bits glow and gloom and talk to one another in their
+places; and the pictured angels and saints look down, peopling the empty
+aisles and companioning the lamp of the sanctuary.
+
+       *       *       *       *       *
+
+The beads worth threading seem about all threaded now, and the book
+appears to be done. Thus we have gone on then, making it as it came to
+hand, blundering, as it seems to me, on the borders of half a dozen
+literary or illiterate styles, the pen not being the tool of our proper
+craft; but on the whole saying somehow what we meant to say: laughing
+when we felt amused, and being serious when the subject seemed so, our
+object being indeed to make workers in stained-glass and not a book
+about it. Is it worth while to try and put a little clasp to our string
+of beads and tie all together?
+
+There was a little boy (was he six or seven or eight?), and his seat on
+Sunday was opposite the door in the fourteenth-century chancel of the
+little Norman country church. There the great, tall windows hung in the
+air around him, and he used to stare up at them with goggle-eyes in the
+way that used to earn him household names, wondering which he liked
+best. And for months one would be the favourite, and for months another
+would supplant it; his fancy would change, and now he liked this--now
+that. Only the stone tracery-bars, for there was no stained-glass to
+spoil them. The broad, plain flagstones of the floor spread round him in
+cool, white spaces, in loved unevenness, honoured by the foot-tracks
+which had worn the stone into little valleys from the door and through
+the narrow, Norman chancel-arch up towards the altar rails, telling of
+generations of feet, long since at rest, that had carried simple lives
+to seek the place as the place of their help or peace.
+
+Plain rush-plaited hassocks and little brass sconces where, on lenten
+nights, in the unwarmed church, glimmered the few candles that lit the
+devotion of the strong, rough sons of the glebe, hedgers and ditchers,
+who came there after daily labour to spell out simple prayer and praise.
+But it was best on the summer Sunday mornings, when the great spaces of
+blue, and the towering white clouds looked down through the diamond
+panes; and the iron-studded door, with the wonderful big key, which his
+hands were not yet strong enough to turn, stood wide open; and outside,
+amongst the deep grass that grew upon the graves, he could see the
+tortoise-shell butterflies sunning themselves upon the dandelions. Then
+it was that he used to think the outside the best, and fancy (with
+perfect truth, as I believe) that angels must be looking in, just as
+much as he was looking out, and gazing down, grave-eyed, upon the little
+people inside, as he himself used to watch the red ants busy in their
+tiny mounds upon the grass plot or the gravel path; and he wondered
+sometimes whether the outside or the inside was "God's House" most: the
+place where he was sitting, with rough, simple things about him that the
+village carpenter or mason or blacksmith had made, or the beautiful
+glowing world outside. And as he thought, with the grave mind of a
+child, about these things, he came to fancy that the eyes that looked
+out through the silver diamond-panes which kept out the wind and rain,
+mattered less than the eyes that looked in from the other side where
+basked the butterflies and flowers and all the living things he so
+loved; awful eyes that were at home where hung the sun himself in his
+distances and the stars in the great star-spaces; where Orion and the
+Pleiades glittered in the winter nights, where "Mazzaroth was brought
+forth in his season," and where through the purple skies of summer
+evening was laid out overhead the assigned path along which moved
+Arcturus with his sons.
+
+
+
+
+APPENDIX I
+
+SOME SUGGESTIONS AS TO THE STUDY OF OLD GLASS
+
+
+Every one who wants to study glass should go to York Minster. Go to the
+extreme west end, the first two windows are of plain quarries most
+prettily leaded, and showing how pleasant "plain-glazing" may be, with
+silvery glass and a child-like enjoyment of simple patterning,
+unconscious of "high art." But look at the second window on the north
+side. What do you see? You see a yellow shield? Exactly. Every one who
+looks at that window as he passes at a quick walk must come away
+remembering that he had seen a yellow shield. But stop and look at it.
+Don't you _like_ it--_I_ do! Why?--well, because it happens to be by
+good luck just _right_, and it is a very good lesson of the degree in
+which beauty in glass depends on juxtaposition. I had thought of it as a
+particularly beautiful bit of glass in quality and colour--but not at
+all! it is textureless and rather crude. I had thought of it as old--not
+at all: it is probably eighteenth-century. But look what it happens to
+be set in--the mixture of agate, silver, greenish and black quarries.
+Imagine it by itself without the dull citron crocketting and pale
+yellow-stain "sun" and "shafting" of the panel below--without the black
+and yellow escutcheon in the light to its right hand--even without the
+cutting up and breaking with black lead lines of its own upper half. In
+short, you could have it so placed that you would like it no better,
+that it would _be_ no better, than the bit of "builder's glazing" in the
+top quatrefoil of the next window, which looks like, and I fancy is, of
+almost the very same glass, but clumsily mixed, and, fortunately,
+_dated_ for our instruction, 1779.
+
+I do not know any place where you can get more study of certain
+properties of glass than in the city of York. The cathedral alone is a
+mine of wealth. The nave windows are near enough to see all necessary
+detail. There is something of every period. And with regard to the nave
+and clerestory windows, they have been so mauled and re-leaded that you
+need not be in the least afraid of admiring the wrong thing or passing
+by the right. You can be quite frank and simple about it all. For
+instance, my own favourite window is the fifth from the west on the
+south side. The old restorer has coolly slipped down one whole panel
+below its proper level in a shower of rose-leaves (which were really,
+I believe, originally a pavement), and, frankly, I don't know (and
+don't care) whether they are part of his work in the late eighteenth
+century or the original glass of the late fourteenth. I rather incline
+to think that they came out of some other window and are bits of
+fifteenth-century glass. The same with the chequered shield of Vernon in
+the other light. I daresay it is a bit of builder's glazing--but isn't
+it jolly? And what do you think of the colour of the little central
+circle half-way up the middle light? Isn't it a flower? And look at the
+petal that's dropped from it on to the bar below! or the _whole_ of the
+left-hand light; well, or the middle light, or the right-hand light? If
+that's not colour I don't know what is. I doubt if it was any more
+beautiful when it was new, perhaps not so beautiful. Compare it, for
+example, with the window in the same wall (I think next to it on the
+west, which has been "restored"). The window exactly opposite seems one
+of the least retouched, and the least interesting; if you think the
+yellow canopies disagreeable in colour don't be ashamed to say so: they
+are not unbeautiful exactly, I think, but, personally, I could do with
+less of them. Yet I should not be surprised to be assured that they are
+all genuine fourteenth-century. In the north transept is the celebrated
+"Five Sisters," the most beautiful bit of thirteenth-century "grisaille"
+perhaps in existence. That is where we get our patterns for
+"kamptulicon" from; but we don't make kamptulicon quite like it. If you
+want a sample of "nineteenth-century thirteenth-century" work you have
+only to look over your left shoulder.
+
+A similar glance to the right will show you "nineteenth-century
+fifteenth-century" work--and show it you in a curious and instructive
+transition stage--portions of the two right-hand windows of the five
+being old glass worked in with new, while the right-hand one of all is a
+little abbot who is nearly all old and has shrunk behind a tomb,
+wondering, as it seems to me, "how those fellows got in," and making up
+his mind whether he's going to stand being bullied by the new St. Peter.
+In the south transept opposite, all the five eastern windows are
+fifteenth-century, and some of them very well preserved, while those in
+the southern wall are modern. The great east window has a history of its
+own quite easily ascertainable on the spot and worthy of research and
+study. Then go into the north ambulatory, look at the third of the big
+windows. Well, the right-hand light; look at the bishop at the top in a
+dark red chasuble, note the bits of dull rose colour in the lower dress,
+the bit of blackish grey touching the pastoral staff just below the edge
+of the chasuble, look at the bits of sharp strong blue in the
+background. Now I believe these are all accidents--bits put in in
+releading; but when the choir is singing and you can pick out every
+separate note of the harmony as it comes down to you from each curve of
+the fretted roof, if you don't think this window goes with it and is
+music also, you must be wrong, I think, in eye or ear. But indeed this
+part of the church and all round the choir aisles on both sides is a
+perfect treasure-house of glass.
+
+If you want an instance of what I said (p. 212) as to "added notes
+turning discord into harmony," look at the _patched_ east window of the
+south choir aisle. Mere jumble--probably no selection--yet how
+beautiful! like beds of flowers. Did you ever see a bed of flowers that
+was _not_ beautiful?--often and often, when the gardener had carefully
+selected the plants of his ribbon-bordering; but I would have you think
+of an old-fashioned cottage garden, with its roses and lilies and
+larkspur and snapdragon and marigolds--those are what windows should be
+like.
+
+In addition to the minster, almost every church in the city has some
+interesting glass; several of them a great quantity, and some finer than
+any in the cathedral itself. And here I would give a hint. _Never pass a
+church or chapel of any sort or kind_, _old or new, without looking in._
+You cannot tell what you may find.
+
+And a second hint. Do not make written pencil notes regarding colour,
+either from glass or nature, for you'll never trouble to puzzle them out
+afterwards. Take your colour-box with you. The merest dot of tint on the
+paper will bring everything back to mind.
+
+Space prevents our making here anything like a complete itinerary
+setting forth where glass may be studied; it must suffice to name a few
+centres, noting a few places in the same district which may be visited
+from them easily. I name only those I know myself, and of course the
+list is very slight.
+
+YORK. And all churches in the city.
+
+GLOUCESTER. Tewkesbury, Cirencester.
+
+BIRMINGHAM. (For Burne-Jones glass.) Shrewsbury, Warwick, Tamworth,
+Malvern.
+
+WELLS.
+
+OXFORD. Much glass in the city, old and new. Fairford.
+
+CAMBRIDGE. Much glass in the city, old and new.
+
+CANTERBURY.
+
+CHARTRES. (If there is still any left unrestored.) St. Pierre in the
+same town.
+
+SENS.
+
+TROYES. AUXERRE.
+
+Of the last two I have only seen some copies. For glass by Rossetti,
+Burne-Jones, and Madox-Brown, consult their lives.
+
+There are many well-known books on the subject of ancient glass,
+Winston, Westlake, &c., which give fuller details on this matter.
+
+
+
+
+APPENDIX II
+
+ON THE RESTORING OF ANCIENT WINDOWS
+
+
+Let us realise what _is_ done.
+
+And let us consider what _ought to be done_.
+
+A window of ancient glass needs releading. The lead has decayed and the
+whole is loose and shaky. The ancient glass has worn very thin, pitted
+almost through like a worn-out thimble with little holes where the
+alkalis have worked their way out. It is as fragile and tender as an old
+oil-painting that needs to be taken off a rotten canvas and re-lined. If
+you examine a piece of old glass whose lead has had time to decay, you
+will find that the glass itself is often in an equally tender state. The
+painting would remain for years, probably for centuries yet, if
+untouched, just as dust, without any attachment at all, will hang on a
+vertical looking-glass. But if you scrape it, even only with the
+finger-nail, you will generally find that that is sufficient to bring
+much--perhaps most--of the painting off, while both sides of the glass
+are covered with a "patina" of age which is its chief glory in quality
+and colour, and which, or most of which, a wet handkerchief dipped in a
+little dust and rubbed smartly will remove.
+
+In short, here is a work of art as beautiful and precious as a picture
+by Titian or Holbein, and probably, as being the chief glory of some
+stately cathedral, still more precious, which ought only to be trusted
+to the gentle hands of a cultivated and scientific artist, connoisseur,
+and expert. The glass should all be handled as if it were old filigree
+silver. If the lead is so perished that it is absolutely impossible to
+avoid taking the glass down, it should be received on the scaffold
+itself, straight from its place in the stone, between packing-boards
+lined with sheets of wadding--"cotton-wool"--attached to the boards with
+size or paste, and with, of course, the "fluffy" side outwards. These
+boards, section by section, should be finally corded or clamped ready
+for travelling _before being lowered from the scaffold_; if any pieces
+of the glass get detached they should be carefully packed in separate
+boxes, each labelled with a letter corresponding to one placed on the
+section as packed, so that there may be no chance of their place ever
+being lost, and when all is done the whole window will be ready to be
+gently lowered, securely "packed for removal," to the pavement below.
+The ideal thing now would be to hire a room and do the work on the spot;
+but if this is impossible on account of expense and the thing has to
+bear a journey, the sections, packed as above described, should be
+themselves packed, two or three together, as may be convenient, in an
+outer packing-case for travelling. It should be insured, for then a
+representative of the railway must attend to certify the packing, and
+also extra care will be taken in transit.
+
+Arrived at the shop, the window should be laid out carefully on the
+bench and each bit re-leaded into its place, the very fragile pieces
+between two bits of thin sheet-glass.
+
+Unless this last practice is adopted _throughout_, the ordinary process
+of cementing must be omitted and careful puttying substituted for it.
+While if it _is_ adopted the whole must be puttied _before_ cementing,
+otherwise the cement will run in between the various thicknesses of
+glass. It would be an expensive and tedious and rather thankless
+process, for the repairer's whole aim would be to hide from the
+spectator the fact that anything whatever had been done.
+
+What does happen at present is this. A country clergyman, or, in the
+case of a cathedral, an architectural surveyor, neither of whom know by
+actual practice anything technically of stained-glass, hand the job over
+to some one representing a stained-glass establishment. This gentleman
+has studied stained-glass on paper, and knows as much about cutting or
+leading technically and by personal practice, as an architect does of
+masonry, or stone-carving--neither more nor less. That is to say, he has
+made sketch-books full of water-colour or pencil studies, and endless
+notes from old examples, and has never cut a bit of glass in his life,
+or leaded it.
+
+Well, he assumes the responsibility, and the client reposes in the
+blissful confidence that all is well.
+
+Is all well?
+
+The work is placed in the charge of the manager, and through him it
+filters down as part of the ordinary, natural course of events into the
+glazing-shop. Here this precious and fragile work of art we have
+described is handed over to a number of ordinary working men to treat by
+the ordinary methods of their trade. They know perfectly well that
+nobody above them knows as much as they, or, indeed, anything at all of
+their craft. Division of labour has made them "glaziers," as it has made
+the gentlemen above stairs, who do the cartoons or the painting,
+"artists." These last know nothing of glazing, why should glaziers know
+anything of art? It is perfectly just reasoning; they do their very
+best, and what they do is this. They take out the old, tender glass,
+with the colour hardly clinging to it, and they put it into fresh leads,
+and then they solder up the joints. And, by way of a triumphant wind-up
+to a good, solid, English, common-sense job, with no art-nonsense or
+fads about it, they proceed to scrub the whole on both sides with stiff
+grass-brushes (ordinarily sold at the oil-shops for keeping back-kitchen
+sinks clean), using with them a composition mainly consisting of exactly
+the same materials with which a housemaid polishes the fender and
+fire-irons. That is a plain, simple, unvarnished statement of facts. You
+may find it difficult of belief, but this is what actually happens. This
+is what you are having done everywhere, guardians of our ancient
+buildings. You'll soon have all your old windows "quite as good as new."
+It's a merry world, isn't it?
+
+
+
+
+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 Dürer 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.
+
+[Illustration: I.--Part of Window. St. Anselm's, Woodridings, Pinner.]
+
+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.
+
+[Illustration: II.--Part of Window. St. Anselm's, Woodridings, Pinner.]
+
+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.
+
+[Illustration: III.--Window. St. Peter's Church, Clapham.]
+
+PLATE IV.--_Central part of Window in Cobham Church, Kent, by Reginald
+Hallward._ Executed under the same conditions as the preceding.
+
+[Illustration: IV.--Part of Window. Cobham Church, Kent.]
+
+PLATE V.--_Part of Window in Ardrahan Church, Galway--"St. Robert" by
+Selwyn Image._ From the cartoon. See p. 83.
+
+[Illustration: V.--Part of Window. Ardrahan, Galway.]
+
+PLATE VI.--_Two Designs for Domestic Glass, by Miss M. J. Newill._ From
+the cartoons.
+
+[Illustration: VI.--From Cartoons for Domestic Glass.]
+
+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.
+
+[Illustration: VII.--Window. "The Dream of St. Kenelm."]
+
+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.
+
+[Illustration: VIII.--Quarries. (Size of originals, 4-1/2 by 4 ins.)]
+
+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.
+
+[Illustration: IX.--Micro-photographs from details connected with Glass
+Work.]
+
+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 encyclopædia 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.
+
+[Illustration: X.--Micro-photographs. Diamond and Wheel Cuts seen in
+Section and Plan.]
+
+PLATE XI.--_From Gloucester Cathedral--"St. Boniface" by the author and
+his pupils._
+
+[Illustration: XI.--Part of Window. Gloucester Cathedral.]
+
+PLATE XII.--_From the same--"The Stork of Iona" and "The Infant Church,"
+by the same._ Canopies from Oak and Ivy.
+
+[Illustration: XII.--Part of Window. Gloucester Cathedral.]
+
+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.
+
+[Illustration: XIII.--Portion of Unfinished Window, photographed from
+Work on the Easel.]
+
+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.
+
+[Illustration: XIV.--Drawings from Nature, in Preparation for Design.]
+
+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.
+
+[Illustration: XV.--Part of Window. Tonbridge School Chapel,
+photographed from the Cartoon.]
+
+PLATE XVI.--_Figure of one of the Choir of "Dominations." From
+Gloucester, by the author and his pupils._
+
+[Illustration: XVI.--Part of Window. Gloucester Cathedral.]
+
+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
+
+     Dürer, 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
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS WORK ***
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+    <title>
+      The Project Gutenberg eBook of Stained Glass Work, edited by W. R. Lethaby
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Work
+       A text-book for students and workers in glass
+
+Author: C. W. Whall
+
+Release Date: February 27, 2010 [EBook #31415]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS WORK ***
+
+
+
+
+Produced by Suzanne Shell, ismail user and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<!-- Page 3 -->
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p><i>" ... And remembering these, trust Pindar for the truth of his saying,
+that to the cunning workman&mdash;(and  let me solemnly enforce the words by adding, that to him
+only)&mdash;knowledge comes undeceitful</i>."</p>
+<p style="text-align:right;"><span style="font-variant:small-caps;">&mdash;Ruskin</span> ("Aratra Pentelici").</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p>"<i>'Very cool of Tom,' as East thought but didn't say, 'seeing as
+how he only came out of Egypt himself last night at bed-time.'</i>"</p>
+
+<p style="text-align:right;">&mdash;("Tom Brown's Schooldays").</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h1>THE ARTISTIC CRAFTS SERIES</h1>
+<h1>OF TECHNICAL HANDBOOKS</h1>
+<h1>EDITED BY W. R. LETHABY</h1>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h2>STAINED GLASS WORK</h2>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+<!-- Page 3 -->
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p><a name="front2" id="front2"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/frontispiece.jpg" width="400" height="637" title="" alt="CUTTING AND GLAZING" />
+<span class="caption">CUTTING AND GLAZING</span><br />
+<span class="ws">Frontispiece (<i>See</i></span> <a href="#front"><i>p.</i> 137</a>)
+</div>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h1>STAINED GLASS WORK</h1>
+
+<h3>A TEXT-BOOK FOR STUDENTS AND WORKERS IN GLASS. BY C. W. WHALL. WITH
+DIAGRAMS BY TWO OF HIS APPRENTICES AND OTHER ILLUSTRATIONS</h3>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h3>NEW YORK<br />
+D. APPLETON AND COMPANY<br />
+MCMXIV</h3>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+<!-- Page 4 -->
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h5>Printed by <span style="font-variant:small-caps;">Ballantyne, Hanson &amp; Co.</span><br />
+at the Ballantyne Press, Edinburgh</h5>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p><i>To his Pupils and Assistants, who, if they have learned as much from
+him as he has from them, have spent their time profitably; and who, if
+they have enjoyed learning as much as he has teaching, have spent it
+happily; this little book is Dedicated by their Affectionate Master and
+Servant,</i></p>
+<p style="text-align:right;"><i>THE AUTHOR.</i></p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+<p><!-- Page xi --><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h3><a name="edpre" id="edpre">EDITOR'S PREFACE</a></h3>
+
+<p>In issuing these volumes of a series of Handbooks on the Artistic
+Crafts, it will be well to state what are our general aims.</p>
+
+<p>In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter <!-- Page xii --><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span>
+of <i>appearance</i>. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish, and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought&mdash;that is, from
+design&mdash;inevitably decays, and, on the other hand, ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.</p>
+
+<p>In the third place, we would have this <!-- Page xiii --><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span>
+series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.</p>
+
+<p>In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour as from the terrible uncertainty of academic art.
+It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.</p>
+
+<hr style='width: 45%;' />
+
+<p>Our last volume dealt with one of the <!-- Page xiv --><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>
+branches of sculpture, the present
+treats of one of the chief forms of painting. Glass-painting has been,
+and is capable of again becoming, one of the most noble forms of Art.
+Because of its subjection to strict conditions, and its special glory of
+illuminated colour, it holds a supreme position in its association with
+architecture, a position higher than any other art, except, perhaps,
+mosaic and sculpture.</p>
+
+<p>The conditions and aptitudes of the Art are most suggestively discussed
+in the present volume by one who is not only an artist, but also a
+master craftsman. The great question of colour has been here opened up
+for the first time in our series, and it is well that it should be so,
+in connection with this, the pre-eminent colour-art.</p>
+
+<p>Windows of coloured glass were used by the Romans. The thick lattices
+found in Arab art, in which brightly-coloured morsels of glass are set,
+and upon which the idea of the jewelled windows in the story of Aladdin
+is doubtless based, are Eastern off-shoots from this root.</p>
+
+<p>Painting in line and shade on glass was probably invented in the West
+not later than the year 1100, and there are in <!-- Page xv --><span class='pagenum'><a name="Page_xv" id="Page_xv">[Pg xv]</a></span>
+France many examples, at
+Chartres, Le Mans, and other places, which date back to the middle of
+the twelfth century.</p>
+
+<p>Theophilus, the twelfth-century writer on Art, tells us that the French
+glass was the most famous. In England the first notice of stained glass
+is in connection with Bishop Hugh's work at Durham, of which we are told
+that around the altar he placed several glazed windows remarkable for
+the beauty of the figures which they contained; this was about 1175.</p>
+
+<p>In the Fabric Accounts of our national monuments many interesting facts
+as to medi&aelig;val stained glass are preserved. The accounts of the building
+of St. Stephen's Chapel, in the middle of the fourteenth century, make
+known to us the procedure of the medi&aelig;val craftsmen. We find in these
+first a workman preparing white boards, and then the master glazier
+drawing the cartoons on the whitened boards, and many other details as
+to customs, prices, and wages.</p>
+
+<p>There is not much old glass to be studied in London, but in the museum
+at South Kensington there are specimens of some of the principal
+varieties. These are to be found in the Furniture corridor <!-- Page xvi --><span class='pagenum'><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span>
+and the
+corridor which leads from it. Close by a fine series of English coats of
+arms of the fourteenth century, which are excellent examples of
+Heraldry, is placed a fragment of a broad border probably of late
+twelfth-century work. The thirteenth century is represented by a
+remarkable collection, mostly from the Ste. Chapelle in Paris and
+executed about 1248. The most striking of these remnants show a series
+of Kings seated amidst bold scrolls of foliage, being parts of a Jesse
+Tree, the narrower strips, in which are Prophets, were placed to the
+right and left of the Kings, and all three made up the width of one
+light in the original window. The deep brilliant colour, the small
+pieces of glass used, and the rich backgrounds are all characteristic of
+mid-thirteenth-century glazing. Of early fifteenth-century workmanship
+are the large single figures standing under canopies, and these are good
+examples of English glass of this time. They were removed from
+Winchester College Chapel about 1825 by the process known as
+restoration.</p>
+
+<p style="text-align:right;">W. R. LETHABY.</p>
+<p><i>January 1905.</i></p>
+
+<hr style="width: 65%;" />
+<p><!-- Page xvii --><span class='pagenum'><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span></p>
+
+<h3><br /><a name="autpre" id="autpre">AUTHOR'S PREFACE</a></h3>
+
+<p>The author must be permitted to explain that he undertook his task with
+some reluctance, and to say a word by way of explaining his position.</p>
+
+<p>I have always held that no art can be taught by books, and that an
+artist's best way of teaching is directly and personally to his own
+pupils, and maintained these things stubbornly and for long to those who
+wished this book written. But I have such respect for the good judgment
+of those who have, during the last eight years, worked in the teaching
+side of the art and craft movement, and, in furtherance of its objects,
+have commenced this series of handbooks, and such a belief in the
+movement, of which these persons and circumstances form a part, that I
+felt bound to yield on the condition of saying just what I liked in <!-- Page xviii --><span class='pagenum'><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span>
+my
+own way, and addressing myself only to students, speaking as I would
+speak to a class or at the bench, careless of the general reader.</p>
+
+<p>You will find yourself, therefore, reader, addressed as "Dear Student."
+(I know the term occurs further on.) But because this book is written
+for students, it does not therefore mean that it must all be brought
+within the comprehension of the youngest apprentice. For it is becoming
+the fashion, in our days, for artists of merit&mdash;painters, perhaps, even
+of distinction&mdash;to take up the practice of one or other of the crafts.
+All would be well, for such new workers are needed, if it was indeed the
+<i>practice</i> of the craft that they set themselves to. But too often it is
+what is called the <i>designing</i> for it only in which they engage, and it
+is the duty of every one speaking or writing about the matter to point
+out how fatal is that error.</p>
+
+<p>One must provide a word, then, for such as these also here if one can.</p>
+
+<p>Indeed, to reckon up all the classes to whom such a book as this should
+be addressed, we should have, I think, to name:&mdash;
+<!-- Page xix --><span class='pagenum'><a name="Page_xix" id="Page_xix">[Pg xix]</a></span>
+(1) The worker in the ordinary "shop," who is learning there at present,
+to our regret, only a portion of his craft, and who should be given an
+insight into the whole, and into the fairyland of design.</p>
+
+<p>(2) The magnificent and superior artist, mature in imagination and
+composition, fully equipped as a painter of pictures, perhaps even of
+academical distinction, who turns his attention to the craft, and
+without any adequate practical training in it, which alone could teach
+its right principles, makes, and in the nature of things is bound to
+make, great mistakes&mdash;mistakes easily avoidable. No such thing can
+possibly be right. Raphael himself designed for tapestry, and the
+cartoons are priceless, but the tapestry a ghastly failure. It could not
+have been otherwise under the conditions. Executant separated from
+designer by all the leagues that lie between Arras and Rome.</p>
+
+<p>(3) The patron, who should know something of the craft, that he may not,
+mistrusting, as so often at present, his own taste, be compelled to
+trust to some one else's Name, and of course looks out for a big one.</p>
+
+<p>(4) The architect and church dignitary <!-- Page xx --><span class='pagenum'><a name="Page_xx" id="Page_xx">[Pg xx]</a></span>
+who, having such grave
+responsibilities in their hands towards the buildings of which they are
+the guardians, wish, naturally, to understand the details which form a
+part of their charge. And lastly, a new and important class that has
+lately sprung into existence, the well-equipped, picked
+student&mdash;brilliant and be-medalled, able draughtsman, able painter;
+young, thoughtful, ambitious, and educated, who, instead of drifting, as
+till recently, into the overcrowded ranks of picture-making, has now the
+opportunity of choosing other weapons in the armoury of the arts.</p>
+
+<p>To all these classes apply those golden words from Ruskin's "Aratra
+Pentelici" which are quoted on the fly-leaf of the present volume, while
+the spirit in which I myself would write in amplifying them is implied
+by my adopting the comment and warning expressed in the other sentence
+there quoted. The face of the arts is in a state of change. The words
+"craft" and "craftsmanship," unheard a decade or two ago, now fill the
+air; we are none of us inheritors of any worthy tradition, and those who
+have chanced to grope about for themselves, and seem to have found some
+safe footing, have very <!-- Page xxi --><span class='pagenum'><a name="Page_xxi" id="Page_xxi">[Pg xxi]</a></span>
+little, it seems to me, to plume or pride
+themselves upon, but only something to be thankful for in their good
+luck. But "to have learnt faithfully" one of the "ingenuous arts" (or
+crafts) <i>is</i> good luck and <i>is</i> firm footing; we may not doubt it who
+feel it strong beneath our feet, and it must be proper to us to help
+towards it the doubtless quite as worthy or worthier, but less
+fortunate, who may yet be in some of the quicksands around.</p>
+
+<p>It also happens that the art of stained glass, though reaching to very
+high and great things, is in its methods and processes a simple, or at
+least a very limited, one. There are but few things to do, while at the
+same time the principles of it touch the whole field of art, and it is
+impossible to treat of it without discussing these great matters and the
+laws which guide decorative art generally. It happens conveniently,
+therefore, as the technical part requires less space, that these things
+should be treated of in this particular book, and it becomes the
+author's delicate and difficult task to do so. He, therefore, wishes to
+make clear at starting the spirit in which the task is undertaken.</p>
+
+<p>It remains only to express his thanks to <!-- Page xxii --><span class='pagenum'><a name="Page_xxii" id="Page_xxii">[Pg xxii]</a></span>
+Mr. Drury and Mr. Noel Heaton
+for help respectively, with the technical and scientific detail; to Mr.
+St. John Hope for permission to use his reproductions from the Windsor
+stall-plates, and to Mr. Selwyn Image for his great kindness in revising
+the proofs.</p>
+
+<p style="text-align:right;">C. W. WHALL.</p>
+<p><i>January  1905.</i></p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style='width: 45%;' />
+
+
+<table summary="" style="width:40em;">
+
+<tr><td style="width:50em;"><h2 style="text-align:center;">CONTENTS</h2></td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;">&nbsp;</td><td>PAGE</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#edpre">EDITOR'S PREFACE</a></td><td class="tdr">xi</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#autpre">AUTHOR'S PREFACE</a></td><td class="tdr">xvii</td></tr>
+
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h2 style="text-align:center;"><a href="#prt01">PART I</a></h2></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr01">CHAPTER I</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Introductory, and Concerning the Raw Material</td><td class="tdr">29</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr02">CHAPTER II</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Cutting (elementary)&mdash;The Diamond&mdash;The Wheel&mdash;Sharpening&mdash;How
+to Cut&mdash;Amount of Force&mdash;The
+Beginner's Mistake&mdash;Tapping&mdash;Possible and
+Impossible Cuts&mdash;"Grozeing"&mdash;Defects of the
+Wheel&mdash;The Actual Nature of a "Cut" in
+Glass</td><td class="tdr">33</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr03">CHAPTER III</a></h3></td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;">Painting (elementary)&mdash;Pigments&mdash;Mixing&mdash;How to
+Fill the Brush&mdash;Outline&mdash;Examples&mdash;Industry&mdash;The
+Needle and Stick&mdash;Completing the Outline</td><td class="tdr">56</td></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr04">CHAPTER IV</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Matting&mdash;Badgering&mdash;How to preserve Correctness of
+Outline&mdash;Difficulty of Large Work&mdash;Ill-ground
+Pigment&mdash;The Muller&mdash;Overground Pigment&mdash;Taking
+out Lights&mdash;"Scrubs"&mdash;The Need of a
+Master</td><td class="tdr">72</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr05">CHAPTER V</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Cutting (advanced)&mdash;The Ideal Cartoon&mdash;The Cut-line&mdash;Setting
+the Cartoon&mdash;Transferring the Cut-line
+to the Glass&mdash;Another Way&mdash;Some Principles
+of Taste&mdash;Countercharging</td><td class="tdr">83</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr06">CHAPTER VI</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Painting (advanced)&mdash;Waxing-up&mdash;Cleanliness&mdash;Further
+Methods of Painting&mdash;Stipple&mdash;Dry
+Stipple&mdash;Film&mdash;Effects of Distance&mdash;Danger of
+Over-Painting&mdash;Frying</td><td class="tdr">94</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr07">CHAPTER VII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Firing&mdash;Three Kinds of Kiln&mdash;Advantages and Disadvantages&mdash;The
+Gas-Kiln&mdash;Quick Firing&mdash;Danger&mdash;Sufficient
+Firing&mdash;Soft Pigments&mdash;Difference in
+Glasses&mdash;"Stale" Work&mdash;The Scientific Facts&mdash;How
+to Judge of Firing&mdash;Drawing the Kiln</td><td class="tdr">105</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr08">CHAPTER VIII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">The Second Painting&mdash;Disappointment with Fired
+Work&mdash;A False Remedy&mdash;A Useful Tool&mdash;The
+Needle&mdash;A Resource of Desperation&mdash;The Middle
+Course&mdash;Use of the Finger&mdash;The Second Painting&mdash;Procedure</td><td class="tdr">118</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr09">CHAPTER IX</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of Staining and Aciding&mdash;Yellow Stain&mdash;Aciding&mdash;Caution
+required in Use&mdash;Remedy for Burning&mdash;Uses
+of Aciding&mdash;Other Resources of Stained
+Glass Work</td><td class="tdr">129</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr10">CHAPTER X</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Leading-Up and Fixing&mdash;Setting out the Bench&mdash;Relation
+of Leading to mode of Fixing in the
+Stone&mdash;Process of Fixing&mdash;Leading-Up Resumed&mdash;Straightening
+the Lead&mdash;The "Lathykin"&mdash;The
+Cutting-Knife&mdash;The Nails&mdash;The Stopping-Knife&mdash;Knocking
+Up</td><td class="tdr">133</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr11">CHAPTER XI</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Soldering&mdash;Handling the Leaded Panel&mdash;Cementing&mdash;Recipe
+for Cement&mdash;The Brush&mdash;Division of
+Long Lights into Sections&mdash;How Joined when
+Fixed&mdash;Banding&mdash;Fixing&mdash;Chipping out the Old
+Glazing&mdash;Inserting the New and Cementing</td><td class="tdr">144</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h2 style="text-align:center;"><a href="#prt02">PART II</a></h2></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr12">CHAPTER XII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Introductory&mdash;The Great Questions&mdash;Colour&mdash;Light&mdash;Architectural
+Fitness&mdash;Limitations&mdash;Thought&mdash;Imagination&mdash;Allegory</td><td class="tdr">154</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr13">CHAPTER XIII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of Economy&mdash;The Englishman's Wastefulness&mdash;Its<br />
+Good  Side&mdash;Its  Excess&mdash;Difficulties&mdash;A Calculation&mdash;Remedies</td><td class="tdr">156</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr14">CHAPTER XIV</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of Perfection&mdash;In Little Things&mdash;Cleanliness&mdash;Alertness&mdash;But
+not Hurry&mdash;Realising your Conditions&mdash;False
+lead lines&mdash;Shutting out Light&mdash;Bars&mdash;Their
+Number&mdash;Their Importance&mdash;Precedence&mdash;Observing
+your Limitations&mdash;A Result of
+Complete Training&mdash;The Special Limitations of
+Stained Glass&mdash;Disguising the lead line&mdash;No full
+Realism&mdash;No violent Action&mdash;Self-Effacement&mdash;No
+Craft-Jugglery&mdash;Architectural Fitness founded
+on Architectural Knowledge&mdash;Seeing Work <i>in
+Situ</i>&mdash;Sketching in Glass&mdash;The Artistic Use of
+the Lead&mdash;Stepping Back&mdash;Accepting Bars and
+Leads&mdash;Loving Care&mdash;White Spaces to be Interesting&mdash;Bringing
+out the "Quality" of the
+Glass&mdash;Spotting and Dappling&mdash;"Builders-Glazing"
+<i>versus</i> Modern Restoring</td><td class="tdr">163</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr15">CHAPTER XV</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">A Few Little Dodges&mdash;A Clumsy Tool&mdash;A Substitute&mdash;A
+Glass Rack&mdash;An Inconvenient Easel&mdash;A
+Convenient Easel&mdash;A Waxing-up Tool&mdash;An
+Easel with Movable Plates&mdash;Making the
+most of a Room&mdash;Handling Cartoons&mdash;Cleanliness&mdash;Dust&mdash;The
+Selvage Edge&mdash;Drying a
+"Badger"&mdash;A Comment</td><td class="tdr">182</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr16">CHAPTER XVI</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of Colour</td><td class="tdr">198</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr17">CHAPTER XVII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of Architectural Fitness</td><td class="tdr">234</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr18">CHAPTER XVIII</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;">Of Thought, Imagination, and Allegory</td><td class="tdr">248</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr19">CHAPTER XIX</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Of General Conduct and Procedure&mdash;Amount of
+Legitimate Assistance&mdash;The Ordinary Practice&mdash;The
+Great Rule&mdash;The Second Great Rule&mdash;Four
+Things to Observe&mdash;Art <i>v.</i> Routine&mdash;The
+Truth of the Case&mdash;The Penalty of Virtue in
+the Matter&mdash;The Compensating Privilege&mdash;Practical
+Applications&mdash;An Economy of Time
+in the Studio&mdash;Industry&mdash;Work "To Order"&mdash;Clients
+and Patrons&mdash;And Requests Reasonable
+and Unreasonable&mdash;The Chief Difficulty the
+Chief Opportunity&mdash;But ascertain all Conditions
+before starting Work&mdash;Business Habits&mdash;Order&mdash;Accuracy&mdash;Setting
+out Cartoon Forms&mdash;An Artist
+must Dream&mdash;But Wake&mdash;Three Plain Rules</td><td class="tdr">264</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#chptr20">CHAPTER XX</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">A String of Beads</td><td class="tdr">290</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#app01">APPENDIX I</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Some Suggestions as to the Study of Old Glass</td><td class="tdr">308</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#app02">APPENDIX II</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">On the Restoring of Ancient Windows</td><td class="tdr">315</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+
+<tr><td style="width:50em;"><h3 style="text-align:center;"><a href="#app03">APPENDIX III</a></h3></td><td>&nbsp;</td></tr>
+<tr><td style="width:50em;">Hints for the Curriculum of a Technical School for
+Stained Glass&mdash;Examples for Painting&mdash;Examples
+of Drapery&mdash;Drawing from Nature&mdash;Ornamental
+Design</td><td class="tdr">321</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#sect01">Notes On The Collotype Plates</a></td><td class="tdr">327</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#sect02">The Collotype Plates</a></td><td class="tdr">337</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#sect03">Glossary</a></td><td class="tdr">369</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+
+<tr><td style="width:50em;font-variant:small-caps;"><a href="#sect04">Index</a></td><td class="tdr">373</td></tr>
+<tr><td style="width:50em;">&nbsp;</td><td>&nbsp;</td></tr>
+</table>
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 29 --><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+<h2><a name="prt01" id="prt01">PART I</a></h2>
+
+
+<h2><a name="chptr01" id="chptr01">CHAPTER I</a></h2>
+
+<p class="blockquot2">INTRODUCTORY, AND CONCERNING THE RAW MATERIAL</p>
+
+
+<p>You are to know that stained glass means pieces of coloured glasses put
+together with strips of lead into the form of windows; not a picture
+painted on glass with coloured paints.</p>
+
+<p>You know that a beer bottle is blackish, a hock bottle orange-brown, a
+soda-water bottle greenish-white&mdash;these are the colours of the whole
+substance of which they are respectively made.</p>
+
+<p>Break such a bottle, each little bit is still a bit of coloured glass.
+So, also, blue is used for poison bottles, deep green and deep red for
+certain wine glasses, and, indeed, almost all colours for one purpose or
+another.</p>
+
+<p><!-- Page 30 --><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+Now these are the same glass, and coloured in the same way as that used
+for church windows.</p>
+
+<p>Such coloured glasses are cut into the shapes of faces, or figures, or
+robes, or canopies, or whatever you want and whatever the subject
+demands; then features are painted on the faces, folds on the robes, and
+so forth&mdash;not with colour, merely with brown shading; then, when this
+shading has been burnt into the glass in a kiln, the pieces are put
+together into a picture by means of grooved strips of lead, into which
+they fit.</p>
+
+<p>This book, it is hoped, will set forth plainly how these things are
+done, for the benefit of those who do not know; and, for the benefit of
+those who do know, it will examine and discuss the right principles on
+which windows should be made, and the rules of good taste and of
+imagination, which make such a difference between beautiful and vulgar
+art; for you may know intimately all the processes I have spoken of, and
+be skilful in them, and yet misapply them, so that your window had
+better never have been made.</p>
+
+<p>Skill is good if you use it wisely and for good end; but craft of hand
+employed <!-- Page 31 --><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+foolishly is no more use to you than swiftness of foot would be
+upon the broad road leading downwards&mdash;the cripple is happier.</p>
+
+<p>A clear and calculating brain may be used for statesmanship or science,
+or merely for gambling. You, we will say, have a true eye and a cunning
+hand; will you use them on the passing fashion of the hour&mdash;the morbid,
+the trivial, the insincere&mdash;or in illustrating the eternal truths and
+dignities, the heroisms and sanctities of life, and its innocencies and
+gaieties?</p>
+
+<p>This book, then, is divided into two parts, of which the intention of
+one is to promote and produce skilfulness of hand, and of the other to
+direct it to worthy ends.</p>
+
+<p>The making of glass itself&mdash;of the raw material&mdash;the coloured glasses
+used in stained-glass windows, cannot be treated of here. What are
+called "Antiques" are chiefly used, and there are also special glasses
+representing the ideals and experiments of enthusiasts&mdash;Prior's "Early
+English" glass, and the somewhat similar "Norman" glass. These glasses,
+however, are for craftsmen of experience to use: they <!-- Page 32 --><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+require mature
+skill and judgment in the using; to the beginner, "Antiques" are enough
+for many a day to come.</p>
+
+<p><i>How to know the Right and Wrong Sides of a Piece of "Antique"
+Glass.</i>&mdash;Take up a sheet of one of these and look at it. You will notice
+that the two sides look different; one side has certain little
+depressions as if it had been pricked with a pin, sometimes also some
+wavy streaks. Turn it round, and, looking at the other side, you still
+see these things, but blurred, as if seen through water, while the
+surface itself on this side looks smooth; what inequalities there are
+being projections rather than depressions. Now the side you first looked
+at is the side to cut on, and the side to paint on, and it is the side
+placed inwards when the window is put up.</p>
+
+<p>The reason is this. Glass is made into sheets by being blown into
+bubbles, just as a child blows soap-bubbles. If you blow a soap-bubble
+you will see streaks playing about in it, just like the wavy streaks you
+notice in the glass.</p>
+
+<p>The bubble is blown, opened at the ends, and manipulated with tools
+while hot, until it is the shape of a drain-pipe; <!-- Page 33 --><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+then cut down one side
+and opened out upon a flattening-stone until the round pipe is a flat
+sheet; and it is this stone which gives the glass the different texture,
+the dimpled surface which you notice.</p>
+
+<p>Some glasses are "flashed"; that is to say, a bubble is blown which is
+mainly composed of white glass; but, before blowing, it is also dipped
+into another coloured glass&mdash;red, perhaps, or blue&mdash;and the two are then
+blown together, so that the red or blue glass spreads out into a thin
+film closely united to, in fact fused on to, and completely one with,
+the white glass which forms the base; most "Ruby" glasses are made in
+this way.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr02" id="chptr02">CHAPTER II</a></h2>
+<p class="blockquot">Cutting (elementary)&mdash;The Diamond&mdash;The Wheel&mdash;Sharpening&mdash;How to
+Cut&mdash;Amount of Force&mdash;- The Beginner's Mistake&mdash;Tapping&mdash;Possible
+and Impossible Cuts&mdash;"Grozeing"&mdash;Defects of the Wheel&mdash;The Actual
+Nature of a "Cut" in Glass.</p>
+
+
+<p>No written directions can teach the use of the diamond; it is as
+sensitive to the hand as the string of a violin, and a good <!-- Page 34 --><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+workman
+feels with a most delicate touch exactly where the cutting edge is, and
+uses his tool accordingly. Every apprentice counts on spoiling a guinea
+diamond in the learning, which will take him from one to two years.</p>
+
+<p>Most cutters now use the wheel, of which illustrations are given (figs.
+1 and 2).</p>
+
+<div class="figcenter" style="width: 130px;">
+<img src="images/fig0102.jpg" width="130" height="425" alt="FIGS. 1 AND 2." title="" />
+<span class="smcap"><b>Figs.</b></span><b> 1 and 2.</b>
+</div>
+
+<p>The wheels themselves are good things, and cut as well as the diamond,
+in some respects almost better; but many of the handles are very
+unsatisfactory. From some of them indeed one might suppose, if such a
+thing were conceivable, that the maker knew nothing of the use of the
+tool.</p>
+
+<p>For it is held thus (fig. 5), the pressure of the <i>forefinger</i> both
+guiding the cut and supplying force for it: and they <!-- Page 35 --><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+give you an <i>edge</i>
+to press on (fig. 1) instead of a surface! In some other patterns,
+indeed, they do give you the desired surface, but the tool is so thin
+that there is nothing to grip. What ought to be done is to reproduce the
+shape of the old wooden handle of the diamond proper (figs. 3 and 4).</p>
+
+<div class="figcenter" style="width: 120px;">
+<img src="images/fig0304.jpg" width="120" height="551" alt="FIGS. 3 AND 4." title="" />
+<span class="smcap"><b>Figs.</b></span> <b>3 and 4.</b>
+</div>
+
+<p>The foregoing passage must, however, be amplified and modified, but this
+I will do further on, for you will understand the reasons better if I
+insert it after what I had written further with regard to the cutting of
+glass.</p>
+
+
+<p><i>How to Sharpen the Wheel Cutter.</i>&mdash;The right way to do this is
+difficult to describe in writing. You must, first of all, grind down the
+"shoulders" of the tool, through which the pivot of the wheel <!-- Page 36 --><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+goes, for
+they are made so large that the wheel cannot reach the stone (fig. 6),
+and must be reduced (fig. 7). Then, after first oiling the pivot so that
+the wheel <!-- Page 37 --><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+may run easily, you must hold the tool as shown in fig. 8, and
+rub it swiftly up and down the stone. The angle at which the wheel
+should rest on the stone is shown in fig. 9. You will see that the angle
+at which the wheel meets the stone is a little <i>blunter</i> than the angle
+of the side of the wheel itself. You do not want to make the tool <i>too
+sharp</i>, otherwise you will risk breaking down the edge, when the wheel
+will cease to be truly circular, and when that occurs it is absolutely
+useless. The same thing will happen if the wheel is <i>checked</i> in its
+revolution while sharpening, and therefore the pivot must be kept oiled
+both for cutting and sharpening.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig05.jpg" width="400" height="607" alt="FIG. 5." title="" />
+<span class="smcap"><b>Fig. 5.</b></span>
+</div>
+<p>It is a curious fact to notice that the tool, be it wheel or diamond,
+that is <i>too sharp</i> is not, in practice, found to make so good a cut as
+one that is less sharp; it scratches the glass and throws up a line of
+splinters.</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/fig0607.jpg" width="100" height="130" alt="FIGS. 6 and 7." title="" />
+<span class="smcap"><b>Figs.</b></span>&nbsp;<b>6&nbsp;and&nbsp;7.</b>
+</div>
+
+<div class="figleft" style="width: 450px;">
+<img src="images/fig08.jpg" width="450" height="431" alt="FIG. 8." title="" />
+<span class="smcap"><b>Fig. 8.</b></span>
+</div>
+
+<p><i>How to Cut Glass.</i>&mdash;Hold the cutter as shown in the illustration (fig.
+5), a little <!-- Page 38 --><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+sloping towards you, but perfectly upright laterally; draw
+it towards you, hard enough to make it just <i>bite</i> the glass. If it
+leaves a mark you can hardly see it is a good cut (fig. <span class="smcap">10b</span>), but if it
+scratches a white line, throwing up glass-dust as it goes, either the
+tool is faulty, or you are pressing too hard, or you are applying the
+pressure to the wheel unevenly and at an angle to the direction of the
+cut (fig. <span class="smcap">10a</span>). Not that you can make the wheel <i>move</i> sideways in the
+cut actually; <!-- Page 39 --><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+it will keep itself straight as a ploughshare keeps in its
+furrow, but it will press sideways, and so break down the edges of the
+furrow, while if you exaggerate this enough it will actually leave the
+furrow, and, ceasing to cut, will "skid" aside over the glass. As to
+pressure, all cutters begin by pressing much too hard; the tool having
+started biting, it should be kept only <i>just biting</i> while drawn along.
+The cut should be <!-- Page 40 --><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+almost <i>noiseless</i>. You think you're not cutting
+because you don't hear it grate, but hold the glass sideways to the
+light and you will see the silver line quite continuous.</p>
+<p style="clear:left">Having made your cut, take the glass up; hold it as in fig. 11, press downward with
+the thumbs and upward with the fingers, and the glass will come apart.</p>
+
+<p style="text-align:center;"><img src="images/fig09.jpg" width="100" height="108" alt="FIG. 9." title="" /><br />
+<span class="smcap"><b>Fig. 9.</b></span></p>
+
+<p style="text-align:center;"><img src="images/fig10.jpg" width="200" height="194" alt="FIG. 10, A and B" title="" /><br />
+<span class="smcap"><b>Fig. 10, a</b></span><b> and <span class="smcap">b</span></b></p>
+
+<p style="text-align:center;"><img src="images/fig11.jpg" width="450" height="443" alt="FIG. 11." title="" /><br />
+<span class="smcap"><b>Fig.</b></span> <b>11.</b></p>
+
+<p>But you want to cut shaped pieces as <!-- Page 41 --><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+well as straight. You cannot break
+these directly the cut is made, but, holding the glass as in fig. 12,
+and pressing it firmly with the left thumb, jerk the tool up by little,
+sharp jerks of the fingers <i>only</i>, so as to tap along the underside of
+your cut. You will see a little silver line spring along the cut,
+showing that the glass is dividing; and when that silver line has sprung
+from end to end, a gentle pressure will bring the glass apart.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/fig12.jpg" width="450" height="396" alt="FIG. 12." title="" />
+<span class="smcap"><b>Fig. 12.</b></span>
+</div>
+
+<p><!-- Page 42 --><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+This upward jerk must be sharp and swift, but must be calculated so as
+only just to <i>reach</i> the glass, being checked just at the right point,
+as one hammers a <i>nail</i> when one does not want to stir the work into
+which the nail is driven. A <i>pushing</i> stroke, a blow that would go much
+further if the glass were not there, is no use; and for this reason
+neither the elbow nor the hand must move; the knuckles are the hinge
+upon which the stroke revolves.</p>
+
+<table summary=""><tr><td>
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig13.jpg" width="200" height="274" alt="FIG. 13." title="" />
+<span class="smcap"><b>Fig. 13.</b></span>
+</div></td>
+<td>
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig14.jpg" width="200" height="265" alt="FIG. 14." title="" />
+<span class="smcap"><b>Fig. 14.</b></span>
+</div></td></tr></table>
+
+<p>But you can only cut certain shapes&mdash;for instance, you cannot cut a
+wedge-shaped gap out of a piece of glass (fig. 13); however tenderly you
+handle it, it <!-- Page 43 --><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+will split at point A. The nearest you can go to it is a
+curve; and the deeper the curve the more difficult it is to get the
+piece out. In fig. 14 A is an average easy curve, B a difficult one, C
+impossible, except by "groseing" or "grozeing" as cutters call it; that
+is, after the cut is made, setting to work to patiently bite the piece
+out with pliers (fig. 15).</p>
+
+<div class="figcenter" style="width: 453px;">
+<img src="images/fig15.jpg" width="453" height="200" alt="FIG. 15." title="" />
+<span class="smcap"><b>Fig. 15.</b></span>
+</div>
+
+<p>Now, further, you must understand that you must not cut round all the
+sides of a shaped piece of glass at once; indeed, you must only cut one
+side at a time, and draw your cut right up to the edge of the glass, and
+break away the whole piece which <i>contains</i> the side you are cutting
+before you go on to another.</p>
+
+<p>Thus, in fig. 16, suppose the shaded
+<!-- Page 44 --><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+portion to be the shape that you wish to cut out of the piece of glass,
+A, B, C, D. You must lay your gauge <i>anglewise</i> down upon the piece. Do
+not try to get the sides parallel to the shapes of your gauge, for that
+makes it much more difficult; angular pieces break off the easiest.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig16.jpg" width="400" height="302" alt="FIG. 16." title="" />
+<span class="smcap"><b>Fig. 16.</b></span>
+</div>
+
+<p>Now, then, <i>cut the most difficult piece first</i>. That marked 1. Perhaps
+you will not cut it quite true; but, if not, then shift the gauge
+slightly on to another part of the curve, and very likely it may fit
+that better and so <i>come</i> true.</p>
+
+<p>Then follow with one of those marked <!-- Page 45 --><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+2 or 3. Probably it would be safest
+to cut the larger and more difficult piece first, and get <i>both</i> the
+curved cuts right by your gauge; then you can be quite sure of getting
+the very easy small bit off quite truly, to fit into its place with both
+of them. Go on with 4, and then with one of those marked 5 or 6.
+Probably it would still be best to cut the curved piece first, unless
+you think that shortening it by cutting off the small corner-piece first
+will make the curved cut easier by making it shorter.</p>
+
+<p>In any case you must only cut one side at a time, and break it away
+before you make the cut for another side.</p>
+
+<p>Take care that you do not go back in your cut. You must try and make it
+quite continuous onwards; for if you go back in the cut, where your tool
+has already thrown up splinters, it will spoil your tool and spoil your
+cut also.</p>
+
+<p>Difficult curves, that it is only just possible to get out by groseing,
+ought never to be resorted to, except for some very sufficient reason. A
+cartoonist who knows the craft will avoid setting such tasks to the
+cutter; but, unfortunately, many cartoonists do <i>not</i> know the craft. If
+<!-- Page 46 --><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>people were taught the complete craft as they should be, this book would
+not have been written.</p>
+
+<p>Here let me say that we cannot possibly within the narrow limits of it
+go thoroughly into all the very wide range of subjects connected with
+glass&mdash;the chemistry, the permanence, the purity of materials. With the
+exception of the practice of the craft, probably we shall not be able to
+go thoroughly into any one of them; but I shall endeavour to <i>mention</i>
+them all, and to do so sufficiently to indicate the directions in which
+work and research and experiment may be made, for they are all three
+much needed in several directions.</p>
+
+<p>It becomes, for instance, now my task, in modifying the passage some
+pages back as I promised, to go into one of these subjects in the light
+of inquiries made since the passage in question was written; and I let
+it for the time being stand just as it was, without the additional
+information, because it gives a picture of how such things crop up and
+of the way in which such investigations may be made, and of how useful
+and pleasant they may be.
+</p>
+
+<p><!-- Page 47 --><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>Here then let us have&mdash;</p>
+
+
+<p class="center">A LITTLE DISSERTATION UPON CUTTING.</p>
+
+<p>Through the agent for the wheel-cutter in England I communicated with
+the maker and inventor in America, and told him of our difficulties and
+perplexities over here, and chiefly with regard to two points. First,
+the awkwardness of the handle, which causes the glaziers here to use the
+tool bound round with wadding, or enclosed in a bit of india-rubber
+pipe; and, secondly, the bluntness of the "jaws" which hold the wheel,
+and which must be ground down (and are in universal practice ground
+down), before the tool can be sharpened.</p>
+
+<p>His reply called attention to a number of different patterns of handle,
+the existence of which, I think, is not generally known, in England at
+any rate, and some of which seem to more or less meet the difficulties
+we experience, most of them also being made with malleable iron handles,
+so that fresh cutting-wheels can be inserted in the same handle. His
+letter also entered into the question of the actual dynamics of
+"cutting," maintaining, I think rightly, that a "cut" is made by the
+edge of the wheel (this <!-- Page 48 --><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>not being very sharp) forcing the particles of
+the glass down into the mass of it by pressure.
+</p>
+
+<p>With regard to the old-fashioned pattern of tool which we chiefly use in
+this country, the very sufficient explanation is that they continue to
+make it because we continue to demand it, a circumstance which, as he
+declares, is a mystery to the inventor himself! Nevertheless, as we do
+so, and, in spite of the variety of newer tools on the market, still go
+on grinding down the jaws of our favourite, and wrapping round the
+handle with cotton-wool, let us try and put this matter straight, and
+compare our requirements with the advantages offered us.</p>
+
+<p>There are three chief points to be cleared up. (1) The actual nature of
+a "cut" in glass; (2) the question of sharpening the tool and grinding
+down of the jaws to do so; and (3) the "mystery" of our preference for a
+particular tool, although we all confess its awkwardness by the means we
+take to modify it.</p>
+
+<p>(1) With regard, then, to the nature of a "cut" in glass I am disposed
+entirely to agree with the theory put forward by the inventor of the
+wheel, which an <!-- Page 49 --><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>examination of the cuts under the microscope, or even a
+6 diameter lens, certainly also tends to confirm.</p>
+
+<p>What happens appears to my non-scientific eyes to be this.</p>
+
+<p>Glass is one of the most fissile or "splittable" of all materials; but
+it is so just in the same way that ice is, and just in the opposite way
+to that in which slate or talc is.</p>
+
+<p>Slate or talc splits easily into thin layers or lamin&aelig;, <i>because it
+already lies in such layers</i>, and these will come apart when the force
+is applied between them: but <i>it will only split into the lamin&aelig; of
+which it already is composed, and along the line of the fissures which
+already exist between them</i>.</p>
+
+<p>Glass, on the contrary (and the same is true of ice, or for that matter
+of currant-jelly and such like things), appears to be a substance which
+is the same in all directions, or nearly so, and therefore as liable to
+split in one direction as in another, and is so loosely held together
+that, once a splitting force is applied, the crack spreads very rapidly
+and easily, and therefore smoothly and in straight lines and in even
+planes.</p>
+
+<p><!-- Page 50 --><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+The diamond, or the wheel-cutter, is such a force. Being pressed on to
+the surface, it forces down the particles, and these start a series of
+small vertical splits, sometimes nearly through the whole thickness of
+the glass, though invisibly so until the glass is separated. And mark,
+that it is the <i>starting</i> of the splits that is the important thing;
+there is no object in making them <i>deep</i>, it is only wasted force; they
+will continue to split of themselves if encouraged in the proper way
+(see Plates <a href="#ix">IX.</a> and <a href="#x">X.</a>). Try this as follows.</p>
+
+<p>Take a bit of glass, say 3 inches by 2, and make the very smallest dint
+you can in it, in the middle of the narrowest dimension. You cannot make
+one so small that the glass will hold together if you try to break it
+across. It will break across in a straight line, springing from each end
+of the tiny cut. The cut may be only 1/8 of an inch long; less&mdash;it may
+be only 1/16, 1/32&mdash;as small as you will, the glass will break across
+just the same.</p>
+
+<p>Why?</p>
+
+<p>Because the cut has <i>started</i> it splitting at each end; and the material
+being the same all through, the split will go straight <!-- Page 51 --><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>on in the
+direction in which it has started; there is nothing to turn it aside.</p>
+
+<p>So also the pressure of the wheel starts a continuous split, or series
+of splits, <i>downwards</i>, into the thickness of the glass. No matter how
+small a distance these go in, the glass will come asunder directly
+pressure is applied.</p>
+
+<p>Now, if you press too hard in cutting, another thing takes place.</p>
+
+<p>Imagine a quantity of roofing-slates piled flat one on top of another,
+all the piles being of equal height and arranged in two rows, side by
+side, so close that the edges of the slates in one row touch the edges
+of those in the other row, along a central line.</p>
+
+<p>Wheel a wheelbarrow along that line over the edges of both.</p>
+
+<p>What would happen?</p>
+
+<p>The top layer of slates would all come cocking their outer edges up as
+the barrow passed over their inner ones, would they not?</p>
+
+<p>Now, just so, if you press hard on your glass-cutting wheel, it will
+press down the edges of the groove, and though there are no layers
+<i>already made</i> in the glass, the pressure will <i>split off</i> a thin layer
+from the <!-- Page 52 --><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>top surface of the glass on each side in flakes as it goes
+along (Plate <a href="#x">X.</a>, <span class="smcap">d, e</span>).</p>
+
+<p>This is what gives the <i>noise</i> of the cut, c-r-r-r-r-r-; and as the
+thing is no use the noise is no use; like a good many other things in
+life, the less noise the better work, much cry generally meaning little
+wool, as the man found out who shaved the pig.</p>
+
+<p>But the wheel or the diamond is not quite the same as the wheel of the
+wheelbarrow, for it has a <i>wedge-shaped</i> edge. Imagine a barrow with
+such a wheel; what <i>then</i> would happen to your slates? besides being
+cocked up by the wheel, they would also be <i>pushed out</i>, surely?</p>
+
+<p>This happens in glass. You must not imagine that glass is a rigid thing;
+it is very elastic, and the wedge-like pressure of the wheel pushes it
+out just as the keel of a boat pushes the water aside in ripples (Plate
+<a href="#x">X.</a>, <span class="smcap">d, e</span>).</p>
+
+<p>All these observations seem to me to bear out the theory of the
+inventor, and perhaps to some extent to explain it. I am much tempted to
+carry them further, and ask the questions, why a penknife as well as a
+wheel will not make a cut in glass, but will make a perfectly definite
+<!-- Page 53 --><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+scratch on it if the glass is placed under water? and why this line so
+made will yet not serve for separating the glass? and why a piece of
+glass can be cut in two (roughly, to be sure, but still cut in two) with
+a pair of scissors under water, a thing otherwise quite impossible?</p>
+
+<p>But I do not think that the knowledge of these questions will help the
+reader to do better stained-glass windows, and therefore I will not
+pursue them.</p>
+
+<p>(2) The question of sharpening the tool is soon disposed of.</p>
+
+<p>If the tool is to be sharpened, the jaws must be ground down, whether
+the maker grinds them down originally or whether we do it. Is sharpening
+worth while, since the tool only costs a few pence?</p>
+
+<p>Well, it's a question each must decide for himself; but I will just
+answer two small difficulties which affect the matter.</p>
+
+<p>If grinding the jaws loosens the pivot, it can be hammered tight again
+with a punch. If sharpening wears out the oil-stone (as it undoubtedly
+does, and oil-stones are expensive things), a piece of fine polished
+Westmoreland slate will do as well, and there is no need to be chary of
+it. Even a piece of ground-glass with oil will do.</p>
+
+<p><!-- Page 54 --><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+(3) But now as to the handle. I am first to explain the amusing
+"mystery" why the old pattern shown in fig. 1 still sells.</p>
+
+<p>It is because the British working-man <i>is convinced that the wheels in
+this handle are better quality than any others</i>.</p>
+
+<p>Is he right, or is it only an instance of his love for and faith in the
+thing he has got used to?</p>
+
+<p>Or can it be that all workmen do not know of the existence of the other
+types of handle? In case this is so, I figure some (fig. 17). Or is it
+that the wheel for some reason runs less truly in the malleable iron
+than in the cast iron?</p>
+
+<div class="figleft" style="width: 100px;">
+<img src="images/fig17.jpg" width="100" height="360" alt="FIG. 17." title="" />
+<span class="smcap"><b>Fig. 17.</b></span>
+</div>
+
+<p>Certain it is that the whole trade here prefers these wheels, and I am
+bound to say that as far as my experience goes they seem to me to work
+better than those in other handles.</p>
+
+<p><!-- Page 55 --><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+But as to all the handles themselves, I must now voice our general
+complaint.</p>
+
+<p>(1) They are too light.</p>
+
+<p>For tapping our heavy antique and slab-glasses we wish we had a heavier
+tool.</p>
+
+<p>(2) They are too thin in the handle for comfort, at least it seems so to
+me.</p>
+
+<p>(3) The three gashes cut out of the head of the tool decrease the
+weight, and if these were omitted the tool would gain. Their only use
+that I can conceive of is that of a very poor substitute for pliers as a
+"groseing" tool, if one has forgotten one's pliers. But (as Serjeant
+Buzfuz might say) "who <i>does</i> forget his pliers?"</p>
+
+<p>The whole question of the handle is complicated by the fact that some
+cutters rest the tool on the forefinger and some on the middle finger in
+tapping, and that a handle the sections of which are calculated for the
+one will not do equally well for the other.</p>
+
+<p>But the whole thing resolves itself into this, that if we could get a
+tool, the handle of which corresponded in all its curves, dimensions,
+and sections with the old-established diamond, I think we should all be
+glad; and if the head, wheel, and pivot were all made of the quality and
+<!-- Page 56 --><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+material of which fig. 1 is now made, but with the handle as I describe,
+many of us, I think, would be still more glad; and if these remarks lead
+in any degree to such results, they at least of all the book will have
+been worth the writing, and will probably be its best claim to a white
+stone in Israel, as removing one more solecism from "this so-called
+twentieth century."</p>
+
+<p>I shall now leave this subject of cutting for the present, and describe,
+up to about the same point, the processes of painting, taking both on to
+a higher stage later&mdash;as if, in fact, I were teaching a pupil; for as
+soon as you can cut glass well enough to cut a piece to paint on, you
+should learn to paint on it, and carry the two things on step by step,
+side by side.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr03" id="chptr03">CHAPTER III</a></h2>
+
+<p class="blockquot">Painting (elementary)&mdash;Pigments&mdash;Mixing&mdash;How to Fill the
+Brush&mdash;Outline&mdash;Examples&mdash;Industry&mdash;The Needle and
+Stick&mdash;Completing the Outline.</p>
+
+
+<p>The pigments for painting on glass are powders, being the oxides of
+various minerals, chiefly iron. There are others; <!-- Page 57 --><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>but take it thus&mdash;that
+the iron oxide is a red pigment, and the others are introduced, mainly,
+to modify this. The red pigment is the best to use, and goes off less in
+the firing; but, alas! it is a detestably ugly <i>colour</i>, like red lead;
+and, do what you will, you cannot use it on white glass. Against clear
+sky it looks pretty well in some lights, but get it in a sidelight, or
+at an angle, and the whole window looks like red brick; while, seen
+against any background except clear sky, it always looks so from all
+points of view. There are various makers of these pigments. Some
+glass-painters make their own, and a beginner with any knowledge of
+chemistry would be wise to work in that direction.</p>
+
+<p>I need not discuss the various kinds of pigment; what follows is a
+description of my own practice in the matter.</p>
+
+<p><i>To Mix the Pigment for Painting.</i>&mdash;Take a teaspoonful of red
+tracing-colour, and a rather smaller spoonful of intense black, put them
+on a slab of thick ground-glass about 9 inches square, and drop clean
+water upon them till you can work them up into a paste with the
+palette-knife (fig. 18); work them up for a minute or <!-- Page 58 --><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>so, till the paste
+is smooth and the lumps broken up, and then add about three drops of
+strong gum made from the purest white gum-arabic dissolved in cold
+water. Any good chemist will sell this, but its purity is a matter of
+great importance, for you want the maximum of adhesiveness with the
+minimum of the material.</p>
+
+<p>Mix the colour well up with the knife; then take one of those
+long-haired sable brushes, which are called "riggers" (fig. 19), and
+which all artists'-colourmen sell, and fill it with the colour, diluting
+it with enough water to make it quite thin. Do not dilute all the
+pigment; keep most of it in a tidy lump, merely moist, as you ground it
+and not further wetted, at the corner of your slab; but always keep a
+portion diluted in a small "pond" in the middle of your palette.</p>
+
+<div class="figcenter" style="width: 56px;">
+<img src="images/fig18.jpg" width="56" height="397" alt="Fig. 18." title="" />
+<span class="caption">Fig.&nbsp;18.</span>
+</div>
+
+<p><i>How to Fill the Brush with Pigment.</i>&mdash;Now you must note that this is a
+heavy powder floating free in water, therefore it quickly sinks to the
+bottom of your little "pond." <i>Each time you fill your</i> <!-- Page 59 --><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+<i>brush you must
+"stir up the mud</i>," for the "mud" is what you want to get in your brush,
+and not only so, but you want to get your brush <i>evenly full</i> of it from
+tip to base, therefore you must splay out the hairs flat against the
+glass, till all are wet, and then in taking it off the palette,
+"twiddle" it to a point quickly. This takes long to describe, but it
+does not take a couple of seconds to do. You must have the patience to
+spend so much pains on it, and even to fill the brush very often, nearly
+for each touch; then you will get a clear, smooth, manageable stroke for
+your outline, and save time in the end.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig19.jpg" width="200" height="304" alt="FIG. 19." title="" />
+<span class="smcap"><b>Fig. 19.</b></span>
+</div>
+
+<p><i>How to Paint in Outline.</i>&mdash;Make some strokes (fig. 20) on a piece of
+glass and let them dry; some people like them to stick very tight to the
+glass, some so that a touch of the finger removes them; you <!-- Page 60 --><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>must find
+which suits you by-and-by, and vary the amount of gum accordingly; but
+to begin, I would advise that they should be just removable by a
+moderately hard rub with the finger, rather less hard a rub than you
+close a gummed envelope with.</p>
+
+<p>Practise now for a time the making of strokes, large and small, dark and
+light, broad and fine; and when you have got command of your tools, set
+yourself the task of doing the same thing, <i>copying an example placed
+underneath your bit of glass</i>. You will find a hand-rest (fig. 21) an
+assistance in this.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/fig20.jpg" width="300" height="322" alt="FIG. 20." title="" />
+<span class="smcap"><b>Fig. 20.</b></span>
+</div>
+
+<p>It is difficult to give any list of examples suitable for this stage of
+glass, but the kind of line employed on the best <i>heraldry</i> is always
+good for the purpose. The splendid illustrations of this in Mr. St.
+John-Hope's book of the stall-plates of the Knights of <!-- Page 61 --><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>the Garter at
+Windsor, examples of which by the author's courtesy I am allowed to
+reproduce (figs. 22-22A), are ideal for bold outline-work, and
+fascinatingly interesting for their own sake. In most of these there is
+not only excellent practice in <i>outline</i>, and a great deal of it, but,
+mixed with it, practice also in flat washes, which it is a good thing to
+be learning side by side with the other.</p>
+
+<div class="figcenter" style="width: 507px;">
+<img src="images/fig21.jpg" width="507" height="200" alt="FIG. 21." title="" />
+<span class="smcap"><b>Fig. 21.</b></span>
+</div>
+
+<p>And here let me note that there are throughout the practice of
+glass-painting <i>many</i> methods in use at every stage. Each person, each
+firm of glass-stainers, has his own methods and traditions. I shall not
+trouble to notice all these as we come to them, but describe what seems
+to me to be the best practice in each case; but I shall here and there
+give a word about others.</p>
+
+<p>For instance: if you use sugar or treacle instead of gum, you get a
+rather smoother-<!-- Page 62 --><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>working pigment, and after it is dry you can moisten it
+as often as you will for further work by merely breathing on the
+surface; and perhaps if your aim is <i>outline only</i>, it may be well to
+try it; but if you wish to pass shading-colour over it you must use gum,
+for you cannot do so over treacle colour; nor do I think treacle serves
+so well for the next process I am to describe, which here follows.</p>
+
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig22.jpg" width="400" height="458" alt="FIG. 22." title="" />
+<span class="smcap"><b>Fig. 22.</b></span>
+</div>
+<p><!-- Page 63 --><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig22a.jpg" width="400" height="596" alt="FIG. 22a." title="" />
+<span class="smcap"><b>Fig. 22a.</b></span>
+</div>
+
+
+<p><!-- Page 64 --><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span><i>How to complete the Outline better than you possibly can by One
+Tracing.</i>&mdash;When you take up a bit of glass from the table, after having
+done all you can to make a correct tracing, you will be disappointed
+with the result. It will have looked pretty well on the table with the
+copy showing behind it and hiding its defects, but it is a different
+thing when held up to the searching daylight. This must not, however,
+discourage you. No one, not the most skilful, could expect to make a
+perfect copy of an original (if that original had any fineness of line
+or sensitiveness of touch about it) by merely tracing it downwards on
+the bench. You must put it upright against the daylight, and mend your
+drawing, freehand, faithfully by the copy.</p>
+
+<p>These remarks do not, in a great degree, apply to the case of hard
+outlines specially prepared for literal translation. I am speaking of
+those where the outline is, in the artistic sense, sensitive and
+refined, as in a Botticelli painting or a Holbein drawing, and to copy
+these well you want an easel.</p>
+
+<p>For this small work any kind of frame <!-- Page 65 --><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>with a sheet of glass in it, and a
+ledge to rest your bit of glass on and a leg to stand out behind, will
+do, and by all means get it made (fig. 23); but do not spend too much on
+it, for later on you will want a bigger and more complicated thing,
+which will be described in its proper place&mdash;that is to say, when we
+come to it; and we shallcome to it when we come to deal with work made
+up of a number of pieces of glass, as all windows must be.</p>
+
+<div class="figcenter" style="width: 695px;">
+<img src="images/fig23.jpg" width="695" height="400" alt="FIG. 23." title="" />
+<span class="smcap"><b>Fig. 23.</b></span>
+</div>
+
+<p>This that you have now, not being a window but a bit of glass to
+practise on, what I have described above will do for it.</p>
+
+<p><i>A note to be always industrious and to work with all your might.</i>&mdash;I
+advise you to put <!-- Page 66 --><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+this work on an easel; but this is not the way such
+work is usually done;&mdash;where the work is done as a task (alas, that it
+could ever be so!) it is held listlessly in the left hand while touched
+with the right; but no artist can afford to be at this disadvantage, or
+at any disadvantage.</p>
+
+<p>Fancy a surgeon having to hold the limb with one hand while he uses the
+lancet with the other, or an astronomer, while he makes his measurement,
+bunglingly moving his telescope by hand while he pursues his star,
+instead of having it driven by the clock!</p>
+
+<p>You cannot afford to be less keen or less in earnest, and you want both
+hands free&mdash;ay! more than this&mdash;your whole body free: you must not be
+lazy and sit glued to your stool; you must get up and walk backwards and
+forwards to look at your work. Do you think art is so easy that you can
+afford to saunter over it?</p>
+
+<p>Do, I beg you, dear reader, pay attention to these words; for it is true
+(though strange) that the hardest thing I have found in teaching has
+been to get the pupil to take the most reasonable care not to hamper and
+handicap himself by omitting to have his work comfortably <!-- Page 67 --><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>and
+conveniently placed and his tools and materials in good order. You shall
+find a man going on painting all day, working in a messing, muddling
+way&mdash;wasting time and money&mdash;because his pigment has not been covered up
+when he left off work yesterday, and has got dusty and full of "hairs";
+another will waste hour after hour, cricking his neck and squinting at
+his work from a corner, when thirty seconds and a little wit would move
+his work where he would get a good light and be comfortable; or he will
+work with bad tools and grumble, when five minutes would mend his tools
+and make him happy.</p>
+
+<p>An artist's work&mdash;any artist's, but especially a glass-painter's&mdash;should
+be just as finished, precise, clean, and alert as a surgeon's or a
+dentist's. Have you not in the case of these (when the affair has not
+been too serious) admired the way in which the cool, white hands move
+about, the precision with which the finger-tips take up this or that,
+and when taken up use it "just <i>so</i>," neither more nor less: the
+spotlessness and order and perfect finish of every tool and material,
+from those fearsome things which (though you <!-- Page 68 --><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>prefer not to dwell on
+their uses) you cannot help admiring, down to the snowy cotton-wool
+daintily poked ready through the holes in a little silver beehive? Just
+such skill, handling, and precision, and just such perfection of
+instruments, I urge as proper to painting.</p>
+
+<p><i>What Tools are wanted to complete the Outline.</i>&mdash;I will now describe
+those tools which you want at this stage, that is, <i>to mend your outline
+with</i>.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig24.jpg" width="200" height="273" alt="FIG. 24." title="" />
+<span class="smcap"><b>Fig. 24.</b></span>
+</div>
+
+<p>You want the brush which you used in the first instance to paint it
+with, and that has already been described; but you also want points of
+various fineness to etch it away with where it is too thick; these are
+the needle and the stick (fig. 24); any needle set in a handle will do,
+but if you want it for fine work, take care that it be sharp. "How
+foolish," you say; "as if you need tell us that." On the contrary,&mdash;nine
+people out of ten need telling, because they go upon the assumption that
+a needle <i>must</i> be <!-- Page 69 --><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>sharp,
+ "as sharp as a needle," and cannot need
+sharpening,&mdash;and they will go on for 365 days in a year wondering why a
+needle (which <i>must</i> be sharp) should take out so much coarser a light
+than they want.</p>
+
+<p>Now as to "sticks"; if you make a point of soft wood it lasts for three
+or four touches and then gets "furred" at the point, and if of very hard
+wood it slips on the glass. Bamboo is good; but the best of all&mdash;that is
+to say for broad stick-lights&mdash;is an old, sable oil-colour brush,
+clogged with oil and varnish till it is as hard as horn and then cut to
+a point; this "clings" a little as it goes over the glass, and is most
+comfortable to use.</p>
+
+<p>I have no doubt that other materials may be equally good, celluloid or
+horn, for example; the student must use his own ingenuity on such a
+simple matter.</p>
+
+<p><i>How to Complete the Outline.</i>&mdash;With the tools above described complete
+the outline&mdash;by adding colour with the brush where the lines are too
+fine, and by taking it away with needle or stick where they are too
+coarse; make it by these means exactly like the copy, and this is all
+you need do. But as an example of the degree of correctness attainable
+(and therefore to be demanded) are here inserted two illustrations
+(figs. 25 and 26), one of the example used, and the other of a copy made
+from it by a young apprentice.<!-- Page 70 --><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+<table summary=""><tr><td><div class="figcenter" style="width: 300px;">
+<img src="images/fig25.jpg" width="300" height="465" alt="FIG. 25." title="" />
+<span class="smcap"><b>Fig. 25.</b></span>
+<!-- Page 71 --><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+
+</div></td>
+<td><div class="figcenter" style="width: 300px;">
+<img src="images/fig26.jpg" width="300" height="424" alt="FIG. 26." title="" />
+<span class="smcap"><b>Fig. 26.</b></span>
+</div></td></tr></table>
+
+<hr style="width: 65%;" />
+<p><!-- Page 72 --><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+
+<h2><a name="chptr04" id="chptr04">CHAPTER IV</a></h2>
+
+<p class="blockquot">Matting&mdash;Badgering&mdash;How to preserve Correctness of
+Outline&mdash;Difficulty of Large Work&mdash;Ill-ground Pigment&mdash;The
+Muller&mdash;Overground Pigment&mdash;Taking out Lights&mdash;"Scrubs"&mdash;The Need
+of a Master.</p>
+
+
+<p>Take your camel hair matting-brush (fig. 27 or 28); fill it with the
+pigment, try it on the slab of the easel till it seems just so full that
+the wash you put on will not run down till you have plenty of time to
+brush it flat with the badger (fig. 29).</p>
+
+<p>Have your badger ready at hand and <i>very clean</i>, for if there is any
+pigment on it from former using, that will spoil the very delicate
+operation you are now to perform.</p>
+
+<p>Now rapidly, but with a very light hand, lay an even wash over the whole
+<!-- Page 73 --><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+piece of glass on which the outline is painted; use vertical strokes,
+and try to get the touches to just meet each other without overlapping;
+but there is a very important thing to observe in holding the brush. If
+you hold it so (fig. 30) you cannot properly regulate the pressure, and
+also the pigment runs away downwards, and the brush gets dry at the
+point; you must hold it so (fig. 31), then the curve of the hair makes
+the brush go lightly over the surface, while also, the body of<!-- Page 74 --><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> the brush
+being pointed downwards, the point you are using is always being
+refilled.</p>
+
+<div class="figcenter" style="width: 166px;">
+<img src="images/fig27.jpg" width="166" height="399" alt="FIG. 27." title="" />
+<span class="smcap"><b>Fig. 27.</b></span>
+</div>
+
+<div class="figcenter" style="width: 263px;">
+<img src="images/fig28.jpg" width="263" height="400" alt="FIG. 28." title="" />
+<span class="smcap"><b>Fig. 28.</b></span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig29.jpg" width="400" height="373" alt="FIG. 29." title="" />
+<span class="smcap"><b>Fig. 29.</b></span>
+</div>
+
+<p>It takes a very skilful workman indeed to put the strokes so evenly side
+by side that the result looks flat and not stripy; indeed you can hardly
+hope to do so, but you can get rid of what "stripes" there are by taking
+your badger and "stabbing" <!-- Page 75 --><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>the surface of the painting with it very
+rapidly, moving it from side to side so as never to stab twice in the
+same spot; this by degrees makes the colour even, by taking a little off
+the dark part and putting it on the light; but the result will look
+mottled, not flat and smooth. Sometimes this may be agreeable, it
+depends on what you are painting; but if you wish it to be smooth, just
+give a last stroke or two over the whole glass sideways, that is to say,
+holding the badger so that it stands quite perpendicular to the glass,
+move it, <i>always still perpendicular</i>, across the whole surface. You
+must not sway it from side to side, or kick it up at the end of each
+stroke like a man white-washing; it must move along so that the points
+of the hairs are all just lightly touching the glass all the time.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig30.jpg" width="200" height="226" alt="FIG. 30." title="" />
+<span class="smcap"><b>Fig. 30.</b></span>
+</div>
+
+<p><i>How to Ensure the Drawing of a Face being kept Correct while
+Painting.</i>&mdash;If you <!-- Page 76 --><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>adopt the plan of doing the first painting over an
+unfired outline, you must be very careful that the outline is not
+brushed out of drawing in the process. If you have sufficient skill it
+need not be so, for it is quite possible&mdash;if all the conditions as to
+adhesiveness are right&mdash;and if you are light-handed enough&mdash;to so lay
+and badger the "matt" that the outline beneath shall only be gently
+softened, and not blurred or moved from its place. But in any case the
+best plan is at the same time that you trace the outline of a head on to
+the glass to trace it also with equal care on to a piece of tracing
+paper, and arrange three or four well-marked points, such as the corner
+of the mouth, the pupil of the eye, and some point on the back of the
+head or neck, so that these cannot possibly shift, and that you may be
+able at any time to get the tracing back into its proper place, both on
+the cartoon and on the piece of glass on which you are to paint the
+head. On which piece of glass <!-- Page 77 --><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>also your first care should be that these
+three or four points should be clearly marked and unmovable; then during
+the whole progress of the painting you will always be able to verify the
+correctness of the drawing by placing your piece of tracing paper over
+the glass, and so seeing that nothing has shifted its place.</p>
+
+<div class="figcenter" style="width: 260px;">
+<img src="images/fig31.jpg" width="260" height="200" alt="FIG. 31." title="" />
+<span class="smcap"><b>Fig. 31.</b></span>
+</div>
+
+<p>It requires a good deal of patience and practice to lay matt
+successfully over unfired outline. It is a question of the amount and
+quality of the gum, the condition of your brush, even the dryness or
+dampness of the air. You must try what degree of gum suits you best,
+both in the outline and in the matt which you are to pass over it. Try
+it a good many times on a slab of plain glass or on the plate of your
+easel first, before you try on your painting. Of course it's a much
+easier thing to matt successfully over a small piece than over a large.
+A head as big as the palm of your hand is not a very severe test of your
+powers; but in one as large as the <i>whole</i> of your hand, say a head
+seven inches from crown to chin, the problem is increased quite
+immeasurably in difficulty. The real test is being able to produce in
+glass a real<!-- Page 78 --><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> facsimile of a head by Botticelli or Holbein, and when you
+can do that satisfactorily you can do anything in glass-painting.</p>
+
+<p>Do not aim to get <i>too much</i> in the first painting, at any rate not till
+you have had long practice. Be content if you get enough modelling on a
+head to turn the outline into a more sensitive and artistic drawing than
+it could be if planted down, raw and hard, upon the bare, cold glass.
+After all it is a common practice to fire the outline separately, and
+anything beyond this that you get upon the glass for first fire is so
+much to the good.</p>
+
+<p>But besides the quality of the <i>gum</i> you will find sometimes differences
+in the quality or condition of the <i>pigment</i>. It may be insufficiently
+ground; in which case the matt, in passing over, will rasp away every
+vestige of the outline, so delicate a matter it is.</p>
+
+<p>You can tell when colour is not ground sufficiently by the way it acts
+when laid as a vertical wash. Lay a wash, moist enough to "run," on a
+bit of your easel-slab; it will run down, making a sort of
+seaweed-looking pattern&mdash;clear lanes of light on the glass with a black
+<!-- Page 79 --><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>grain at the lower end. Those are the bits of unground material: under a
+100-diameter microscope they look like chunks of ironstone or road
+metal, or of rusty iron, and you'll soon understand why they have
+scratched away your tender outline.</p>
+
+<p>You must grind such colour till it is smooth, and an old-fashioned
+<i>granite</i> muller is the thing, not a glass one.</p>
+
+<p>Now, after all this, how am I to excuse the paradox that it is possible
+to have the colour ground <i>too</i> fine! All one can say is that you "find
+it so." It can be so fine that it seems to slip about in a thin, oily
+kind of way.</p>
+
+<p>It's all as you find it; the differences of a craft are endless; there
+is no forecasting of everything, and you must buy your experience, like
+everybody else, and find what suits you, learning your skill and your
+materials side by side.</p>
+
+<p>Now these are the chief processes of painting, as far as laying on
+colour goes; but you still have much of your work before you, for the
+way in which light and shade is got on glass is almost more in "taking
+off" than in "putting on." You have laid your dark "matt" all over <!-- Page 80 --><span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>the
+glass evenly; now the next thing is to remove it wherever you want light
+or half-tone.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig32.jpg" width="400" height="407" alt="FIG. 32." title="" />
+<span class="smcap"><b>Fig. 32.</b></span>
+</div>
+
+<p><i>How to Finish a Shaded Painting out of the Even Matt.</i>&mdash;This is done in
+many ways, but chiefly with those tools which painters call "scrubs,"
+which are oil-colour hog-hair brushes, either worn down by use, or
+rubbed down on fine sandpaper till they are as stiff as you like them
+to be. You want them different in this: <!-- Page 81 --><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>some harder, some softer; some
+round, some square, and of various sizes (figs. 32 and 33), and with
+these you brush the matt away gently and by degrees, and so make a light
+and shade drawing of it. It is exactly like the process of mezzotint,
+where, after a surface like that of a file has been laboriously produced
+over the whole copper-plate, the engraver removes it in various degrees,
+leaving the original to stand entirely only for the darkest of all
+shadows, and removing it all entirely only in the highest lights.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig33.jpg" width="400" height="450" alt="FIG. 33." title="" />
+<span class="smcap"><b>Fig. 33.</b></span>
+</div>
+
+<p>There is nothing for this but practice; there is nothing more to <i>tell</i>
+about it; as the conjurers say, "That's how it's done." You will find
+difficulties, and as these occur you will think this a most defective
+book. "Why on earth," you will say, "didn't he tell us about this, about
+that, about the other?"
+<!-- Page 82 --><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span>Ah, yes! it is a most defective book; if it were not, I would have taken
+good care not to write it. For the worst thing that could happen to you
+would be to suppose that any book can possibly teach you any craft, and
+take the place of a master on the one hand, and of years of practice on
+the other.</p>
+
+<p>This book is not intended to do so; it is written to give as much
+information and to arouse as much interest as a book can; with the hope
+that if any are in a position to wish to learn this craft, and have not
+been brought up to it, they may learn, in general, what its conditions
+are, and then be able to decide whether to carry it further by seeking
+good teaching, and by laying themselves out for a patient course of
+study and practice and many failures and experiments. While, with regard
+to those already engaged in glass-painting, it is of course intended to
+arouse their interest in, and to give them information upon, those other
+branches of their craft which are not generally taught to those brought
+up as glass-painters.
+</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><!-- Page 83 --><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
+
+<h2><a name="chptr05" id="chptr05">CHAPTER V</a></h2>
+
+<p class="blockquot">Cutting (advanced)&mdash;The Ideal Cartoon&mdash;The Cut-line&mdash;Setting the
+Cartoon&mdash;Transferring the Cut-line to the Glass&mdash;Another Way&mdash;Some
+Principles of Taste&mdash;Countercharging.</p>
+
+
+<p>We have only as yet spoken of the processes of cutting and painting in
+themselves, and as they can be practised on a single bit of glass; but
+now we must consider them as applied to a subject in glass where many
+pieces must be used. This is a different matter indeed, and brings in
+all the questions of taste and judgment which make the difference
+between a good window and an inferior one. Now, first, you must know
+that every differently coloured piece must be cut out by itself, and
+therefore must have a strip of lead round it to join it to the others.</p>
+
+<p>Draw a cartoon of a figure, <i>bearing this well in mind</i>: you must draw
+it in such a simple and severe way that you do not set impossible or
+needlessly difficult tasks to the cutter. Look now, for example, at the
+picture in Plate <a href="#v">V.</a> by Mr. Selwyn Image&mdash;how simple the cutting!
+</p>
+
+<p><!-- Page 84 --><span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>You think it, perhaps, too "severe"? You do not like to see the leads so
+plainly. You would like better something more after the "Munich" school,
+where the lead line is disguised or circumvented. If so, my lesson has
+gone wrong; but we must try and get it right.</p>
+
+<p>You would like it better because it is "more of a picture"; exactly, but
+you ought to like the other better because it is "more of a window."
+Yes, even if all else were equal, you ought to like it better, <i>because</i>
+the lead lines cut it up. Keep your pictures for the walls and your
+windows for the holes in them.</p>
+
+<p>But all else is <i>not</i> equal: and, supposing you now standing before a
+window of the kind I speak of, I will tell you what has been sacrificed
+to get this "picture-window" "like a picture." <i>Stained-glass</i> has been
+sacrificed; for this is <i>not</i> stained-glass, it is painted glass&mdash;that
+is to say, it is coloured glass ground up into powders and painted on to
+white sheets of glass: a poor, miserable substitute for the glorious
+colour of the deep amethyst and ruby-coloured glasses which it pretends
+to ape. You will not be in much danger of using it when you have handled
+
+your stained-glass <!-- Page 85 --><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span>samples for a while and learned to love them. You will
+love them so much that you will even get to like the severe lead line
+which announces them for what they are.</p>
+
+<p>But you must get to reasonably love it as a craft limitation, a
+necessity, a thing which places bounds and limits to what you can do in
+this art, and prevents tempting and specious tricks.</p>
+
+<p><i>How to Make a "Cut-line."</i>&mdash;But now, all this being granted, how are we
+to set about getting the pieces cut? First of all, I would say that it
+is always well to draw most, if not all, of the necessary lead lines on
+the cartoon itself. By the necessary lead lines I mean those which
+separate different colours; for you know that there <i>must</i> be a
+lead line between these. Then, when these are drawn, it is a question of
+convenience whether to draw in also the more or less optional lead lines
+which break up each space of uniform colour into convenient-sized
+pieces. If you do not want your cartoon afterwards for any other purpose
+you may as well do so: that is, first "set" the cartoon if it is in
+charcoal or chalk, and then try the places for these lead lines lightly
+<!-- Page 86 --><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+in charcoal over the drawing: working thus, you can dust them away time
+after time till they seem right to you, and then either set them also or
+not as you choose.</p>
+
+<p>A good, useful setting-mixture for large quantities is composed by
+mixing equal parts of "white polish" and methylated spirit; allowing it
+to settle for a week, and pouring off all that is clear. It is used in
+the ordinary way with a spray diffuser, and will keep for any length of
+time.</p>
+
+<p>The next step is to make what is called the cut-line. To do this, pin a
+piece of tracing-cloth over the whole cartoon; this can be got from any
+artist's-colourman or large stationer. Pin it over the cartoon with the
+dull surface outwards, and with a soft piece of charcoal draw lines 1/16
+to 1/8 of an inch wide down the centre of all the lead lines: remove the
+cloth from the cartoon, and if any of the lines look awkward or ugly,
+now that you see them by themselves undisguised by the drawing below,
+alter them, and then, finally, with a long, thin brush paint them in,
+over the charcoal, with water-colour lamp-black, this time a true
+sixteenth of an inch wide. Don't dust the charcoal off <!-- Page 87 --><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>first, it makes
+the paint cling much better to the shiny cloth.</p>
+
+<p>When this is done, there is a choice of three ways for cutting the
+glass. One is to make shaped pieces of cartridge-paper as patterns to
+cut each bit of glass by; another is to place the bits of glass, one by
+one, over the cut-line and cut freehand by the line you see through the
+glass. This latter process needs no description, but you cannot employ
+it for dark glasses because you cannot see the line through: for this
+you must employ one of the other methods.</p>
+
+<p><i>How to Transfer the Cutting-line on to the Glass.</i>&mdash;Take a bit of glass
+large enough to cut the piece you want; place it, face upwards, on the
+table; place the cut-line over it in its proper place, and then slip
+between them, without moving either, a piece of black "transfer paper":
+then, with a style or hard pencil, trace the cutting-line down on to the
+glass. This will not make a black mark visible on the glass, it will
+only make a <i>grease</i> mark, and that hardly visible, not enough to cut
+by; but take a soft dabber&mdash;a lump of cotton-wool tied up in a bit of
+old handkerchief&mdash;and with this, dipped in dry whitening or <!-- Page 88 --><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>powdered
+white chalk, dab the glass all over; then blow the surface and you will
+see a clear white line where the whitening has stuck to the greasy line
+made by the transfer paper; and by this you can cut very comfortably.</p>
+
+<p>But a third way is to cut the shape of each piece of glass out in
+cartridge-paper; and to do this you put the cut-line down over a sheet
+of "continuous-cartridge" or "cartoon" paper, as it is called, and press
+along all the lines with a style or hard pencil, so as to make a furrow
+on the paper beneath; then, after removing the cut-line, you place a
+sheet of ordinary window-glass below the paper and cut out each piece,
+between the "furrows" leaving a <i>full</i> 1/16 of an inch. This sixteenth
+of an inch represents the "heart" or core of the future <i>lead</i>; it is
+the distance which the actual bits of glass lie one from the other in
+the window. You must use a very sharp penknife, and you will find that,
+cutting against <i>glass</i>, each shape will have quite a smooth edge; and
+round this you can cut with your diamond.</p>
+
+<p>This method, which is far the most accurate and craftsmanly way of
+cutting glass, is best used with the actual diamond:<!-- Page 89 --><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> in that case you
+feel the edge of the paper all the time with the diamond-spark; but in
+cutting with the wheel you must not rest against the edge of the paper;
+otherwise you will be sure to cut into it. Now, whichever of all these
+processes you employ, remember that there must be a <i>full</i> 1/16 of an
+inch left between each piece of glass and all its neighbours.</p>
+
+<p>The reason why you leave this space between the pieces is that the core
+of the lead is about that or a little less in thickness: the closer the
+glass fits to this the better, but no part of the glass must go <i>nearer</i>
+to its neighbour than this, otherwise the work will be pressed outwards,
+and you will not be able to get the whole of the panel within its proper
+limits.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig34.jpg" width="200" height="438" alt="FIG. 34" title="" />
+<span class="smcap"><b>Fig. 34.</b></span>
+</div>
+
+<p>Fig. 34 is an illustration of various kinds and sizes of lead; showing
+some with the glass inserted in its place.<!-- Page 90 --><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+ By all means make your leads
+yourself, for many of those ready made are not lead at all, or not pure
+lead. Get the parings of sheet lead from a source you can trust, and
+cast them roughly in moulds as at fig. 35. Fig. 36 is the shears by
+which the strips may be cut; fig. 37 is the lead-mill or "vice" by which
+they are milled and run into their final shape; fig. 38 the "cheeks" or
+blocks through <!-- Page 91 --><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>which the lead passes. The working of such an instrument
+is a thing that is understood in a few minutes with the instrument
+itself at hand, but it is cumbrous to explain in writing, and not worth
+while; since if you purchase such a thing, obviously the seller will be
+there to explain its use. Briefly,&mdash;the handle turns two wheels with
+milled edges 1/16 of an inch apart; which, at one motion, draw the lead
+between them, mill it, and force it between the two "cheeks" (fig. 38),
+which mould the outside of the lead in its passage. These combined
+movements, by a continuous pressure, squeeze out the strip of lead into
+about twice its length; correspondingly decreasing its thickness and
+finishing it as it goes.
+</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig35.jpg" width="200" height="239" alt="FIG. 35." title="" />
+<span class="smcap"><b>Fig. 35.</b></span>
+</div>
+
+<div class="figcenter" style="width: 520px;">
+<img src="images/fig36.jpg" width="520" height="400" alt="FIG. 36." title="" />
+<span class="smcap"><b>Fig. 36.</b></span>
+</div>
+
+<div class="figcenter" style="width: 383px;">
+<img src="images/fig37.jpg" width="383" height="399" alt="FIG. 37." title="" />
+<span class="smcap"><b>Fig. 37.</b></span>
+</div>
+<p><!-- Page 91 --><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+<i>Some principles of good taste and common sense with regard to the
+cutting up of a Window; according to which the Cartoon and Design must
+be modified.</i>&mdash;Never disguise the lead line. Cut the necessary parts
+first, as I said before; cut the optional parts <i>simply</i>; thinking most
+of craft-convenience, and not much of realism.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig38.jpg" width="400" height="424" alt="FIG. 38." title="" />
+<span class="smcap"><b>Fig. 38.</b></span>
+</div>
+
+<p>Do not, however, go to the extent of making two lead lines cross each
+other. Fig. 39 shows the two kinds of joint, A being the wrong one (as I hold),
+and B <!-- Page 93 --><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>the right one; but, after all, this is partly a question of taste.</p>
+
+
+
+<p>Do not cut borders and other minor details into measured spaces; cut
+them hap-hazard.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/fig39.jpg" width="200" height="117" alt="FIG. 39." title="" />
+<span class="smcap"><b>Fig. 39.</b></span>
+</div>
+
+<p>Do not cut leafage too much by the outlines of the groups of leaves&mdash;or
+wings by the outlines of the groups of feathers.</p>
+
+<p>Do not outline with lead lines any forms of minor importance.</p>
+
+<p>Do not allow the whole of any figure to cut out dark against light, or
+light against dark; but if the figure is ever so bright, let an inch or
+two of its outline tell out as a dark against a spot of still brighter
+light; and if it is ever so dark, be it red <!-- Page 94 --><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>or blue as strong as may be,
+let an inch or two of its outline tell out against a still stronger dark
+in the background, if you have to paint it pitch-black to do so.</p>
+
+<p>By this "countercharging" (as heralds say), your composition will melt
+together with a pleasing mystery; for you must always remember that a
+window is, after all, only a window, it is not the church, and nothing
+in it should stare out at you so that you cannot get away from it;
+windows should "dream," and should be so treated as to look like what
+they are, the apertures to admit the light; subjects painted on a thin
+and brittle film, hung in mid-air between the light and the dark.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr06" id="chptr06">CHAPTER VI</a></h2>
+
+<p class="blockquot">Painting (advanced)&mdash;Waxing-up&mdash;Cleanliness&mdash;Further Methods of
+Painting&mdash;Stipple&mdash;Dry Stipple&mdash;Film&mdash;Effects of Distance&mdash;Danger
+of Over-Painting&mdash;Frying.</p>
+
+
+<p>I have mentioned all these points of judgment and good taste we have
+just finished speaking of, because they are matters that must
+necessarily come before you at the time you are making the cartoon, the
+preliminary drawing of the <!-- Page 95 --><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>window, and before you come to handle the
+glass at all.</p>
+
+<p>But it is now necessary to tell you how the whole of the glass, when it
+is cut, must be fixed together, so that you can both see it and paint
+upon it as a whole picture. This is done as follows:&mdash;</p>
+
+<p>First place the cut-line (for the making of which you have already had
+instructions) face upwards on the bench, and over it place a sheet of
+glass, as large at least as the piece you mean to paint. Thick
+window-glass, what glass-makers call "thirty-two ounce sheet"&mdash;that is,
+glass that weighs about thirty-two ounces to the square foot&mdash;will do
+well enough for very small subjects, but for anything over a few square
+feet, it is better to use thin plate-glass. This is expensive, but you
+do not want the best; what is called "patent plate" does quite well, and
+cheap plate-glass can often be got to suit you at the salvage stores,
+whither it is brought from fires.</p>
+
+<p>Having laid your sheet of glass down upon the cut-line, place upon it
+all the bits of glass in their proper places; then take beeswax (and by
+all means let it be the best and purest you can get; get <!-- Page 96 --><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span>it at a
+chemist's, not at the oil-shop), and heat a few ounces of it in a
+saucepan, and <i>when all of it is melted</i>&mdash;not before, and as little
+after as may be&mdash;take any convenient tool, a penknife or a strip of
+glass, and, dipping it rapidly into the melted wax, convey it in little
+drops to the points where the various bits of glass meet each other,
+dropping a single drop of wax at each joint. It is no advantage to have
+any extra drops along the <i>sides</i> of the bits; if each <i>corner</i> is
+properly secured, that is all that is needed (fig. 40).</p>
+
+<p>Some people use a little resin or tar with the wax to make it more
+brittle, so that when the painting is finished and the work is to be
+taken down again off the plate, the spots of wax will chip off more
+easily. I do not advise it. Boys in the shop who are just entering their
+apprenticeship get very skilful, and quite properly so, in doing this
+work; waxing up yard after yard of glass, and never dropping a spot of
+wax on the surface.</p>
+
+<p>It is much to be commended: all things done in the arts should be done
+as well as they can be done, if only for the sake of character and
+training; but in this case it <!-- Page 97 --><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>is a positive advantage that the work
+should be done thus cleanly, because if a spot of wax is dropped on the
+surface of the glass that is to be painted on, the spot must be
+carefully scraped off and every vestige of <!-- Page 98 --><span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>it removed with a wet duster
+
+dipped in a little grit of some kind&mdash;pigment does well&mdash;otherwise the
+glass is greasy and the painting will not adhere.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig40.jpg" width="400" height="478" alt="FIG. 40." title="" />
+<span class="smcap"><b>Fig. 40.</b></span>
+</div>
+
+<p>For the same reason the wax-saucepan should be kept very clean, and the
+wax frequently poured off, and all sediment thrown away. A bit of
+cotton-fluff off the duster is enough to drag a "lump" out on the end of
+the waxing-tool, which, before you have time to notice it, will be
+dribbling over the glass and perhaps spoiling it; for you must note that
+sometimes it is necessary to re-wax down <i>unfired</i> work, which a drop of
+wax the size of a pinhole, flirted off from the end of the tool, will
+utterly ruin. How important, then, to be cleanly.</p>
+
+<p>And in this matter of removing such spots from <i>fired</i> work, do please
+note that you should <i>use the knife and the duster alternately</i> for
+<i>each spot</i>. Do not scrape a batch of the spots off first and then go
+over the ground again with the duster&mdash;this can only save a second or
+two of time, and the merest fraction of trouble; and these are ill saved
+indeed at the cost of doing the work ill. And you are sure to do it so,
+for when the spot is scraped <!-- Page 99 --><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>off it is very difficult to see where it
+was; you are sure to miss some, in going over the glass with a duster,
+and you will discover them again, to your cost and annoyance, when you
+matt over them for the second painting: and, just when you cannot afford
+to spare a single moment&mdash;in some critical process&mdash;they will come out
+like round o's in the middle of your shading, compelling you to break
+off your work and do now what should have been done before you began to
+paint.</p>
+
+<p>But the best plan of all is to avoid the whole thing by doing the work
+cleanly from the first. And it is quite easy; for all you have to do is
+to carry the tool horizontally till it is over the spot where you want
+the wax, and then, by a tilt of the hand, slide the drop into its place.</p>
+
+<p><i>Further Methods of Painting.</i>&mdash;There are two chief methods of treating
+the matt&mdash;one is the "stipple," and the other the "film" or badgered
+matt.</p>
+
+<p><i>The Stipple.</i>&mdash;When you have put on your matt with the camel-hair
+brush, take a stippling brush (fig. 41) and stab the matt all over with
+it while it is wet. A great variety of texture can be got in this way,
+for you may leave off the process<!-- Page 100 --><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> at any moment; if you leave it off
+soon, the work will be soft and blurred, for, not being dry, the pigment
+will spread again as soon as you leave off: but, if you choose, you can
+go on stippling till the whole is dry, when the pigment will gather up
+into little sharp spots like pepper, and the glass between them will be
+almost clear. You must bear in mind that you cannot use scrubs over work
+like the last described, and cannot use them to much advantage over
+stipple at all. You can draw a needle through; but as a rule you do not
+want to take lights out of stipple, since you can complete the shading
+in the single process by stippling more or less according to the light
+and shade you want.</p>
+
+<div class="figcenter" style="width: 98px;">
+<img src="images/fig41.jpg" width="98" height="399" alt="FIG. 41." title="" />
+<span class="smcap"><b>Fig. 41.</b></span>
+</div>
+
+<p>A very coarse form of the process is "dry" stippling, where you stipple
+straight on to the surface of the clear glass, with <!-- Page 101 --><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>pigment taken up off
+the palette by the stippling brush itself: for coarse distant work this
+may be sometimes useful.</p>
+
+<p>Now as to film. We have spoken of laying on an even matt and badgering
+it smooth; and you can use this with a certain amount of stipple also
+with very good effect; but you are to notice one great rule about these
+two processes, namely, that the same amount of pigment <i>obscures much
+more light used in film than used in stipple</i>.</p>
+
+<p>Light <i>spreads</i> as it comes through openings; and a very little light
+let, in pinholes, through a very dark matt, will, at a distance, so
+assert itself as to prevail over the darkness of the matt.</p>
+
+<p>It is really very little use going on to describe the way the colour
+acts in these various processes; for its behaviour varies with every
+degree of all of them. One may gradually acquire the skill to combine
+all the processes, in all their degrees, upon a single painting; and the
+only way in which you can test their relative value, either as texture
+or as light and shade, is to constantly practise each process in all its
+degrees, and see what results each has, both when seen near at hand and
+also when seen from a distance. It <!-- Page 102 --><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>is useless to try and learn these
+things from written directions; you must make them your own, as precious
+secrets, by much practice and much experiment, though it will save you
+years of both to learn under a good master.</p>
+
+<p>But this question of distance is a most important thing, and we must
+enlarge upon it a little and try to make it quite clear.</p>
+
+<p>Glass-painting is not like any other painting in this respect.</p>
+
+<p>Let us say that you see an oil-painting&mdash;a portrait&mdash;at the end of the
+large room in some big Exhibition. You stand near it and say, "Yes, that
+is the King" (or the Commander-in-Chief), "a good likeness; however do
+they do those patent-leather boots?" But after you have been down one
+side of the room and turn round at the other end to yawn, you catch
+sight of it again; and still you say, "Yes, it's a good likeness," and
+"really those boots are very clever!" But if it had been your own
+painting on <i>glass</i>, and sitting at your easel you had at last said,
+"Yes,&mdash;<i>now</i> it's like the drawing&mdash;<i>that's</i> the expression," you could
+by no means safely count on being able to say the same at all distances.
+
+You may say it at ten feet off, at twenty, <!-- Page 103 --><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+and yet at thirty the shades
+may all gather together into black patches; the drawing of the eyelids
+and eyes may vanish in one general black blot, the half-tones on the
+cheeks may all go to nothing. These actual things, for instance, <i>will</i>
+be the result if the cheeks are stippled or scrubbed, and the shade
+round the eyes left as a <i>film</i>&mdash;ever so slight a film will do it. Seen
+near, you <i>see the drawing through the film</i>; but as you go away the
+light will come pouring stronger and stronger through the brush or
+stipple marks on the cheeks, until all films will cut out against it
+like black spots, altering the whole expression past recognition.</p>
+
+<p>Try this on simple terms:&mdash;</p>
+
+<p>Do a face on white glass in strong outline only: step back, and the face
+goes to nothing; strengthen the outline till the forms are quite
+monstrous&mdash;the outline of the nose as broad as the bridge of it&mdash;still,
+at a given distance, it goes to nothing; the expression varies every
+step back you take. But now, take a matting brush, with a film so thin
+that it is hardly more than dirty water; put it on the back of the glass
+(so as not to wash up your outline); badger it flat, so as just to dim
+the glass less than "ground <!-- Page 104 --><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span>glass" is dimmed;&mdash;and you will find your
+outline look almost the same at each distance. It is the pure light that
+plays tricks, and it will play them through a pinhole.</p>
+
+<p>And now, finally, let us say that you may do anything you <i>can</i> do in
+the painting of glass, so long as you do not lay the colour on too
+thick. The outline-touches should be flat upon the glass, and above all
+things should not be laid on so wet, or laid on so thick, that the
+pigment forms into a "drop" at the end of the touch; for this drop, and
+all pigment that is thick upon the glass like that, will "fry" when it
+is put into the kiln: that is to say, being so thick, and standing so
+far from the surface of the glass, it will fire separately from the
+glass itself and stand as a separate crust above it, and this will
+perish.</p>
+
+<p>Plate <a href="#ix">IX.</a> shows the appearance of the bubbles or blisters in a bit of
+work that has fried, as seen under a microscope of 20 diameters; and if
+you are inclined to disregard the danger of this defect as seen of its
+natural size, when it is a mere roughness on the glass, what do you
+think of it <i>now</i>? You can remove it at once by scraping it with a
+knife; and indeed, if through accident a touch here and there <!-- Page 105 --><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>does fry,
+it is your only plan to so remove it. All you can scrape off should be
+scraped off and repainted every time the glass comes from the kiln; and
+that brings us to the important question of <i>firing</i>.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr07" id="chptr07">CHAPTER VII</a></h2>
+
+<p class="blockquot">Firing&mdash;Three Kinds of Kiln&mdash;Advantages and Disadvantages&mdash;The
+Gas-Kiln&mdash;Quick Firing&mdash;Danger&mdash;Sufficient Firing&mdash;Soft
+Pigments&mdash;Difference in Glasses&mdash;"Stale" Work&mdash;The Scientific
+Facts&mdash;How to Judge of Firing&mdash;Drawing the Kiln.</p>
+
+
+<p>The way in which the painting is attached to the glass and made
+permanent is by firing it in a kiln at great heat, and thus fusing the
+two together.</p>
+
+<p>Simple enough to say, but who is to describe in writing this process in
+all its forms? For there is, perhaps, nothing in the art of
+stained-glass on which there is greater diversity of opinion and
+diversity of practice than this matter of firing. But let us make a
+beginning by saying that there are, it may be said, three chief
+modifications of the process.</p>
+
+<p>First, the use of the old, closed, coke or turf kiln.</p>
+
+<p>Second, of the closed gas-kiln.
+</p>
+
+<p><!-- Page 106 --><span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>And third, of the open gas-kiln.</p>
+
+<p>The first consists of a chamber of brick or terra-cotta, in which the
+glass is placed on a bed of powdered whitening, on iron plates, one
+above another like shelves, and the whole enclosed in a chamber where
+the heat is raised by a fire of coke or peat.</p>
+
+<p>This, be it understood, is a slow method. The heat increases gradually,
+and applies to the glass what the kiln-man calls a "good, soaking heat."
+The meaning of this expression, of course, is that the gradual heat
+gives time for the glass and the pigment to fuse together in a natural
+way, more likely to be good and permanent in its results than a process
+which takes a twentieth part of the time and which therefore (it is
+assumed) must wrench the materials more harshly from their nature and
+state.</p>
+
+<p>There are, it must be admitted, one or two things to be said for this
+view which require answering.</p>
+
+<p>First, that this form of kiln has the virtue of being old; for in such a
+thing as this, beyond all manner of doubt, was fired all the splendid
+stained-glass of the Middle Ages.</p>
+
+<p>Second, that by its use one is entirely <!-- Page 107 --><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span>preserved from the dangers
+attached to the <i>misuse</i> of the gas-kiln.</p>
+
+<p>But the answers to these two things are&mdash;</p>
+
+<p>First, that the method employed in the Middle Ages did not invariably
+ensure permanence. Any one who has studied stained-glass must be
+familiar with cases in which ancient work has faded or perished.</p>
+
+<p>The second claim is answered by the fact, I think beyond dispute, that
+all objections to the use of the gas-kiln would be removed if it were
+used properly; it is not the use of it as a process which is in itself
+dangerous, but merely the misuse of it. People must be content with what
+is reasonable in the matter; and, knowing that the gas-kiln is spoken of
+as the "quick-firing" kiln, they must not insist on trying to fire <i>too</i>
+quick.</p>
+
+<p>Now I have the highest authority (that of the makers of both kiln and
+pigment) to support my own conviction, founded on my own experience, in
+what I am here going to say.</p>
+
+<p>Observe, then, that up to the point at which actual fusion
+commences&mdash;that is, when pigment and glass begin to get soft&mdash;there is
+no advantage in slowness, and therefore none in the use of fuel as
+against gas&mdash;no possible <i>disadvantage</i> as far as the <!-- Page 108 --><span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span>work goes: only it
+is time wasted. But where people go wrong is in not observing the vital
+importance of proceeding gently when fusion <i>does</i> commence. For in the
+actual process of firing, when fusion is about to commence, it is indeed
+all-important to proceed gently; otherwise the work will "fry," and, in
+fact, it is in danger from a variety of causes. Make it, then, your
+practice to aim at twenty to twenty-five minutes, instead of ten or
+twelve, as the period during which the pigment is to be fired, and
+regulate the amount of heat you apply by that standard. The longer
+period of moderate heat means safety. The shorter period of great heat
+means danger, and rather more than danger.</p>
+
+<p>Fig. 42 is the closed gas-kiln, where the glass is placed in an enclosed
+chamber; fig. 43 is the open gas-kiln, where the gas plays on the roof
+of the chamber in which the glass lies; fig. 44 shows this latter. But
+no written description or picture is really sufficient to make it safe
+for you to use these gas-kilns. You would be sure to have some serious
+accident, probably an explosion; and as it is absolutely necessary for
+you to have instruction, either from the maker or the experienced user
+of them, it is useless <!-- Page 109 --><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span>for me to tell lamely what they could show
+thoroughly. I shall therefore leave this essentially technical part of
+the subject, and, omitting these details, speak of the few <i>principles</i>
+which regulate the firing of glass.
+</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig42.jpg" width="400" height="336" alt="FIG. 42." title="" />
+<span class="smcap"><b>Fig. 42.</b></span>
+</div>
+<p><!-- Page 110 --><span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+<div class="figcenter" style="width: 232px;">
+<img src="images/fig43.jpg" width="232" height="399" alt="FIG. 43." title="" />
+<span class="smcap"><b>Fig. 43.</b></span>
+</div>
+
+<p><!-- Page 111 --><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig44.jpg" width="400" height="211" alt="FIG. 44." title="" />
+<span class="smcap"><b>Fig. 44.</b></span>
+</div>
+<p><!-- Page 112 --><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>And the first is to <i>fire it enough</i>. Whatever pigment you use, and with
+whatever flux, none will be permanent if the work is under-fired; indeed
+I believe that under-firing is far more the cause of stained-glass
+perishing than the use of untrustworthy pigment or flux; although it
+must always be borne in mind that the use of a soft pigment, which will
+"fire beautifully" at a low heat, with a fine gloss on the surface, is
+always to be avoided. The pigment is fused, no doubt; but is it united
+to the glass? What one would like to have would be a pigment whose own
+fusing-point was the same, or about the same, as that of the glass
+itself, so that the surface, at least, of the piece of glass softens to
+receive it and lets it right down into itself. You should never be
+satisfied with the firing of your glass unless it presents two
+qualifications: first, that the surface of the glass has melted and
+begun to run together; and second, that the fused pigment is quite
+glossy and shiny, not the least dull or rusty looking, when the glass is
+cool.</p>
+
+<p>"What one would like to have."</p>
+
+<p>And can you not get it?</p>
+
+<p>Well, yes! but you want experience and constant watchfulness&mdash;in short,
+"rule of <!-- Page 113 --><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span>thumb." For every different glass differs in hardness, and you
+never know, except by memory and constant handling of the stuff, exactly
+what your materials are going to do in the kiln; for as to
+standardising, so as to get the glass into any known relation with the
+pigment in the matter of fusing, the thing has never, as far as I know,
+been attempted. It probably could not be done with regard to all, or
+even many, glasses&mdash;nor need it; though perhaps it might be well if a
+nearer approach to it could be achieved with regard to the manufacture
+of the lighter tinted glasses, the "whites" especially, on which the
+heads and hands are painted, and where consequently it is of such vital
+importance that the painting should have careful justice done to it, and
+not lose in the firing through uncertainty with regard to conditions.</p>
+
+<p>Nevertheless, if you observe the rule to fire sufficiently, the worst
+that can happen is a disappointment to yourself from the painting having
+to an unnecessary extent "fired away" in the kiln. You must be patient,
+and give it a second painting; and as to the "rule of thumb," it is
+surprising how one gets to know, by constant handling the stuff, how the
+various glasses are going<!-- Page 114 --><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> to behave in the fire. It was the method of
+the Middle Ages which we are so apt to praise, and there is much to be
+said for practical, craftsmanly experience, especially in the arts, as
+against a system of formulas based on scientific knowledge. It would be
+a pity indeed to get rid of the accidental and all the delight which it
+brings, and we must take it with its good and bad.</p>
+
+<p>The second rule with regard to the question of firing is to take care
+that the work is not "stale" when it goes into the kiln. Every one will
+tell you a different tale about many points connected with glass, just
+as doctors disagree in every affair of life. In talking over this matter
+of keeping the colour fresh&mdash;even talking it over with one's practical
+and experienced friends generally&mdash;one will sometimes hear the remark
+that "they don't see that delay can do it much harm;" and when one asks,
+"Can it do it any good?" the reply will be, "Well, probably it would be
+as well to fire it soon;" or in the case of mixing, "To use it fresh."
+Now, if it would be "as well"&mdash;which really means "on the safe
+side"&mdash;then that seems a sufficient reason for any reasonable man.</p>
+
+<p>But indeed I have always found it one <!-- Page 115 --><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span>of the chiefest difficulties with
+pupils to get them to take the most reasonable precautions to <i>make
+quite sure</i> of <i>anything</i>. It is just the same with matters of
+measurement, although upon these such vital issues depend. How weary one
+gets of the phrase "it's not far out"&mdash;the obvious comment of a
+reasonable man upon such a remark, of course, being that if it is out
+<i>at all</i> it's, at any rate, <i>too</i> far out. A French assistant that I had
+once used always to complain of my demanding (as he expressed it) such
+"rigorous accuracy." But there are only two ways&mdash;to be accurate or
+inaccurate; and if the former is possible, there is no excuse for the
+latter.</p>
+
+<p>But as to this question of freshness of colour, which is of such
+paramount importance, I may quote the same authority I used before&mdash;that
+of the <i>maker of the colour</i>&mdash;to back my own experience and previous
+conviction on the point, which certainly is that fresh colour, used the
+same day it is ground and fired the same day it is used, fires better
+and fires away less than any other.</p>
+
+<p>The facts of the case, scientifically, I am assured, are as follows. The
+pigment contains a large amount of soft glass in <!-- Page 116 --><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>a very fine state of
+division, and the carbonic acid, which all air contains (especially that
+of workshops), will immediately begin to enter into combination with the
+alkalis of the glass, throw out the silica, and thus disintegrate what
+was brought together in the first instance when the glass was made. The
+result of this is that this intruder (the carbonic acid) has to be
+driven out again by the heat of the kiln, and is quite likely to disturb
+the pigment in every possible way in the process of its escape. I have
+myself sometimes noticed, when some painted work has been laid aside
+unusually long before firing, some white efflorescence or
+crystallisation taking place and coming out as a white dust on the
+painted surface.</p>
+
+<p>Now it is not necessary to know here, in a scientific or chemical sense,
+what has actually taken place. Two things are evident to common sense.
+One, that the change is organic, and the other that it is
+unpremeditated; and therefore, on both grounds, it is a thing to avoid,
+which indeed my friend's scientific explanation sufficiently confirms.
+It is well, therefore, on all accounts to paint swiftly and
+continuously, and to fire as soon as you can; <!-- Page 117 --><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>and above all things not
+to let the colour lie about getting stale on the palette. Mix no more
+for the day than you mean to use; clean your palette every day or nearly
+so; work up all the colour each time you set your palette, and do not
+give way to that slovenly and idle practice that is sometimes seen, of
+leaving a crust of dry colour to collect, perhaps for days or weeks,
+round the edge of the mass on your palette, and then some day, when the
+spirit moves you, working this in with the rest, to imperil the safety
+of your painting.</p>
+
+<p><i>How to Know when the Glass is Fired Sufficiently.</i>&mdash;This is told by the
+colour as it lies in the kiln&mdash;that is, in such a kiln that you can see
+the glass; but who can describe a colour? You have nothing for this but
+to buy your experience. But in kilns that are constructed with a
+peephole, you can also tell by putting in a bright iron rod or other
+shining object and holding it over the glass so as to see if the glass
+reflects it. If the pigment is raw it will (if there is enough of it on
+the glass to cover the surface) prevent the piece of glass from
+reflecting the rod; but directly it is fired the pigment itself becomes
+glossy, and then the surface will reflect.
+</p>
+
+<p><!-- Page 118 --><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span>This is all a matter of practice; nothing can describe the "look" of a
+piece of glass that is fired. You must either watch batch after batch
+for yourself and learn by experience, or get a good kiln-man to point
+out fired and unfired, and call your attention to the slight shades of
+colour and glow which distinguish one from the other.</p>
+
+<p><i>On Taking the Glass out of the Fire.</i>&mdash;And so you take the glass out of
+the fire. In the old kilns you take the fire away from the glass, and
+leave the glass to cool all night or so; in the new, you remove it and
+leave it in moderate heat at the side of the kiln till it is cool enough
+to handle, or nearly cold. And then you hold it up and look at it.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr08" id="chptr08">CHAPTER VIII</a></h2>
+
+<p class="blockquot">The Second Painting&mdash;Disappointment with Fired Work&mdash;A False
+Remedy&mdash;A Useful Tool&mdash;The Needle&mdash;A Resource of Desperation&mdash;The
+Middle Course&mdash;Use of the Finger&mdash;The Second Painting&mdash;Procedure.</p>
+
+
+<p>And when you have looked at it, as I said just now you should do, your
+first thought will be a wish that you had never <!-- Page 119 --><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span>been born. For no one, I
+suppose, ever took his first batch of painted glass out of the kiln
+without disappointment and without wondering what use there is in such
+an art. For the painting when it went in was grey, and silvery, and
+sharp, and crisp, and firm, and brilliant. Now all is altered; all the
+relations of light and shade are altered; the sharpness of every
+brush-mark is gone, and everything is not only "washed out" to half its
+depth, but blurred at that. Even if you could get it, by a second
+painting, to look exactly as it was at first, you think: "What a waste
+of life! I thought I had done! It was <i>right</i> as it was; I was pleased
+so far; but now I am tired of the thing; I don't want to be doing it all
+over again."</p>
+
+<p>Well, my dear reader, I cannot tell you a remedy for this state of
+things&mdash;it is one of the conditions of the craft; you must find by
+experience what pigment, and what glass, and what style of using them,
+and what amount of fire give the least of these disappointing results,
+and then make the best of it; and make up your mind to do without
+certain effects in glass, which you find are unattainable.</p>
+
+<p>There is, however, one remedy which I <!-- Page 120 --><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span>suppose all glass-painters try,
+but eventually discard. I suppose we have all passed through the stage
+of working very dark, to allow for the firing-off; and I want to say a
+word of warning which may prevent many heartaches in this matter. I
+having passed through them all, there is no reason why others should.
+Now mark very carefully what follows, for it is difficult to explain,
+and you cannot afford to let the sense slip by you.</p>
+
+<p>I told you that a film left untouched would always come out as a black
+patch against work that was pierced with the scrub, however slightly.</p>
+
+<p>Now, herein lies the difficulty of working with a very thick matt; for
+if it is thick enough on the cheek and brow of a face to give strong
+modelling when fired, <i>then whenever it has passed over the previous
+outline-painting, for example, in the eyes, mouth, nostrils, &amp;c., you
+will find that the two together have become too thick for the scrub to
+move.</i></p>
+
+<p>Now you do not need, as an artist, to be told that it is fatal to allow
+<i>any</i> part of your painting to be thus beyond your control; to be
+obliged to say, "It's too dark, but unfortunately I have no <!-- Page 121 --><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>tools that
+will lighten it&mdash;it will not yield to the scrub."</p>
+
+<p>However, a certain amount can be done in this direction by using, on the
+shadows that are <i>just</i> too strong for the scrub, a tool made by
+
+grinding down on sandpaper a large hog-hair brush, and, of these, what
+are called stencil-brushes are as good as any (fig. 45).</p>
+
+<p>You do not use this by dragging it over the glass as you drag a scrub,
+but by <i>pricking</i> the whole of the surface which you wish to lighten.
+This will make little pinholes all over it, which will be sufficient to
+let the patch of shadow gently down to the level of the surrounding
+lighter modelling, and will prevent your dark shadows looking like
+actual "patches," as we described them doing a little way back.</p>
+
+<div class="figcenter" style="width: 129px;">
+<img src="images/fig45.jpg" width="129" height="399" alt="FIG. 45." title="" />
+<span class="smcap"><b>Fig. 45.</b></span>
+</div>
+
+<p>Further than this you cannot go: for I cannot at all see how the next
+process I am to describe can be a good one, though <!-- Page 122 --><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>I once thought, as I
+suppose most do, that it would really solve the difficulty. What I
+allude to is the use of the needle.</p>
+
+<p><i>Of Work Etched out with a Needle.</i>&mdash;The needle is a very good and
+useful tool for stained glass, in certain operations, but I am now to
+speak of it as being used over whole areas <i>as a substitute for the
+scrub, in order to deal with a matt too dense for the scrub to
+penetrate.</i></p>
+
+<p>The needle will, to be sure, remove such a matt; that is to say, will
+remove lines out of it, quite clear and sharp, and this, too, out of a
+matt so dense, that what remains does not fire away much in the kiln.
+Here is a tempting thing then! to have one's work unchanged by the fire!
+And if you could achieve this without changing the character of the work
+for the worse, no doubt this method would be a very fine thing. But let
+me trace it step by step and try to describe what happens.</p>
+
+<p>You have painted your outline and you put a very heavy matt over it.</p>
+
+<p>Peril No. 1.&mdash;If your matt is so dense that it will not <i>fire off</i>, it
+must very nearly approach the point of density at which it will <i>fry</i>.
+How then about the portions <!-- Page 123 --><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span>of it which have been painted on, as I have
+said, over <i>another</i> layer of pigment in the shape of the <i>outline</i>?
+Here is a <i>danger</i>. But even supposing that all is safe, and that you
+have just stopped short of the danger point. You have now your dense,
+rich, brown matt, with the outline just showing through it. Proceed to
+model it with the needle. The first stroke will really frighten you; for
+a flash of silver light will spring along after the point of the needle,
+so dazzling in contrast to the extreme dark of the matt that it looks as
+if the plate had been cut in two, while the matt beside it becomes
+pitch-black by contrast. Well, you go on, and by putting more strokes,
+and reducing the surrounding darkness generally, you get the drawing to
+look grey&mdash;but you get it to look like a grey <i>pen-drawing</i> or
+<i>etching</i>, not like a painting at all. We will suppose that this seems
+to you no disadvantage (though I must say, at once, that I think it a
+very great one); but now you come to the deep shadows; and these, I need
+hardly say, cut themselves out, more than ever, like dark patches or
+blots, in the manner already spoken of. You try pricking it with the
+brush I have <!-- Page 124 --><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>described for that operation, and it will not do it; then
+you resort to the needle itself, and you are startled at the little,
+hard, glittering specks that come jumping out of the black shadow at
+each touch. You get a finer needle, and then you sharpen even that on
+the hone; and perhaps then, by pricking gingerly round the edges of the
+shadows, you may get the drawing and modelling to melt together fairly
+well. But beware! for if there is one dot of light too many, the
+expression of the head goes to the winds. Let us say that such a thing
+occurs; you have pricked one pinhole too many round the corner of the
+mouth.</p>
+
+<p>What can you do?</p>
+
+<p>You take your tracing-brush and try to mend it with a touch of pigment;
+and so on, and so on; till you timidly say (feeling as if you had been
+walking among egg-shells for the last hour), "Well, I <i>think</i> it will
+<i>do</i>, and I daren't touch it any more." And supposing by these means you
+get a head that looks really what you wanted; the work is all what
+glass-painters call "rotten"; liable to flake off at the least touch;
+isolated <!-- Page 125 --><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>bits of thick crust, cut sheer out from each other, with clear
+glass between.</p>
+
+<p>In short, the thing is a niggling and botching sort of process to my
+mind, and I hope that the above description is sufficiently life-like to
+show that I have really given it a good trial myself&mdash;with, as a result,
+the conclusion certainly strongly borne home to me, that the delight of
+having one's work unchanged by the fire is too dearly purchased at the
+cost of it.</p>
+
+<p><i>How to get the greatest degree of Strength into your Painting without
+Danger.</i>&mdash;Short of using a needle then, and a matt that will only yield
+to that instrument, I would advise, if you want the work strong, that
+you should paint the matt so that it will just yield, and only just, and
+that with difficulty, to the scrub; and, before you use this tool, just
+pass the finger, lightly, backwards and forwards over the matted
+surface. This will take out a shimmer of light here and there, according
+to the inequalities of the texture in the glass itself; the first
+touches of the scrub will not then look so startling and hard as if
+taken out of the dead, even matt; and also this rubbing of the finger
+across the <!-- Page 126 --><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span>surface seems to make the matt yield more easily to the tool.
+The dust remaining on the surface perhaps helps this; anyhow, this is as
+far as you can go on the side of strength in the work. You can of course
+"back" the work, that is, paint on the back as well as the front&mdash;a mere
+film at the back; but this is a method of a rather doubtful nature. The
+pigment on the back does not fire equally well with that on the front,
+and when the window is in its place, that side will be, you must bear in
+mind, exposed to the weather.</p>
+
+<p>I have spoken incidentally of rubbing the glass with the finger as a
+part of painting; but the practice can be carried further and used more
+generally than I have yet said: the little "pits" and markings on the
+surface of the glass, which I mentioned when I spoke of the "right and
+wrong sides" of the material, can be drawn into the service of the
+window sometimes with very happy effect. Being treated with matt and
+then rubbed with the finger, they often produce very charming varieties
+of texture on the glass, which the painter will find many ways of making
+useful.</p>
+
+<p><i>Of the Second Painting of Glass after it has been Fired.</i>&mdash;So far we
+<!-- Page 127 --><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span>
+have only spoken of the appearance of work after its first fire, and its
+influence upon choice of method for <i>first painting</i>; but there is of
+course the resource which is the proper subject of this chapter, namely,
+the second painting.</p>
+
+<p>Very small work can be done with one fire; but only very skilful
+painters can get work, on any large scale, strong enough for one fire to
+serve, and that only with the use of backing. Of course if very faint
+tones of shadow satisfy you, the work can be done with one fire; but if
+it is well fired it must almost of necessity be pale. Some people like
+it so&mdash;it is a matter of taste, and there can be no pronouncement made
+about it; but if you wish your work to look strong in light and
+shade&mdash;stronger than one painting will make it&mdash;I advise you, when the
+work comes back from the fire and is waxed up for the second time
+(which, in any case, it assuredly should be, if only for your judgment
+upon it), to proceed as follows.</p>
+
+<p>First, with a tracing-brush, go over all the lines and outlined shadows
+that seem too weak, and then, when these touches are quite dry, pass a
+thin matt over the <!-- Page 128 --><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>whole, and with stippling-brushes of various sizes,
+stipple it nearly all away while wet. You will only have about five
+minutes in which to deal with any one piece of glass in this way, and in
+the case of a head, for example, it needs a skilful hand to complete it
+in that short space of time. The best plan is to make several "shots" at
+it; if you do not hit the mark the first time, you may the second or the
+third. I said "stipple it nearly all away"; but the amount left must be
+a matter of taste; nevertheless, you must note that if you do not remove
+enough to make the work look "silvery," it is in danger of looking
+"muddy." All the ordinary resources of the painter's art may be brought
+in here: retouching into the half-dry second matt, dabbing with the
+finger&mdash;in short, all that might be done if the thing were a
+water-colour or an oil-painting; but it is quite useless to attempt to
+describe these deftnesses of hand in words: you may use any and every
+method of modifying the light and shade that occurs to you.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 129 --><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+<h2><a name="chptr09" id="chptr09">CHAPTER IX</a></h2>
+
+<p class="blockquot">Of Staining and Aciding&mdash;Yellow Stain&mdash;Aciding&mdash;Caution required in
+Use&mdash;Remedy for Burning&mdash;Uses of Aciding&mdash;Other Resources of
+Stained-Glass Work.</p>
+
+
+<p>Yellow stain, or silver stain as some call it, is made in various ways
+from silver&mdash;chloride, sulphate, and nitrate, I understand, are all
+used. The stain is laid on exactly like the pigment, but at the back of
+the glass. It does not work very smoothly, and some painters like to mix
+it with Venice turpentine instead of water to get rid of this defect;
+whichever you use, keep a separate set of tools and a separate palette
+for it, and always keep them clean and the stain fresh mixed. Also you
+should not fire it with so strong a heat, and therefore, of course, you
+should never fire pigment and stain in the same batch in the kiln;
+otherwise the stain will probably go much hotter in colour than you
+wish, or will get muddy, or will "metal" as painters call it&mdash;that is,
+get a horny, burnt-sienna look instead of a clear yellow.
+</p>
+
+<p><!-- Page 130 --><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span><i>How to Etch the Flash off a Flashed Glass with Acid.</i>&mdash;There is only
+one more process, having to do with painting, which I shall describe,
+and that is "aciding." By this process you can etch the flash off the
+flashed glasses where you like. The process is the same as etching&mdash;you
+"stop-out" the parts that you wish to remain, just as in etching; but
+instead of putting the stopping material over the whole bit of glass and
+then scratching it off, as you do in copper-plate etching, it is better
+for the most part to paint the stopping on where you want it, and this
+is conveniently done with Brunswick black, thinned down with turpentine;
+if you add a little red lead to it, it does no harm. You then treat it
+to a bath of fluoric acid diluted with water and placed in a leaden pan;
+or, if it is only a touch you want, you can get it off with a mop of
+cotton-wool on a stick, dipped in the undiluted acid; but be careful of
+the fumes, for they are very acrid and disagreeable to the eyes and
+nose; take care also not to get the acid on your finger-ends or nails,
+especially into cuts or sore places. For protection, india-rubber
+finger-stalls for finger and thumb are very good, and you can get these
+at any shop<!-- Page 131 --><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span> where photographic materials are sold. If you do get any of
+the acid on to your hands or into a cut, wash them with diluted
+carbonate of soda or diluted ammonia. The acid must be kept in a
+gutta-percha bottle.</p>
+
+<p>When the aciding is done, as far as you want it, the glass must be
+thoroughly rinsed in several waters; do not leave any acid remaining, or
+it will continue to act upon the glass. You must also be careful not to
+use this process in the neighbourhood of any painted work, or, in short,
+in the neighbourhood of any glass that is of consequence, the fumes from
+the acid acting very strongly and very rapidly. This process, of course,
+may be used in many ways: you can, by it, acid out a diaper pattern, red
+upon white, white upon red; and blue may be treated in the same fashion;
+the white lights upon steel armour, for instance, may be obtained in
+this way with very telling effect, getting indeed the beautiful
+combination of steely blue with warm brown which we admire so in
+Burne-Jones cartoons; for the brown of the pigment will not show warm on
+the blue, but will do so directly it passes on to the white of the
+acided<!-- Page 132 --><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> parts. This is the last process I need describe; the many little
+special refinements to be got by playing games with the lead lines; by
+thickening and thinning them; by <i>doubling</i> glass, to get depth and
+intensity, or to blend new tints;&mdash;these and such like are the things
+that any artist <i>who does his own work and practises his own craft</i> can
+find out, and ought to find out, and is bound to find out, for
+himself&mdash;they are the legitimate reward of the hand and heart labour
+spent, as a craftsman spends them, upon the material. Suffice it to say
+that in spite of the great skill which has been employed upon
+stained-glass, ancient and modern, and employed in enormous amount; and
+in spite of the great and beautiful results achieved; we may yet look
+upon stained-glass as an art in which there are still new provinces to
+explore&mdash;walking upon the old paths, guided by the old landmarks, but
+gathering new flowers by the way.</p>
+
+<p>We must now, then, turn our attention to the mechanical processes by
+which the stained-glass window is finished off.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 133 --><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+<h2><a name="chptr10" id="chptr10">CHAPTER X</a></h2>
+
+<p class="blockquot">Leading-Up and Fixing&mdash;Setting out the Bench&mdash;Relation of Leading
+to mode of Fixing in the Stone&mdash;Process of Fixing&mdash;Leading-Up
+Resumed&mdash;Straightening the Lead&mdash;The "Lathykin"&mdash;The
+Cutting-Knife&mdash;The Nails&mdash;The Stopping-Knife&mdash;Knocking Up.</p>
+
+
+<p>You first place your cut-line, face upward, upon the bench, and pin it
+down there. You next cut two "straight-edges" of wood, one to go along
+the base line of the section you mean to lead up, and the other along
+the side that lies next to you on the bench as you stand at work; for
+you always work <i>from one side</i>, as you will soon see. And it is
+important that you should get these straight-edges at a true right
+angle, testing them carefully with the set-square. Fig. 46 represents a
+bench set out for leading-up.</p>
+
+<p>You must now build the glass together, as a child puts together his
+puzzle-map, one bit at a time, working from the base corner that is
+opposite your left hand.</p>
+
+<p>But first of all you must place a strip of extra wide and flat lead
+close against <!-- Page 134 --><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>each of your straight-edges, so that the core of the lead
+corresponds with the outside line of your work.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig46.jpg" width="400" height="441" alt="FIG. 46." title="" />
+<span class="smcap"><b>Fig. 46.</b></span>
+</div>
+
+<p>It will be right here to explain what relation the extreme outside
+measurement of your work should bear to the daylight sizes of the
+openings that it has to fill. <!-- Page 135 --><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span>I think we may say that, whatever the "mouldings" may be on the stone,
+there is always a flat piece at exact right angles to the face of the
+wall in which the window stands, and it is in this flat piece that the
+groove is cut to receive the glass (fig. 47).</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig47.jpg" width="400" height="245" alt="FIG. 47." title="" />
+<span class="smcap"><b>Fig. 47.</b></span>
+</div>
+
+<p>Now, as the glazed light has to <i>fill</i> the daylight opening, there must
+obviously be a piece beyond the "daylight" size to go into the stone. By
+slipping the glazed light in <i>sideways</i>, and even, in large lights, by
+<i>bending</i> it slightly into a bow, you can just get into the stone a
+light an inch, or nearly so, wider than the opening; but the best way is
+to use an extra wide lead on the outside of your light, and bend back
+the outside leaf of it both front and back so that they stand at right
+angles <!-- Page 136 --><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>to the surface of the glass (fig. 48). By this means you can
+reduce the size of the panel by almost 1/4 of an inch on each side; you
+can push the panel then, without either bending or slanting it much, up
+to its groove; and, putting one side as far as it will go <i>into</i> the
+groove, you can bend back again into their former place the two leaves
+of the lead on the opposite side; and when you have done that slide
+<i>them</i> as far as they will go into <i>their</i> groove, and do the same by
+the opposite pair. You will then have the panel in its groove, with
+about 1/4 of an inch to hold by and 1/4 of an inch of lead showing. Some
+people fancy an objection to this; perhaps in very small windows it
+might look better to have the glass "flush" with the stone; but for
+myself I like to see a little <i>showing</i> of that outside lead, on to
+which so many of the leads that cross the glass are fastened. Anyway you
+must bear the circumstance in mind in fixing down your straight-edges to
+start glazing the work; and that is why I have made this digression by
+<!-- Page 137 --><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+mentioning now something that properly belongs to fixing.</p>
+
+<div class="figcenter" style="width: 116px;">
+<img src="images/fig48.jpg" width="116" height="198" alt="FIG. 48." title="" />
+<span class="smcap"><b>Fig. 48.</b></span>
+</div>
+
+<p>Now before beginning to glaze you must stretch and straighten the lead;
+and this is done as follows (fig. 49&mdash;<i><a name="front" id="front"></a><a href="#front2">Frontispiece</a></i>).</p>
+
+<p>Hold the "calm" of lead in your left hand, and run the finger and thumb
+of your right hand down the lead so as to get the core all one way and
+not at all twisted: then, holding one end firmly under your right foot,
+take tight hold of the other end with your pliers, and pull with nearly
+all your force in the direction of your right shoulder. Take care not to
+pull in the direction of your face; for if you do, and the lead breaks,
+you will break some of your features also. It is very important to be
+careful that the lead is truly straight and not askew, otherwise, when
+you use it in leading, the glass will never keep flat. The next
+operation is to open the lead with a piece of hard wood, such as boxwood
+or <i>lignum-vit&aelig;</i> (fig. 50), made to your fancy for the purpose, but
+something like the diagram, which glaziers call a "lathykin" (as I
+understand it). For cutting the lead you must have a thin knife of good
+
+steel. Some use an old dinner-knife, some a palette-knife cut
+down&mdash;either square across the blade or at an angle&mdash;it is a matter of
+taste (fig. 51).</p>
+<p>
+<!-- Page 138 --><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
+<div class="figcenter" style="width: 124px;">
+<img src="images/fig50.jpg" width="124" height="397" alt="FIG. 50." title="" />
+<span class="smcap"><b>Fig. 50.</b></span>
+</div>
+
+<div class="figcenter" style="width: 127px;">
+<img src="images/fig51.jpg" width="127" height="399" alt="FIG. 51." title="" />
+<span class="smcap"><b>Fig. 51.</b></span>
+</div>
+
+<p><!-- Page 139 --><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span>Having laid down your leads A and B (fig. 52), put in the corner piece
+of glass (No. 1); two of its sides will then be covered, leaving one
+uncovered. Take a strip of lead and bend it round the uncovered edge,
+and cut it off at D, so that the end fits close and true against the
+<i>core</i> of lead A. And you must take notice to cut with a perfectly
+<i>vertical</i> cut, otherwise one side will fit close and the other will
+leave a gap.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig52.jpg" width="400" height="239" alt="FIG. 52." title="" />
+<span class="smcap"><b>Fig. 52.</b></span>
+</div>
+
+<p>In fig. 53 A represents a good joint, B a bad one. Bend it round and cut
+it <!-- Page 140 --><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span>off similarly at E. Common sense will tell you that you must get the
+angle correct by marking it with a slight incision of the knife in its
+place before you take it on to the bench for the final cut.</p>
+
+<p>Slip it in, and push it in nice and tight, and put in piece No. 2.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig53.jpg" width="400" height="118" alt="FIG. 53. A B" title="" />
+<span class="smcap"><b>Fig. 53.</b></span>
+</div>
+
+<p>But now look at your cut-line. Do you see that the inner edges of pieces
+2, 3, and 4 all run in a fairly smooth curve, along which a <i>continuous</i>
+piece of lead will bend quite easily? Leave, then, that edge, and put
+in, first, the leads which divide No. 2 from No. 3, and No. 3 from No.
+4. Now don't forget! the long lead has to come along the inside edges of
+all three; so the leaf of it will overlap those three edges nearly 1/8
+of an inch (supposing you are using lead of 1/4 inch dimension). You
+must therefore cut the two little bits we are now busy upon <i>1/8 of an
+inch short of the top edge of the glass</i> (fig. 54), for the inside leads
+only <i>meet</i> each other; it is only the <i>outside</i> lead that overlaps.
+</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig54.jpg" width="400" height="200" alt="FIG. 54." title="" />
+<span class="smcap"><b>Fig. 54.</b></span>
+</div>
+
+<p><i>How the Loose Glass is held in its place while Leading.</i>&mdash;This is done
+with<!-- Page 141 --><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> nails driven into the glazing table, close up against the edge of
+the lead; and the best of all for the purpose are bootmakers' "lasting
+nails"; therefore no more need be said about the matter; "use no other"
+(fig. 55).</p>
+
+<div class="figcenter" style="width: 52px;">
+<img src="images/fig55.jpg" width="52" height="197" alt="FIG. 55." title="" />
+<span class="smcap"><b>Fig. 55.</b></span>
+</div>
+
+<p>And you tap them in with two or three sharp taps; not of a hammer, for
+you do not want to waste time taking up a fresh tool, but with the end
+of your leading-knife which is called a "stopping-knife" (fig. 56), and
+which lead workers generally make for themselves out of an oyster-knife,
+by bending the blade to a convenient working angle for manipulating the
+lead, and graving out lines in the lower part <!-- Page 142 --><span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>of the handle, into which
+they run solder, terminating it in a solid lump at the butt-end which
+forms an excellent substitute for a hammer.</p>
+
+<div class="figcenter" style="width: 252px;">
+<img src="images/fig56.jpg" width="252" height="399" alt="FIG. 56." title="" />
+<span class="smcap"><b>Fig. 56.</b></span>
+</div>
+
+<p><!-- Page 143 --><span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>Now as soon as you have got the bits 1, 2, 3, 4 in their places, with
+the leads F, G and H, I between them, you can take out the nails along
+the line K, F, H, M, one by one as you come to them, starting from K;
+and put along that line one lead enclosing the whole lot, replacing the
+nails outside it to keep all firm as you work; and you must note that
+you should look out for opportunities to do this always, whenever there
+is a long line of the cut-line without any abrupt corners in it. You
+will thus save yourself the cutting (and afterwards the soldering) of
+unnecessary joints; for it is always good to save labour where you can
+without harm to the work; and in this case the work is all the better
+for it.</p>
+
+<p>Now, when you have thus continued the leading all the way across the
+panel, put on the other outside lead, and so work on to a finish.</p>
+
+<p>When the opposite, outside lead is put on, remove the nails and take
+another straight-edge and put it against the lead, <!-- Page 144 --><span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span>and "knock it up" by
+hitting the straight-edge until you get it to the exact size; at the
+same time taking your set-square and testing the corners to see that all
+is at right angles.</p>
+
+<p>Leave now the panel in its place, with the straight-edges still
+enclosing it, and solder off the joints.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr11" id="chptr11">CHAPTER XI</a></h2>
+
+<p class="blockquot">Soldering&mdash;Handling the Leaded Panel&mdash;Cementing&mdash;Recipe for
+Cement&mdash;The Brush&mdash;Division of Long Lights into Sections&mdash;How
+Joined when Fixed&mdash;Banding&mdash;Fixing&mdash;Chipping out the Old
+Glazing&mdash;Inserting the New and Cementing.</p>
+
+
+<p>If the leads have got <i>tarnished</i> you may brush them over with the wire
+brush (fig. 57), which glaziers call a "scratch-card"; but this is a
+wretched business and need never be resorted to if you work with good
+lead and work "fresh and fresh," and finish as you go, not letting the
+work lie about and get stale. Take an old-fashioned tallow "dip" candle,
+and put a little patch of the grease over each joint, either by rubbing
+the candle itself on it, or by <!-- Page 145 --><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span>melting some of it in a saucepan and
+applying it with a brush. Then take your soldering-iron (fig. 58) and
+get it to the proper heat, which you must learn by practice, and proceed
+to "tin" it by rubbing it on a sheet of tin with a little solder on it,
+and also some resin and a little glass-dust, until the "bit" (which is
+of copper) has a bright tin face. Then, holding the stick of solder in
+the left hand, put the end of it down close to the joint you wish to
+solder, and put the end of the iron against it, "biting off" as it were,
+but really <i>melting</i> off, a little bit, which will form a liquid drop
+upon the joint. Spread this drop so as to seal up the joint nice and
+smooth and even, and the thing is done. Repeat with all the joints; then
+turn the panel over and do the opposite side.
+</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/fig57.jpg" width="400" height="206" alt="FIG. 57." title="" />
+<span class="smcap"><b>Fig. 57.</b></span>
+</div>
+
+<div class="figcenter" style="width: 97px;">
+<img src="images/fig58.jpg" width="97" height="396" alt="FIG. 58." title="" />
+<span class="smcap"><b>Fig. 58.</b></span>
+</div>
+
+<p><!-- Page 146 --><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span><i>How to Handle Leaded Lights.</i>&mdash;I said "turn the panel over." But that
+brings to mind a caution that you need about the handling of leaded
+lights. You must not&mdash;as I once saw a man do&mdash;start to hold them as a
+waiter does a tray. You must note that thin glass in the sheet and also
+leaded lights, especially before cementing, are not rigid, and cannot be
+handled as if they were panels of wood; you must take care, when
+carrying them, or when they lean against the wall, to keep them as
+nearly upright as they will safely stand, and the inside one leaning
+against a board, and not bearing its own weight. And in laying them on
+the bench or in lifting them off it, you must first place them so that
+the middle line of <!-- Page 147 --><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span>them corresponds with the edge of the bench, or
+table, and then turn them on that as an axis, quickly, so that they do
+not bear their own weight longer than necessary (figs. 59 and 60).</p>
+
+<p><i>How to Cement a Leaded Light.</i>&mdash;The next process is the cementing of
+the light so as to fill up the grooves of the lead and make all
+weather-proof. This is done with a mixture composed as
+follows:&mdash;Whitening, 2/3 to plaster of Paris 1/3; add a mixture of equal
+quantities of boiled linseed-oil and spirit of turpentine to make a
+paste about as thick as treacle. Add a little red lead to help to harden
+it, some patent dryer to cause it to dry, and lamp-black to colour.</p>
+
+<p>This must be put in plenty on to the surface of the panel and well
+scrubbed into the joints with a hard fibre brush; an ordinary coarse
+"grass brush" or "bass brush," with wooden back, as sold for scrubbing
+brushes at the oil shops, used in all directions so as to rub the stuff
+into every joint.</p>
+
+<p>But you must note that if you have "plated" (<i>i.e.</i> doubled) any of the
+glass you must, before cementing, <i>putty</i> those places. Otherwise the
+cement may probably <!-- Page 148 --><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span>run in between the two, producing blotches which you
+have no means of reaching in order to remove them.</p>
+
+<div class="figcenter" style="width: 361px;">
+<img src="images/fig59.jpg" width="361" height="399" alt="FIG. 59." title="" />
+<span class="smcap"><b>Fig. 59.</b></span>
+</div>
+
+<p>You can, if you like, clean away all the cement along the edges of the
+leads; but it is quite easy to be too precise and neat <!-- Page 149 --><span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>in the matter and
+make the work look hard. If you do it, a blunted awl will serve your
+turn.</p>
+
+<div class="figcenter" style="width: 257px;">
+<img src="images/fig60.jpg" width="257" height="399" alt="FIG. 60." title="" />
+<span class="smcap"><b>Fig. 60.</b></span>
+</div>
+
+<p>One had better mention everything, and therefore I will here say that,
+<!-- Page 150 --><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+of course, a large light must be made in sections; and these should not
+exceed four feet in height, and less is better. In fixing these in their
+place when the window is put up (an extra wide flat lead being used at
+the top and bottom of each section), they are made to overlap; and if
+you wish the whole drainage of the window to pass into the building, of
+course you will put your section thus&mdash;(fig. 61 A); while if you wish
+the work to be weather-tight you will place it thus&mdash;(fig. 61 B). It is
+just as well to make every question clear if one can, and therefore I
+mention this. Most people like their windows weather-tight, and, of
+course, will make the overlapping lead the top one; but it's a free
+country, and I don't pretend to dictate, content if I make the situation
+clear to you, leaving you to deal with it according to your own fancy.
+All is now done except the banding.
+</p>
+
+<div class="figcenter" style="width: 337px;">
+<img src="images/fig61.jpg" width="337" height="399" alt="FIG. 61 A." title="" />
+<span class="smcap"><b>Fig. 61</b></span> <span class="smcap ws"><b>a.  Fig.</b></span> <span class="smcap"><b>61 b.</b></span>
+</div>
+
+<p><!-- Page 151 --><span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span><i>How to Band a Leaded Light.</i>&mdash;Banding means the putting on of the
+little ties of copper wire by which the window has to be held to the
+iron crossbars that keep it in its place. These ties are simply short
+lengths of copper wire, generally about four inches long, but varying,
+of course, with the size of the bar that you mean to use; and these are
+to be soldered vertically (fig. 62) on to the face of the light at any
+convenient places along the line where the bar will cross. In fixing the
+window, these wires are to be pulled tight round the bar and twisted up
+with pliers, and the twisted end knocked down flat and neat against the
+bar.</p>
+
+<p>And this is the very last operation in the making of a stained-glass
+window. It now only remains to instruct you as to what relates to the
+fixing of it in its place.</p>
+
+<p><i>How to Fix a Window in its Place.</i>&mdash;There is, almost always, a groove
+in the stonework to receive the glass; and, except in the case of an
+unfinished building, this is, of course, occupied by some form of plain
+glazing. You must remove this by chipping out with a small mason's
+chisel the cement with which it is fixed in the groove, and common sense
+<!-- Page 152 --><span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span>
+will tell you to begin at the bottom and work upwards. This done,
+untwist the copper bands from the bars and put your own glass in its
+place, re-fixing the bars (or new ones) in the places you have
+determined on to suit your design and to support the glass, and fixing
+your glass to them in the way described, and pointing the whole with
+good cement. The method of inserting the new glass is described at <a href="#Page_135">p.
+135</a>.</p>
+
+<div class="figcenter" style="width: 203px;">
+<img src="images/fig62.jpg" width="203" height="398" alt="FIG. 62." title="" />
+<span class="smcap"><b>Fig. 62.</b></span>
+</div>
+
+<p>But that it is good for a man to feel the satisfaction of knowing his
+craft thoroughly there would be no need to go into this, which, after
+all, is partly masons' work. But I, for my part, cannot understand the
+spirit of an artist who applies his art to a craft purpose and has not,
+at least, a strong <i>wish</i> to know all that pertains to it.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 153 --><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span></p>
+<h2><a name="prt02" id="prt02"></a>PART II</h2>
+
+<p><!-- Page 154 --><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
+<h2><a name="chptr12" id="chptr12">CHAPTER XII</a></h2>
+
+<p class="blockquot">Introductory&mdash;The Great Questions&mdash;Colour&mdash;Light&mdash;Architectural
+Fitness&mdash;Limitations&mdash;Thought&mdash;Imagination&mdash;Allegory.</p>
+
+
+<p>The foregoing has been written as a handbook to use at the bench, and
+therefore I have tried to keep myself strictly to describing the actual
+processes and the ordinary practice and routine of stained-glass work.</p>
+
+<p>But can we leave the subject here?</p>
+
+<p>If we were speaking of even the smallest of the minor arts and crafts,
+we should wish to say something of why they are practised and how they
+should be practised, of the principles that guide them, of the spirit in
+which they should be undertaken, of the place they occupy in human
+affairs <!-- Page 155 --><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span>and in our life on earth. How much more then in an Art like
+this, which soars to the highest themes, which dares to treat, which is
+required to treat, of things Heavenly and Earthly, of the laws of God,
+and of the nature, duty, and destinies of man; and not only so, but must
+treat of these things in connection with, and in subservience to, the
+great and dominant Art of Architecture?</p>
+
+<p>We must not shrink, then, from saying all that is in our mind: we must
+ask ourselves the great questions of all art. We must investigate the
+How of them, and even face the Why.</p>
+
+<p>Therefore here (however hard it be to do it) something must be said of
+such great general principles as those of colour, of light, of
+architectural fitness, of limitations, of thought and imagination and
+allegory; for all these things belong to stained-glass work, and it is
+the right or wrong use of these high things that makes windows to be
+good or to be bad.</p>
+
+<p>Let us, dear student, take the simplest things first, not because they
+are the easiest (though they perhaps are so), but because they will
+
+gradually, I hope, warm up our wits to the point of considering <!-- Page 156 --><span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span>these
+matters, and so prepare the way for what is hardest of all.</p>
+
+<p>And I think a good subject to begin with is that of Economy generally,
+taking into consideration both time and materials.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr13" id="chptr13">CHAPTER XIII</a></h2>
+
+<p class="blockquot">Of Economy&mdash;The Englishman's Wastefulness&mdash;Its Good Side&mdash;Its
+Excess&mdash;Difficulties&mdash;A Calculation&mdash;Remedies.</p>
+
+
+<p>Those who know work in various countries must surely have arrived at the
+conclusion that the Englishman is the most wasteful being on the face of
+the globe! He only thinks of getting through the work, or whatever it
+may be, that he has purposed to himself, attaining the end immediately
+in view in the speediest manner possible without regard to anything
+else, lavish of himself and of the stuff he works with. The picture
+drawn by Robert Louis Stevenson in "Treasure Island" of John Silver and
+his pirates, when about to start on their expedition, throwing the
+remainder of their breakfast on the bivouac fire, careless whence fresh
+supplies might come, is <!-- Page 157 --><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span>"English all over." This is the character of the
+race. It has its good side, this grand disdain&mdash;it wins Battles,
+Victoria Crosses, Humane Society's medals, and other things well worth
+the winning; brings into port many a ship that would else be lost or
+abandoned, and, year in, year out, sends to sea the lifeboats on our
+restless line of coast. It would be something precious indeed that would
+be worth the loss of it; but there is a medium in all things, and when a
+master sees&mdash;as one now at rest once told me he often had seen&mdash;a cutter
+draw his diamond down a bit of the margin out of which he had just cut
+his piece, in order to make it small enough to throw away, without being
+ashamed, under the bench, he must sometimes, I should think, wish the
+man were employed on some warlike or adventurous trade, and that he had
+a Hollander or Italian in his place, who would make a whole window out
+of what the other casts away.</p>
+
+<p>At the same time, it must be confessed that this is a very difficult
+matter to arrange; and it is only fair to the workman to admit that
+under existing conditions of work and demand, and even in many cases of
+the buildings in which the work is done, <!-- Page 158 --><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span>the way does not seem clear to
+have the whole of what might be wished in this matter. I will point out
+the difficulties against it.</p>
+
+<p>First, unless some system could be invented by which the amount of glass
+issued to any workman could be compared easily and simply with the area
+of glazed work cut from it, the workman has no inducement to economise;
+for, no record being kept of the glass saved, he knows that he will get
+no credit by saving, while the extra time that he spends on economy will
+make him seem a slower workman, and so he would be blamed.</p>
+
+<p>Then, again, it is impossible to see the colour of glass as it lies on
+the bench; he has little choice but to cut each piece out of the large
+sheet; for if he got a clutter of small bits round him till he happened
+to want a small bit, he would never be able to get on.</p>
+
+<p>There is no use, observe, in niggling and cheese-paring. There should be
+a just balance made between the respective values of the man's time and
+the material on which it is spent; and to this end I now give some
+calculations to show these&mdash;calculations rather startling, <!-- Page 159 --><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span>considered in
+the light of what one knows of the ordinary practices and methods.</p>
+
+<p>The antique glasses used in stained-glass work vary in price from 1s. a
+foot to 5s., the weight per foot being about 32 oz.</p>
+
+<p>The wage of the workmen who have to deal with this costly material
+varies from 8d. to 1s. per hour.</p>
+
+<p>The price of the same glass thrown under the bench, and known as
+"cullet," is £1 per TON.</p>
+
+<p>Let us now do a little simple arithmetic, which, besides its lesson to
+the workers, may, I think, come as a revelation even to some employers
+who, content with getting work done quickly, may have hardly realised
+the price paid for that privilege.</p>
+
+
+<table summary="Number of square feet in a ton" cellpadding="1" cellspacing="1">
+
+<tr><td class="tdr">1 ton = 20</td><td>cwt.</td></tr>
+<tr><td class="tdr">      x &nbsp; &nbsp;<span class="u"> 4</span></td><td></td></tr>
+
+<tr><td class="tdr">        80</td><td>qrs.</td></tr>
+<tr><td class="tdr">      x &nbsp;       <span class="u"> 28</span></td><td></td></tr>
+
+<tr><td class="tdr">       640</td><td></td></tr>
+<tr><td class="tdr">  32 oz. = 2 lb.,          <span class="u" style="padding-left: 5em; padding-right: .5em;">160</span></td><td></td></tr>
+
+<tr><td class="tdr">  therefore ÷  2) <span class="u">2240</span></td><td> lbs.</td></tr>
+
+<tr><td class="tdr">      1120</td><td> = number of square feet in a ton.</td></tr>
+
+<tr><td colspan="2"><!-- Page 160 --><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span>The worth of this at 1s. a foot (whites) is:&mdash;</td></tr>
+
+
+<tr><td class="tdr">÷ 20) 1120</td><td> ( £56 <span class="smcap">per ton</span>.</td></tr>
+<tr><td class="tdr" style="padding-right: .5em;">       <span class="u">100</span></td><td></td></tr>
+
+<tr><td class="tdr">        120</td><td></td></tr>
+<tr><td class="tdr">        120</td><td></td></tr>
+
+<tr><td colspan="2">At 2s. 6d. per foot (the best of pot-metal blues, and rubies
+generally):&mdash;</td></tr>
+
+
+<tr><td class="tdr">         56</td><td></td></tr>
+<tr><td class="tdr">         56</td><td></td></tr>
+<tr><td class="tdr">         <span class="u">28</span></td><td></td></tr>
+
+<tr><td class="tdr"> 2-1/2 times 56 = 140</td><td style="padding-left: 3em;">£140 <span class="smcap">per ton</span>.</td></tr>
+
+
+<tr><td colspan="2">At 5s. a foot (gold-pink, and pale pink, venetian, and choice glasses
+generally):&mdash;</td></tr>
+
+<tr><td class="tdr">        56</td><td></td></tr>
+<tr><td class="tdr">      x &nbsp; &nbsp; <span class="u">5</span></td><td></td></tr>
+<tr><td class="tdr">    £280</td><td><span class="smcap">per ton</span>.</td><td></td></tr>
+</table>
+
+<p>Therefore these glasses are worth respectively&mdash;56 times, 140 times, and
+280 times as much upon the bench as they are when thrown below it! And
+yet I ask you&mdash;employer or employed&mdash;is it not the case that,
+often&mdash;shall we not say "generally"?&mdash;in any given job as much goes
+below as remains above if the work is in fairly small pieces? Is not the
+accompanying diagram a fair illustration (fig. 63) of about the average
+relation of the shape cut to its margin of waste?</p>
+
+<div class="figcenter" style="width: 312px;">
+<img src="images/fig63.jpg" width="312" height="399" alt="FIG. 63." title="" />
+<span class="smcap"><b>Fig. 63.</b></span>
+</div>
+
+<p><!-- Page 161 --><span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span>Employers estimate this waste variously. I have heard it placed as high
+as two-thirds; that is to say, that the glass, when leaded up, only
+measured one-third of the material used, or, in other words, that the
+workman had wasted twice as much as he used. This, I admit, was told me
+in my character as <i>customer</i>, and by way of explaining what I
+considered a high charge for work; but I suppose that no one with
+experience of stained-glass work would be <!-- Page 162 --><span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span>disposed to place the amount
+of waste lower than one-half.</p>
+
+<p>Now a good cutter will take between two and three hours to cut a square
+foot of average stained-glass work, fairly simple and large in scale;
+that is to say, supposing his pay one shilling an hour&mdash;which is about
+the top price&mdash;the material he deals with is about the same value as his
+time if he is using the cheapest glasses only. If this then is the case
+when the highest-priced labour is dealing only with the lowest-priced
+material, we may assume it as the general rule for stained-glass
+cutting, <i>on the average,</i> that "<i>labour is less costly than the
+material on which it is spent</i>," and I would even say much less costly.</p>
+
+<p>But it is not to be supposed that the little more care in avoiding waste
+which I am advocating would reduce his speed of work more than would be
+represented by twopence or threepence an hour.</p>
+
+<p>But I fear that all suggestions as to mitigating this state of things
+are of little use. The remedy is to play into each other's hands by
+becoming, all of us, complete, all-round craftsmen; breaking down all
+the unnatural and harmful barriers that exist between "artists" and
+<!-- Page 163 --><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span>"workmen," and so fitting ourselves to take an intelligent interest in
+both the artistic and economic side of our work.</p>
+
+<p>The possibility of this all depends on the personal relations and
+personal influence in any particular shop&mdash;and employers and employed
+must worry the question out between them. I am content with pointing out
+the facts.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr14" id="chptr14">CHAPTER XIV</a></h2>
+
+<p class="blockquot">Of Perfection&mdash;In Little Things&mdash;Cleanliness&mdash;Alertness&mdash;But not
+Hurry&mdash;Realising your Conditions-False lead lines&mdash;Shutting out
+Light&mdash;Bars&mdash;Their Number&mdash;Their Importance&mdash;Precedence&mdash;Observing
+your Limitations&mdash;A Result of Complete Training&mdash;The Special
+Limitations of Stained-Glass&mdash;Disguising the lead line&mdash;No full
+Realism&mdash;No violent Action&mdash;Self-Effacement&mdash;No
+Craft-Jugglery&mdash;Architectural Fitness founded on Architectural
+Knowledge&mdash;Seeing Work <i>in Situ</i>&mdash;Sketching in Glass&mdash;The Artistic
+Use of the Lead&mdash;Stepping Back&mdash;Accepting Bars and Leads&mdash;Loving
+Care&mdash;White Spaces to be Interesting&mdash;Bringing out the "Quality" of
+the Glass&mdash;Spotting and Dappling&mdash;"Builders-Glazing" <i>versus</i>
+Modern Restoring.</p>
+
+<p>The second question of principle that I would dwell upon is that of
+<i>perfection</i>.
+</p>
+
+<p><!-- Page 164 --><span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span>Every operation in the arts should be perfect. It has to be so in most
+arts, from violin-playing to circus-riding, before the artist dare make
+his bow to the public.</p>
+
+<p>Placing on one side the question of the higher grades of art which
+depend upon special talent or genius&mdash;the great qualities of
+imagination, composition, form and colour, which belong to mastership&mdash;I
+would now, in this book, intended for students, dwell upon those minor
+things, the doing of which well or ill depends only upon good-will,
+patience, and industry.</p>
+
+<p>Anyone can wash a brush clean; any one can keep the colour on his
+palette neat; can grind it all up each time it is used; can cover it
+over with a basin or saucer when his work is over; and yet these things
+are often neglected, though so easy to do. The painter will <i>neglect</i> to
+wash out his brush; and it will be clogged with pigment and gum, get
+dry, and stick to the palette, and the points of the hair will tear and
+break when it is removed again by the same careless hand that left it
+there.</p>
+
+<p>Another will leave portions of his <!-- Page 165 --><span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span>colour, caked and dry, at the edges
+of his palette for weeks, till all is stale; and then, when the spirit
+moves him, will some day work this in, full of dirt and dust, with the
+fresher colour. Everything, everything should be done well! From the
+highest forms of painting to tying up a parcel or washing out a
+brush;&mdash;all tools should be clean at all times, the handles as well as
+the hair&mdash;there is <i>no excuse</i> for the reverse; and if your tools are
+dirty, it is by the same defect of your character that will make you
+slovenly in your work. Painting does not demand the same actual
+<i>swiftness</i> as some other arts; nevertheless each touch that you place
+upon the glass, though it may be deliberate, should be deft, athletic,
+perfect in itself; the nerves braced, the attention keen, and the powers
+of soul and body as much on the alert as they would need to be in
+violin-playing, fencing, or dissecting.</p>
+
+<p>This is not to advocate <i>hurry</i>. That is another matter altogether, for
+which also there is no excuse. Never hurry, or ask an assistant to
+hurry. Windows are delayed, even promises broken (though that can scarce
+be defended), there may be "ire in celestial minds"; but that is all
+forgotten <!-- Page 166 --><span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span>when we are dead; and we soon shall be, but not the window.</p>
+
+<p>Another thing to note, which applies generally throughout all practice,
+is the wisdom, of getting as near as you can to your conditions. For
+instance, the bits of glass in a window are separated by lead lines;
+pitch-black, therefore, against the light of day outside. Now, when
+waxed up on the plate in the shop for painting, these will be separated
+by thin cracks of light, and in this condition they are usually painted.
+Can't you do better than that? Don't you think it's worth while spending
+half-an-hour to paint false lead lines on the back of the plate? A
+ha'p'orth of lamp-black from the oil-shop, with a little water and
+treacle and a long-haired brush, like a coach-painter's, will do it for
+you (see Plate <a href="#xiii">XIII.</a>).</p>
+
+<p>Another thing: when the window is in its place, each <i>light</i> will be
+surrounded with stone or brick, which, although not so black as the
+lead lines, will tell as a strong dark against the glass. See therefore
+that while you are painting, your glass is surrounded by dark, or at any
+rate not by clear, glittering light. Strips of brown paper, pinned down
+the sides of the <!-- Page 167 --><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span>light you are painting, will get the thing quite near
+to its future conditions.</p>
+
+<p>As you have been told, the work is fixed in its place by bars of iron,
+and these ought by no means to be despised or ignored or disguised, as
+if they were a troublesome necessity: you must accept fully and
+willingly the conditions of your craft; you must pride yourself upon so
+accepting them, knowing that they are the wholesome checks upon your
+liberty and the proper boundaries of the field in which you have your
+appointed work. There should, in any light more than a foot wide, be
+bars at every foot throughout the length of the light; and these bars
+should be 1/2 inch, 3/4 inch, or 1 inch in section, according to the
+weight of the work. The question then arises: Should the bars be set out
+in their places on the paper, before you begin to draw the cartoon, or
+should you be perfectly free and unfettered in the drawing and then
+<i>make</i> the bars fit in afterwards, by moving them up and down as may be
+needed to avoid cutting across the faces, hands, &amp;c.</p>
+
+<p>I find more difficulty in answering this than any other <i>technical</i>
+question in this book. I do not think it can be answered <!-- Page 168 --><span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span>with a hard and
+fast "Yes" or "No." It depends on the circumstances of the case. But I
+incline towards the side of making it the rule to put the bars in first,
+and adapt the composition to them. You may think this a surprising view
+for an artist to take. "Surely," you will say, "that is putting the cart
+before the horse, and making the more important thing give way to the
+less!" But my feeling is that reasonable limitations of any kind ought
+never to be considered as hindrances in a work of art. They are part of
+the problem, and it is only a spirit of dangerous license which will
+consider them as bonds, or will find them irksome, or wish to break them
+through. Stained-glass is not an independent art. It is an accessory to
+architecture, and any limitations imposed by structure and architectural
+propriety or necessity are most gravely to be considered and not lightly
+laid on one side. And in this connection it must be remembered that the
+bars cannot be made to go <i>anywhere</i> to fit a freely designed
+composition: they must be approximately at certain distances on account
+of use; and they must be arranged with regard to each other in <!-- Page 169 --><span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span>the whole
+of the window on account of appearance.</p>
+
+<p>You might indeed find that, in any single light, it is quite easy to
+arrange them at proper and serviceable distances, without cutting across
+the heads or hands of the figures; but it is ten chances to one that you
+can get them to do so, and still be level with each other, throughout a
+number of lights side by side.</p>
+
+<p>The best plan, I think, is to set them out on the side of the
+cartoon-paper before you begin, but not so as to notice them; then first
+roughly strike out the position your most important groups or figures
+are to occupy, and, before you go on with the serious work of drawing,
+see if the bars cut awkwardly, and, if they do, whether a slight
+shifting of them will clear all the important parts; it often will, and
+then all is well; but I do not shrink from slightly altering even the
+position of a head or hand, rather than give a laboured look to what
+ought to be simple and straightforward by "coaxing" the bars up and down
+all over the window to fit in with the numerous heads and hands.</p>
+
+<p>If, by the way, I see fit in any case to <!-- Page 170 --><span class='pagenum'><a name="Page_170" id="Page_170">[Pg xx]</a></span>adopt the other plan, and make
+my composition first, placing the bars afterwards to suit it, I never
+allow myself to shift them from the level that is convenient and
+reasonable for anything <i>except</i> a head; I prefer even that they should
+cut across a hand, for instance, rather than that they should be placed
+at inconvenient intervals to avoid it.</p>
+
+<p>The principle of observing your limitations is, I do not hesitate to
+say, the most important, and far the most important, of all principles
+guiding the worker in the right practising of any craft.</p>
+
+<p>The next in importance to it is the right exercise of all legitimate
+freedom <i>within</i> those limitations. I place them in this order, because
+it is better to stop short, by nine-tenths, of right liberty, than to
+take one-tenth of wrong license. But by rights the two things should go
+together, and, with the requisite skill and training to use them,
+constitute indeed the whole of the practice of a craft.</p>
+
+<p>Modern division of labour is much against both of these things, the
+observance of which charms us so in the ancient Gothic Art of the Middle
+Ages.</p>
+
+<p>For, since those days, the craft has<!-- Page 171 --><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span> never been taught as a whole.
+Reader! this book cannot teach it you&mdash;no book, can; but it can make
+you&mdash;and it was written with the sole object of making you&mdash;<i>wish</i> to be
+taught it, and determine to be taught it, if you intend to practise
+stained-glass work at all.</p>
+
+<p>Modern stained-glass work is done by numerous hands, each trained in a
+special skill&mdash;to design, or to paint, or to cut, or to glaze, or to
+fire, or to cement&mdash;but none are taught to do all; very few are taught
+to do more than one or two. How, then, can any either use rightful
+liberty or observe rightful limitations? They do not know their craft,
+upon which these things depend. And observe how completely also these
+two things depend upon each other. You may be rightly free, <i>because</i>
+you have rightly learnt obedience; you know your limitations, and,
+<i>therefore</i>, you may be trusted to think, and feel, and act for
+yourself.</p>
+
+<p>This is what makes old glass, and indeed all old art, so full of life,
+so full of interest, so full of enjoyment&mdash;in places, and right places,
+so full even of "fun." Do you think the charming grotesques that fill up
+every nook and <!-- Page 172 --><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span>corner sometimes in the minor detail of medi&aelig;val glass or
+carving could ever be done by the method of a "superior person" making a
+drawing of them, and an inferior person laboriously translating them in
+<i>facsimile</i> into the material? They are what they are because they were the spontaneous and
+allowed license and play of a craftsman who knew his craft, and could be
+trusted to use it wisely, at any rate in all minor matters.</p>
+
+
+<p class="center">THE LIMITATIONS OF STAINED-GLASS.</p>
+
+<p>The limitations of stained-glass can only be learnt at the bench, and by
+years of patient practice and docile service; but it may be well to
+mention some of them.</p>
+
+<p><i>You must not disguise your lead line.</i> You must accept it willingly, as
+a limitation of your craft, and make it contribute to the beauty of the
+whole.</p>
+
+<p>"But I have a light to do of the 'Good Shepherd,' and I want a landscape
+and sky, and how ugly lead lines look in a pale-blue sky! I get them
+like shapes of cloud, and still it cuts the sky up till it looks like
+'random-rubble' masonry." Therefore large spaces of pale sky are
+"taboo," they will no<!-- Page 173 --><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span>t do for glass, and you must modify your whole
+outlook, your whole composition, to suit what <i>will</i> do. If you must
+have sky, it must be like a Titian sky&mdash;deep blue, with well-defined
+masses of cloud&mdash;and you must throw to the winds resolutely all idea of
+attempting to imitate the softness of an English sky; and even then it
+must not be in a large mass: you can always break it up with
+branched-work of trees, or with buildings.</p>
+
+<p><i>There should be no full realism of any kind.</i></p>
+
+<p><i>No violent action must assert itself in a window.</i></p>
+
+<p>I do not say that there must not, in any circumstances, be any violent
+action&mdash;the subject may demand it; but, if so, it must be so disguised
+by the craftsmanship of the work, or treated so decoratively, or so
+mixed up with the background or surroundings, that you do not see a
+figure in violent action starting prominently out from the window as you
+stand in the church. But, after all, this is a thing of artistic sense
+and discretion, and no rules can be formulated. The Parthenon frieze is
+of figures in rapid movement. Yet what repose! And in stained-glass <!-- Page 174 --><span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span>you
+must aim at repose. Remember,&mdash;it is an accessory to architecture; and
+who is there that does not want repose in architecture? Name me a great
+building which does not possess it? How the architects must turn in
+their graves, or, if living, shake in their shoes, when they see the
+stained-glass man turned into their buildings, to display himself and
+spread himself abroad and blow his trumpet!</p>
+
+<p>Efface yourself, my friend; sink yourself; illustrate the building;
+consider its lines and lights and shades; enrich it, complete it, make
+people happier to be in it.</p>
+
+<p><i>There must be no craft-jugglery in stained-glass.</i></p>
+
+<p>The art must set the craft simple problems; it must not set tasks that
+can only be accomplished by trickery or by great effort, disproportioned
+to the importance of the result. But, indeed, you will naturally get the
+habit of working according to this rule, and other reasonable rules, if
+you yourself work at the bench&mdash;all lies in that.</p>
+
+<p><i>There must be nothing out of harmony with the architecture.</i></p>
+
+<p>And, therefore, you must know something <!-- Page 175 --><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 1765]</a></span>of architecture, not in order to
+imitate the work of the past and try to get your own mistaken for it,
+but to learn the love and reverence and joy of heart of the old
+builders, so that your spirit may harmonise with theirs.</p>
+
+<p><i>Do not shrink from the trouble and expense of seeing the work</i> in situ,
+<i>and then, if necessary, removing it for correction and amendment.</i></p>
+
+<p>If you have a large window, or a series of windows, to do, it is often
+not a very great matter to take a portion of one light at least down and
+try it in its place. I have done it very often, and I can assure you it
+is well worth while.</p>
+
+
+<p class="center">OF MAKING A SKETCH IN GLASS.</p>
+
+<p>But there is another thing that may help you in this matter, and that is
+to sketch out the colour of your window in small pieces of glass&mdash;in
+fact, to make a scale-sketch of it in glass. A scale of one inch to a
+foot will do generally, but all difficult or doubtful combinations of
+colour should be sketched larger&mdash;full size even&mdash;before you venture to
+cut.
+</p>
+
+<p><!-- Page 176 --><span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span><i>Work should be kept flat by leading.</i></p>
+
+<p>One of the main <i>artistic</i> uses of the leadwork in a window is that, if
+properly used, it keeps the work flat and in one plane, and allows far
+more freedom in the conduct of your picture, permitting you to use a
+degree of realism and fulness of treatment greater than you could do
+without it. Work may be done, where this limitation is properly accepted
+and used, which would look vulgar without it; and on the other hand, the
+most Byzantine rigidity may be made to look vulgar if the lead line is
+misused. I have seen glass of this kind where the work was all on one
+plane, and where the artist had so far grasped proper principles as to
+use thick leads, but had <i>curved these leads in and out across the folds
+of the drapery as if they followed its ridges and hollows</i>&mdash;the thing
+becoming, with all its good-will to accept limitations, almost more
+vulgar than the discredited "Munich-glass" of a few years ago, which
+hated and disguised the lead lines.</p>
+
+<p><i>You must step back to look at your work as often and as far as you
+can.</i></p>
+
+<p><i>Respect your bars and lead lines, and let them be strong and many.</i>
+</p>
+
+<p><!-- Page 177 --><span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span><i>Every bit of glass in a window should look "cared for."</i></p>
+
+<p>If there is a lot of blank space that you "don't know how to fill," be
+sure your design has been too narrowly and frugally conceived. I do not
+mean to say that there may not be spaces, and even large spaces, of
+plain quarry-glazing, upon which your subject with its surrounding
+ornament may be planted down, as a rich thing upon a plain thing. I am
+thinking rather of a case where you meet with some sudden lapse or gap
+in the subject itself or in its ornamental surroundings. This is apt
+specially to occur where it is one which leads rather to pictorial
+treatment, and where, unless you have "canopy" or "tabernacle" work, as
+it is called, surrounding and framing everything, you find yourself at a
+loss how to fill the space above or below.</p>
+
+<p>Very little can be said by way of general rule about this; each case
+must be decided on its merits, and we cannot speak without knowing them.
+But two things may be said: First, that it is well to be perfectly bold
+(as long as you are perfectly sincere), and not be afraid, merely
+because they are unusual, of things that you really would like to do if
+the window were for yourself.
+<!-- Page 178 --><span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span>There are no hard and fast rules as to what may or may not be done, and
+if you are a craftsman and designer also&mdash;as the whole purpose of this
+book is to tell you you must be&mdash;many methods will suggest themselves of
+making your glass look interesting. The golden rule is to handle every
+bit of it yourself, and then you will <i>be</i> interested in the ingenuity
+of its arrangement; the cutting of it into little and big bits; the
+lacework of the leads; thickening and thinning these also to get bold
+contrasts of strong and slender, of plain and intricate; catching your
+pearly glass like fish, in a net of larger or smaller mesh; for, bear in
+mind always that this question relates almost entirely to the <i>whiter</i>
+glasses. Colour has its own reason for being there, and carries its own
+interest; but the most valuable piece of advice that I can think of in
+regard to stained-glass <i>treatment</i> (apart from the question of subject
+and meaning) is to <i>make your white spaces interesting</i>.</p>
+
+<p>The old painters felt this when they diapered their quarry-glazing and
+did such grisaille work as the "Five Sisters" window at York. Every bit
+of this last must have been put together and painted by a real craftsman
+delighting in his work. <!-- Page 179 --><span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span>The drawing is free and beautiful; the whole work is like jewellery, the
+colour scheme delightfully varied and irregular. The work was loved:
+each bit of glass was treated on its merits as it passed through hand.
+Working in this way all things are lawful; you may even put a thin film
+of "matt" over any piece to lower it in tone and give it richness, or to
+bring out with emphasis some quality of its texture. Some bits will have
+lovely streaks and swirling lines and bands in them&mdash;"reamy," as
+glass-cutters call it&mdash;or groups of bubbles and spots, making the glass
+like agate or pebble; and a gentle hand will rub a little matt or film
+over these, and then finger it partly away to bring out its quality,
+just as a jeweller foils a stone. This is quite a different thing from
+smearing a window all over with dirt to make it a sham-antique; and
+where it is desirable to lower the tone of any white for the sake of the
+window, and where no special beauties of texture exist, it is better, I
+think, to matt it and then take out simple <i>patterns</i> from the matt: not
+<i>outlined</i> at all, but spotted and streaked in the matt itself,
+chequered and petalled and thumb-marked, just as nature spots <!-- Page 180 --><span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span>and
+stripes and dapples, scatters daisies on the grass and snowflakes in the
+air, and powders over with chessboard chequers and lacings and "oes and
+eyes of light," the wings of butterflies and birds.</p>
+
+<p>So man has always loved to work when he has been let to choose, and when
+nature has had her way. Such is the delightful art of the basket and
+grass-cloth weaver of the Southern seas; of the ancient Cyprian potter,
+the Scandinavian and the Celt. It never dies; and in some quiet,
+merciful time of academical neglect it crops up again. Such is the,
+often delightful, "builders-glazing" of the "carpenters-Gothic" period,
+or earlier, when the south transept window at Canterbury, and the east
+and west windows at Cirencester, and many such like, were rearranged
+with old materials and new by rule of thumb and just as the glazier
+"thought he would." Heaven send us nothing worse done through too much
+learning! I daresay he shouldn't have done it; but as it came to him to
+do, as, probably, he was ordered to do it, we may be glad he did it just
+so. In the Canterbury window, for instance, no doubt much of the old
+glass never belonged to that particular window; it <!-- Page 181 --><span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span>may have been,
+sinfully, brought there from windows where it did belong. At Cirencester
+there are numbers of bits of canopy and so forth, delightful
+fifteenth-century work, exquisitely beautiful, put in as best they could
+be; no doubt from some mutilated window where the figures had been
+destroyed&mdash;for, if my memory serves me, most of them have no figures
+beneath&mdash;and surrounded by little chequered work, and stripes and
+banding of the glaziers' own fancy. A modern restorer would have
+delighted to supply sham-antique saints for them, imitating
+fifteenth-century work (and deceiving nobody), and to complete the
+mutilated canopies by careful matching, making the window entirely
+correct and uninteresting and lifeless and accomplished and forbidding.
+The very blue-bottles would be afraid to buzz against it; whereas here,
+in the old church, with the flavour of sincerity and simplicity around
+them, at one with the old carving and the spirit of the old time, they
+glitter with fresh feeling, and hang there, new and old together,
+breaking sunlight; irresponsible, absurd, and delightful.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 182 --><span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span></p>
+<h2><a name="chptr15" id="chptr15">CHAPTER XV</a></h2>
+
+<p class="blockquot">A Few Little Dodges&mdash;A Clumsy Tool&mdash;A Substitute&mdash;A Glass Rack&mdash;An
+Inconvenient Easel&mdash;A Convenient Easel&mdash;A Waxing-up Tool&mdash;An Easel
+with Movable Plates&mdash;Making the most of a Room&mdash;Handling
+Cartoons&mdash;Cleanliness&mdash;Dust&mdash;The Selvage Edge&mdash;Drying a "Badger"&mdash;A
+Comment.</p>
+
+
+<p>Here, now, follow some little practical hints upon work in general; mere
+receipts; description of time-saving methods and apparatus which I have
+separated from the former part of the book; partly because they are
+mostly exceptions to the ordinary practice, and partly because they are
+of general application, the common-sense of procedure, and will, I hope,
+after you have learnt from the former parts of the book the individual
+processes and operations, help you to marshal these, in order and
+proportion, so as to use them to the greatest advantage and with the
+best results. And truly our stained-glass methods are most wasteful and
+bungling. The ancient Egyptians, they say, made glass, and I am sure
+some <!-- Page 183 --><span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span>of our present tools and apparatus date from the time of the
+Pyramids.</p>
+
+
+<p class="center">A CLUMSY KILN-FEEDER.</p>
+
+<p>What shall we say, for instance, of this instrument (fig. 64), used for
+loading some forms of kiln?</p>
+
+<div class="figcenter" style="width: 124px;">
+<img src="images/fig64.jpg" width="124" height="399" alt="FIG. 64." title="" />
+<span class="smcap"><b>Fig. 64.</b></span>
+</div>
+
+<p>The workman takes the ring-handle in his right hand, rests the shaft in
+the crook of his left elbow, puts the fork under an iron plate loaded
+with glass and weighing about forty pounds, and then, with tug and
+strain, lifts it, ready to slip off and smash at any moment, and,
+grunting, transfers it to the kiln. A little mechanical appliance would
+save nine-tenths of the labour, a stage on wheels raised or lowered at
+will (a thing which surely should not be hard to invent) would bring it
+from the bench to the kiln, and <i>then</i>, if <!-- Page 184 --><span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span>needs be, and no better
+method could be found, the fork might be used to put it in.</p>
+
+<p>Meanwhile, as a temporary step in the right direction, I illustrate a
+little apparatus invented by Mr. Heaton, which, with the tray made of
+some lighter substance than iron, of which he has the secret, decreases
+the labour by certainly one-third, and I think a half (fig. 65).</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/fig65.jpg" width="500" height="215" alt="FIG. 65." title="" />
+<span class="smcap"><b>Fig. 65.</b></span>
+</div>
+
+<p>It is indeed only a sort of half-way house to the right thing, but,
+tested one against the other with equal batches of plates, its use is
+certainly less laborious than that of the fork. And that is a great
+gain; for the consequence of these rough ways is that the kiln-man, whom
+we want to be a quiet, observant man, with plenty of leisure and <!-- Page 185 --><span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span>with
+all his strength and attention free to watch the progress of a process
+or experiment, like a chemist in his laboratory, has often two-thirds of
+it distracted by the stress of needless work which is only fit for a
+navvy, and the only tendency of which can be towards turning him into
+one.
+</p>
+
+<div class="figcenter" style="width: 354px;">
+<img src="images/fig66.jpg" width="354" height="400" alt="FIG. 66." title="" />
+<span class="smcap"><b>Fig. 66.</b></span>
+</div>
+
+
+<p class="center"><!-- Page 186 --><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span>A GLASS-RACK FOR WASTE PIECES.</p>
+
+<p>Then the cutter, who throws away half the stuff under his bench! How
+easy it would be, if things were thought of from the beginning and the
+place built for the work, to have such width of bench and space of
+window that, along the latter, easily and comfortably within reach,
+should run stages, tier above tier, of strong sheet or thin plate glass,
+sloping at such an angle that the cuttings might lie along them against
+the light, with a fillet to stop them from falling off. Then it would be
+a pleasure, as all handy things are, for the workman to put his bits of
+glass there, and when he wanted a piece of similar colour, to raise his
+head and choose one, instead of wastefully cutting a fresh piece out of
+the unbroken sheet, or wasting his time rummaging amongst the bits on
+the bench. A stage on the same principle for <i>choosing</i> glass is
+illustrated in fig. 67.</p>
+
+<p>But it is in easels that improvement seems most wanted and would be most
+easy, and here I really must tell you a story.</p>
+
+
+<p class="center">AN INCONVENIENT EASEL.</p>
+
+<p>Having once some very large lights to paint, against time, the friends
+in whose <!-- Page 187 --><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span>shop I was to work (wishing to give me every advantage and to
+<i>save time</i>), had had special easels made to take in the main part of
+each light at once. But an "Easel," in stained-glass work, meaning
+always the single slab of plate-glass in a wooden frame, these were of
+that type. I forget their exact size and could hazard no guess at their
+weight, but it took four men to get one from the ground on to the bench.
+Why, I wanted it done a dozen times an hour! and should have wished to
+be able to do it at any moment. Instead of that it was, "Now then, Bill;
+ease her over!" "Steady!" "Now lift!" "All together, boys!" and so
+forth. I wonder there wasn't a<!-- Page 188 --><span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> strike! But did no one, then, ever see in
+a club or hotel a plate-glass window about as big as a billiard-table,
+and a slim waiter come up to it, and, with a polite "Would you like the
+window open, sir?" quietly lift it with one hand?</p>
+
+<div class="figcenter" style="width: 102px;">
+<img src="images/fig67.jpg" width="102" height="399" alt="FIG. 67." title="" />
+<span class="smcap"><b>Fig. 67.</b></span>
+</div>
+
+
+<p class="center">A CONVENIENT EASEL.</p>
+
+<p>Fig. 68 is a diagram of the kind of easel I would suggest. It can either
+stand on the bench or on the floor, and with the touch of a hand can be
+lifted, weighing often well over a hundredweight, to any height the
+painter pleases, till it touches the roof, enabling him to see at any
+moment the whole of his work at a distance and against the sky, which
+one would rather call an absolute necessity than a mere convenience or
+advantage.</p>
+
+<p>Some of these things were thought out roughly by myself, and have been
+added to and improved from time to time by my painters and apprentices,
+a matter which I shall say a word on by-and-by, when we consider the
+relations which should exist between these and the master.</p>
+
+
+<p class="center">AN IMPROVED TOOL FOR WAXING-UP.</p>
+
+<p>Meanwhile here is another little tool (fig. 69), the invention of one of
+
+my youngest "hands" (and heads), and really a praiseworthy invention,
+though indeed a simple and self-evident matter enough. The usual tool
+for waxing-up is (1) a strip of glass, (2) a penknife, (3) a stick of
+wood. The thing most to be wished for in whatever is used being, of
+course, that it <i>should retain the heat</i>. This youth argued: "If they
+use copper for soldering-bits because it retains heat so well, why not
+use copper for the waxing-up tool? besides, it can be made into a pen
+which will hold more wax."
+<!-- Page 189 --><span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span>
+</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/fig68.jpg" width="250" height="399" alt="FIG. 68." title="" />
+<span class="smcap"><b>Fig. 68.</b></span>
+</div>
+<p><!-- Page 190 --><span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span></p>
+<div class="figcenter" style="width: 179px;">
+<img src="images/fig69.jpg" width="179" height="400" alt="FIG. 69." title="" />
+<span class="smcap"><b>Fig. 69.</b></span>
+</div>
+
+<p><!-- Page 191 --><span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span>So said, so done; nothing indeed to make a fuss about, but part of a
+very wholesome spirit of wishing to work with handy tools economically,
+instead of blundering and wasting.</p>
+
+
+<p class="center">AN EASEL WITH MOVABLE PLATES.</p>
+
+<p>But to return for a moment to the easel. I find it very convenient not
+to have it made all of one plate of glass, but to divide it so that
+about four plates make the whole easel of five feet high. These plates
+slip in grooves, and can be let in either at the top or bottom, the
+latter being then stopped by a batten and thumbscrews. By this means a
+light of any length can be painted in sections without a break. For
+supposing you work from below upwards, and have done the first five feet
+of the window, take out all the glass except the top plate, <i>shift this
+down to the bottom</i>, and place three empty plates above it, and you can
+join the upper work to the lower by the sample of the latter left in its
+place to start you.</p>
+
+
+<p class="center">HOW TO MAKE THE MOST OF A ROOM.</p>
+
+<p>The great point is to be able to get away as far as you can from your
+work. And I <!-- Page 192 --><span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span>advise you, if your room is small, to have a fair-sized
+mirror (a cheval-glass) and place it at the far end of your room
+opposite the easel where you are painting, and then, standing close by
+the side of your easel, look at your work in the mirror. This will
+double the distance at which you see it, and at the same time present it
+to you reversed; which is no disadvantage, for you then see everything
+under a fresh aspect and so with a fresh eye. Of course, by the use of
+two mirrors, if they be large enough, you can put your work away to any
+distance. You must have seen this in a restaurant where there were
+mirrors, and where you have had presented to you an endless procession
+of your own head, first front then back, going away into the far
+distance.</p>
+
+
+<p class="center">HOW TO HANDLE CARTOONS.</p>
+
+<p>Well, it's really like insulting your intelligence! And if I hadn't seen
+fellows down on their hands and knees rolling and unrolling cartoons
+along the dirty floor, and sprawling all over the studio so that
+everybody had to get out of the way into corners, I wouldn't spend paper
+and ink to tell you that by standing the roll <!-- Page 193 --><span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span><i>upright</i> and spinning it
+gently round with your hands, freeing first one edge and then another,
+you can easily and quietly unroll and sort out a bundle of a dozen
+cartoons, each twenty feet long, on the space of a small hearth-rug; but
+so it is (fig. 70), and in just the same way you can roll them up again.</p>
+
+
+<p class="center">NEATNESS AND CLEANLINESS.</p>
+
+<p>You should have drawers in the tables, and put the palettes away in
+these with the colour neatly covered over with a basin when you leave
+work. Dust is a great enemy in a stained-glass shop, and it must be kept
+at arm's length.</p>
+
+
+<p class="center">YOU MUST TEAR OFF THE SELVAGE EDGE OF YOUR TRACING CLOTH,</p>
+<p>otherwise the tracing cloth being all cockled at the edge, which,
+however, is not very noticeable, will not lie flat, and you will be
+puzzled to know why it is that you cannot get your cut-line straight;
+tear off the edge, and it lies perfectly flat, without a wrinkle.<!-- Page 194 --><span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span></p>
+
+
+<p class="center">HOW TO DRY A BIG BRUSH OR BADGER AFTER IT IS WASHED.</p>
+
+<p>I expect you'd try to dry it in front of the fire, and there'd be a
+pretty eight-shilling <!-- Page 195 --><span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span>frizzle! But the way is this: First sweep the wet
+brush downwards with all your force, just as you shake the worst of the
+wet off a dripping umbrella, then take the handle of the brush <i>between
+the palms of your hands</i>, with the hair pointing downwards, and rub your
+hands smartly together, with the handle between them, just as an Italian
+waiter whisks up the chocolate. This sends the hair all out like a
+Catherine-wheel, and dries the brush with quite astonishing rapidity.
+Come now! you'd never have thought of that?</p>
+
+<div class="figcenter" style="width: 228px;">
+<img src="images/fig70.jpg" width="228" height="400" alt="FIG. 70." title="" />
+<span class="smcap"><b>Fig. 70.</b></span>
+</div>
+
+<hr style='width: 45%;' />
+
+<p>And why have I reserved these hints till now? surely these are things of
+the work-bench, practical matters, and would have come more conveniently
+in their own place? Why have I&mdash;do you ask&mdash;after arousing your
+attention to the "great principles of art," gone back again all at once
+to these little matters?</p>
+
+<p>Dear reader, I have done so deliberately to emphasise the <i>First</i> of
+principles, that the right learning of any craft is the learning it
+under a master, and that all else is makeshift; to drive home the lesson
+insisted on in the former volumes of this series of handbooks, and
+gathered <!-- Page 196 --><span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span>into the sentence quoted as a motto on the fly-leaf of one of
+them, that "An art can only be learned in the workshop of those who are
+winning their bread by it."</p>
+
+<p>These little things we have just been speaking of occurred to me after
+the practical part was all written; and I determined, since it happened
+so, to put them by themselves, to point this very lesson. They are just
+typical instances of hundreds of little matters which belong to the
+bench and the workshop, and which cannot all be told in any book; and
+even if told can never be so fully grasped as they would be if shown by
+master to pupil. Years&mdash;centuries of practice have made them the
+commonplaces of the shops; things told in a word and learnt in an
+instant, yet which one might go on for a whole lifetime without thinking
+of, and for lack of which our lifetime's work would suffer.</p>
+
+<p>Man's work upon earth is all like that. The things are there under his
+very nose, but he never discovers them till some accident shows them;
+
+how many centuries of sailing, think you, passed by before men knew that
+the tides went with the moon?</p>
+
+<p><!-- Page 197 --><span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span>Why then write a book at all, since it is not the best way?</p>
+
+<p>Speaking for myself only, the reasons appear to be: First, because none
+of these crafts is at present taught in its fulness in any ordinary
+shop, and I would wish to give you at least a longing to learn yours in
+that fulness; and, second, because it seems also very advisable to
+interest the general reader in this question of the complete teaching of
+the crafts to apprentices. To insist on the value and necessity of the
+daily and hourly lessons that come from the constant presence, handling,
+and use of all the tools and materials, all the apparatus and all the
+conditions of the craft, and from the interchange of ideas amongst those
+who are working, side by side, making fresh discoveries day by day as to
+what materials will do under the changes that occur in conditions that
+are ever changing.</p>
+
+<p>However, one must not linger further over these little matters, and it
+now becomes my task to return to the great leading principles and try to
+deal with them, and the first cardinal principle of stained-glass work
+surely is that of <span class="smcap">Colour</span>.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 198 --><span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span></p>
+<h2><a name="chptr16" id="chptr16">CHAPTER XVI</a></h2>
+
+<p class="blockquot2">OF COLOUR</p>
+
+
+<p>But how hopeless to deal with it by way of words in a book where actual
+colour cannot be shown!</p>
+
+<p>Nevertheless, let us try.</p>
+
+<hr style='width: 45%;' />
+
+<p>... One thinks of morning and evening; ... of clouds passing over the
+sun; of the dappled glow and glitter, and of faint flushes cast from the
+windows on the cathedral pavement; of pearly white, like the lining of a
+shell; of purple bloom and azure haze, and grass-green and golden spots,
+like the budding of the spring; of all the gaiety, the sparkle, and the
+charm.</p>
+
+<p>And then, as if the evening were drawing on, comes over the memory the
+picture of those graver harmonies, in the full glow of red and blue,
+which go with the deep notes of the great organ, playing requiem or
+evening hymn.</p>
+
+<p>Of what use is it to speak of these<!-- Page 199 --><span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span> things? The words fall upon the ear,
+but the eye is not filled.</p>
+
+<p>All stained-glass gathers itself up into this one subject; the glory of
+the heavens is in it and the fulness of the earth, and we know that the
+showing forth of it cannot be in words.</p>
+
+<p>Is it any use, for instance, to speak of these primroses along the
+railway bank, and those silver buds of the alder in the hollow of the
+copse?</p>
+
+<p>One thinks of a hint here and a hint there; the very sentences come in
+fragments. Yet one thing we may say securely: that the practice of
+stained-glass is a very good way to <i>learn</i> colour, or as much of it as
+can come by learning.</p>
+
+<p>For, consider:&mdash;</p>
+
+<p>A painter has his colour-box and palette;</p>
+
+<p>And if he has a good master he may learn by degrees how to mix his
+colour into harmonies;</p>
+
+<p>Doing a little first, cautiously;</p>
+
+<p>Trying the problem in one or two simple tints; learning the combinations
+of these in their various degrees of lighter or darker:</p>
+
+<p>Exhausting, as much as he can, the <!-- Page 200 --><span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span>possibilities of one or two pigments,
+and then adding another and another;</p>
+
+<p>But always with a very limited number of actual separate ones to draw
+upon;</p>
+
+<p>All the infinity of the whole world of colour being in his own hands,
+and the difficulty of dealing with it laid as a burden upon his own
+shoulders, as he combines, modifies, mixes, and dilutes them.</p>
+
+<p>He perhaps has eight or ten spots of pure colour, ranged round his
+palette; and all the rest depends upon himself.</p>
+
+<p>This gives him, indeed, one side of the practice of his art; and if he
+walks warily, yet daringly, step by step, learning day by day something
+more of the powers that lie in each single kind of paint, and as he
+learns it applying his knowledge, bravely and industriously, to add
+strength to strength, brightness to brightness, richness to richness,
+depth to depth, in ever clearer, fuller, and more gorgeous harmony, he
+may indeed become a great painter.</p>
+
+<p>But a more timid or indolent man gets tired or afraid of putting the
+clear, sharp tints side by side to make new combinations of pure and
+
+vivid colour.</p>
+
+<p><!-- Page 201 --><span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span>And even a man industrious, alert, and determined may lose his way and
+get confused amongst the infinity of choice, through being badly taught,
+and especially through being allowed at first too great a range, too
+wide a choice, too lavish riches.</p>
+
+<p>A man so trained, so situated, so tempted, stands in danger of being
+contented to repeat old receipts and formulas over and over, as soon as
+he has acquired the knowledge of a few.</p>
+
+<p>Or, bewildered with the lavishness of his means and confused in his
+choice, tends to fall into indecision, and to smear and dilute and
+weaken.</p>
+
+<p>I cannot help thinking that it is to this want of a system of gradual
+teaching of the elementary stages of colour in painting that we owe, on
+the one side, the fashion of calling irresolute and undecided tints
+"art" colours; and, on the other hand, the garishness of our modern
+exhibitions compared with galleries of old paintings. For Titian's
+burning scarlet and crimson and palpitating blue; and Veronese's gold
+and green and white and rose are certainly not "art colours"; and I
+think we must feel the justice and truth <!-- Page 202 --><span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span>of Ruskin's words spoken
+regarding a picture of Linnell's:&mdash;</p>
+
+<p>"And what a relief it is for any wholesome human sight, after sickening
+itself among the blank horror of dirt, ditchwater, and malaria, which
+the imitators of the French schools have begrimed our various Exhibition
+walls with, to find once more a bit of blue in the sky and a glow of
+brown in the coppice, and to see that Hoppers in Kent can enjoy their
+scarlet and purple&mdash;like Empresses and Emperors." (Ruskin, "Royal
+Academy Notes," 1875.)</p>
+
+<p>From this irresolution and indecision and the dull-colour school
+begotten of it on the one hand, and from garishness on the other,
+stained-glass is a great means of salvation; for in practising this art
+the absolute judgment must, day by day, be exercised between this and
+that colour, there present before it; and the will is braced by the
+necessity of constant choice and decision. In short, by many of the
+modern, academical methods of teaching painting, and especially by the
+unfortunate arrangement, where it exists, of a pupil passing under a
+succession of different masters, I fear the colour-sense is perplexed
+<!-- Page 203 --><span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span>
+and blunted; while by stained-glass, taught, as all art should be, from
+master to apprentice, while both make their bread by it, the
+colour-sense would be gradually and steadily cultivated and would have
+time to grow.</p>
+
+<p>This at least seems certain: that all painters who have also done
+stained-glass, or indeed any other decorative work in colour, get
+stronger and braver in painting from its practice. So worked Titian,
+Giorgione, Veronese; and so in our days worked Burne-Jones, Rossetti,
+Madox-Brown, Morris; and if I were to advise and prate about what is,
+perhaps, not my proper business, I would say, even to the student of
+oil-painting, "Begin with burnt-umber, trying it in every degree with
+white; transparent over opaque and opaque over transparent; trying how
+near you can get to purple and orange by contrast (and you will get
+nearer than you think); then add sienna at one end and black at the
+other to enlarge the range;&mdash;and then get a set of glass samples".</p>
+
+<p>I have said that stained-glass is "a great means of salvation," from
+irresolution and indecision on the one hand and <!-- Page 204 --><span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span>from garishness on the
+other; but it is only a means&mdash;the fact of salvation lies always in
+one's own hands&mdash;for we must, I fear, admit that "garishness" and
+"irresolution" are not unknown in stained-glass itself, in spite of the
+resources and safeguardings we have attributed to the material.
+Speaking, therefore, now to stained-glass painters themselves, we might
+say that these faults in their own art, as too often practised in our
+days, arise, strange as it may seem, from ignorance of their own
+material, that very material the <i>knowledge</i> of which we have just been
+recommending as a safeguard against these very faults to the students of
+another art.</p>
+
+<p>And this brings us back to our subject.</p>
+
+<p>For the foregoing discussion of painters' methods has all been written
+to draw a comparison and emphasise a contrast.</p>
+
+<p>A contrast from which you, student of stained-glass, I hope may learn
+much.</p>
+
+<p>For as we have tried to describe the methods of the painter in oil or
+water colours, and so point out his advantages and disadvantages, so we
+would now draw a picture of the glass-painter at work; if he works as he
+should do.
+</p>
+
+<p><!-- Page 205 --><span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span>For the painter of pictures (we said) has his colour-box of a few
+pigments, from which all his harmonies must come by mixing them and
+diluting them in various proportions, dealing with infinity out of a
+very limited range of materials, and required to supply all the rest by
+his own skill and memory.</p>
+
+<p>Coming each day to his work with his palette clean and his colours in
+their tubes;</p>
+
+<p>Beginning, as it were, all over again each time; and perhaps with his
+heart cold and his memory dull.</p>
+
+<p>But the glass-painter has his specimens of glass round him; some
+hundreds, perhaps, of all possible tints.</p>
+
+<p>He has, with these, to compose a subject in colour;</p>
+
+<p>There is no getting out of it or shirking it;</p>
+
+<p>He places the bits side by side, with no possibility (which the palette
+gives) of slurring or diluting or dulling them; he must choose from the
+clear hard tints;</p>
+
+<p>And he has the whole problem before him;</p>
+
+<p>He removes one and substitutes another;
+</p>
+
+<p><!-- Page 206 --><span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span>"This looks better;" "That is a pleasant harmony;" "Ah! but this makes
+it sing!"</p>
+
+<p>He gets them into groups, and combines them into harmonies, tint with
+tint, group with group:</p>
+
+<p>If he is wise he has them always by him;</p>
+
+<p>Always ready to arrange in a movable frame against the window;</p>
+
+<p>He cuts little bits of each; he waxes them, or gums them, into groups on
+sheets of glass;</p>
+
+<p>He tries all his effects in the glass itself; he sketches in glass.</p>
+
+<p>If he is wise he does this side by side with his water-colour sketch,
+making each help the other, and thinking in glass; even perhaps making
+his water-colour sketch afterwards from the glass.</p>
+
+<p>Is it not reasonable?</p>
+
+<p>Is it not far more easy, less dangerous?</p>
+
+<p>He has not to rake in his cold and meagre memory to fish out some poor
+handful of all the possible harmonies;</p>
+
+<p>To repeat himself over and over again.</p>
+
+<p>He has all the colours burning round him; singing to him to use them;
+sounding all their chords.
+</p>
+
+<p><!-- Page 207 --><span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span>Is it not the way? Is it not common sense?</p>
+
+<p>Tints! pure tints! What great things they are.</p>
+
+<p>I remember an old joke of the pleasant Du Maurier, a drawing
+representing two fashionable ladies discussing the afternoon's
+occupation. One says: "It's quite too dull to see colours at Madame St.
+Aldegonde's; suppose we go to the Old Masters' Exhibition!"</p>
+
+<p>Rather too bad! but the ladies were not so altogether frivolous as might
+at first appear. I am afraid <i>Punch</i> meant that they were triflers who
+looked upon colour in dress as important, and colour in pictures as a
+thing which would do for a dull day. But they were not quite so far
+astray as this! There are other things in pictures besides colour which
+can be seen with indifferent light. But to match clear tint against
+clear tint, and put together harmonies, there is no getting away from
+the problem! It is all sheer, hard exercise; you want all your light for
+it; there is no slurring or diluting, no "glazing" or "scumbling," and
+it should form a part of the teaching, and yet it never does so, in our
+academies <!-- Page 208 --><span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span>and schools of art. A curious matter this is, that a painter's
+training leaves this great resource of knowledge neglected, leaves the
+whole thing to memory. Out of all the infinite possible harmonies only
+getting what rise in the mind at the moment from the unseen. While
+ladies who want to dress beautifully look at the things themselves, and
+compare one with another. And how nicely they dress. If only painters
+painted half as well. If the pictures in our galleries only looked half
+as harmonious as the crowd of spectators below them! I would have it
+part of every painter's training to practise some craft, or at least
+that branch of some craft, which compels the choosing and arranging, in
+due proportions for harmony, of clear, sharp glowing colours in some
+definite material, from a full and lavish range of existing samples. It
+is true that here and there a painter will arise who has by nature that
+kind of instinct or memory, or whatever it is, that seems to feel
+harmonies beforehand, note by note, and add them to one another with
+infallible accuracy; but very few possess this, and for those who lack I
+<!-- Page 209 --><span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span>
+am urging this training. For it is a case of</p>
+
+<div class="blockquot3"><p>
+<span style="margin-left: 2em;">"the little more and how much it is,</span><br />
+And the little less and what worlds away."<br />
+</p></div>
+
+<p>Millais hung a daring crimson sash over the creamy-white bed-quilt, in
+the glow of the subdued night-lamp, in his picture of "Asleep," and we
+all thought what a fine thing it was. But we have not thought it so fine
+for the whole art world to burst into the subsequent imitative paroxysm
+of crashing discords in chalk, lip-salve, and skim-milk, which has
+lasted almost to this day.</p>
+
+<p>At any rate, I throw out this hint for pupils and students, that if they
+will get a set of glass samples and try combinations of colour in them,
+they will have a bracing and guiding influence, the strength of which
+they little dream of, regarding one of the hardest problems of their
+art.</p>
+
+<p>This for the student of painting in general: but for the glass-painter
+it is absolutely essential&mdash;the central point, the breath-of-life of his
+art.</p>
+
+<p>To live in it daily and all day.</p>
+
+<p>To be ever dealing with it thus.
+</p>
+
+<p><!-- Page 210 --><span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span>To handle with the hands constantly.</p>
+
+<p>To try this piece, and that piece, the little more and the little less.</p>
+
+<p>This is the be-all and end-all, the beginning and the end of the whole
+matter, and here therefore follow a few hints with regard to it.</p>
+
+<p>And there is one rule of such dominating importance that all other hints
+group themselves round it; and yet, strangely enough, I cannot remember
+seeing it anywhere written down.</p>
+
+<p>Take three tints of glass&mdash;a purple, let us say, a crimson, and a green.</p>
+
+<p>Let it be supposed that, for some reason, you desire that this should
+form a scheme of colour for a window, or part of a window, with, of
+course, in addition, pure white, and probably some tints more neutral,
+greenish-whites and olives or greys, for background.</p>
+
+<p>You choose your purple (and, by-the-bye, almost the only way to get a
+satisfactory one, except by a happy accident now and then, is to double
+gold-pink with blue; this is the only way to get a purple that will
+vibrate, palpitating against the eye like the petal of a pansy in the
+sun). Well, you get your purple, and you get <!-- Page 211 --><span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span>your green&mdash;not a
+sage-green, or an "art-green," but a cold, sharp green, like a leaf of
+parsley, an aquamarine, the tree in the "Eve" window at Fairford, grass
+in an orchard about sunset, or a railway-signal lamp at night.</p>
+
+<p>Your crimson like a peony, your white like white silk; and now you are
+started.</p>
+
+<p>You put slabs of these&mdash;equal-sized samples, we will suppose&mdash;side by
+side, and see "if they will do."</p>
+
+<p>And they don't "do" at all.</p>
+
+<p>Take away the red.</p>
+
+<p>The green and the purple do well enough, and the white.</p>
+
+<p>But you <i>want</i> the red, you say.</p>
+
+<p>Well, <i>put back a tenth part of it</i>.</p>
+
+<p>And how now?</p>
+
+<p>Add a still smaller bit of pale pink.</p>
+
+<p>And how now?</p>
+
+<p>Do you see what it all means? It means the rule we spoke of, and which
+we may as well, therefore, now announce:</p>
+
+<p>"<span class="smcap">Harmony in colour depends not only upon the arranging of right colours
+together, but the arranging of the right quantities and the right
+degrees of them together.</span>"
+</p>
+
+<p><!-- Page 212 --><span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span>To which may be added another, <i>&agrave; propos</i> of our bit of "pale pink."</p>
+
+<p><a name="discord" id="discord"></a><span class="smcap">The harshest contrasts, even discords, may often be brought into harmony
+by added notes.</span></p>
+
+<p>I believe that these are the two, and I would even almost say the only
+two, great leading principles of the science of colour, as used in the
+service of Art; and we might learn them, in all their fulness, in a
+country walk, if we were simple enough to like things because we like
+them, and let the kind nurse, Nature, take us by the hand. This very
+problem, to wit: Did you never see a purple anemone? against its green
+leaves? with a white centre? and with a thin ring of crimson shaded off
+into pink? And did you never wonder at its beauty, and wonder how so
+simple a thing could strike you almost breathless with pure physical
+delight and pleasure? No doubt you did; but you probably may not have
+asked yourself whether you would have been equally pleased if the
+purple, green, and red had all been equal in quantity, and the pale pink
+omitted.</p>
+
+<p>I remember especially in one particular window where this colour scheme
+was <!-- Page 213 --><span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span>adopted&mdash;an "Anemone-coloured" window&mdash;the modification of the one
+splash of red by the introduction of a lighter pink which suggested
+itself in the course of work as it went along, and was the pet fancy of
+an assistant&mdash;readily accepted.</p>
+
+<p>The window in question is small and in nowise remarkable, but it was in
+the course of a ride taken to see it in its place, on one of those
+glorious mornings when Spring puts on all the pageantry of Summer, that
+the thoughts with which we are now dealing, and especially the thoughts
+of the infinite suggestion which Nature gives in untouched country and
+of the need we have to drink often at that fountain, were borne in upon
+the writer with more than usual force.</p>
+
+<p>To take in fully and often the glowing life and strength and renewal
+direct from Nature is part of every man's proper manhood, still more
+then of every artist's artistry and student's studentship.</p>
+
+<p>And truly 'tis no great hardship to go out to meet the salutary
+discipline when the country is beautiful in mid-April, and the road good
+and the sun pleasant. The Spring air sets the blood racing as you ride,
+and when you stop <!-- Page 214 --><span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span>and stand for a moment to enjoy these things,
+ankle-deep in roadside grass, you can seem to hear the healthy pulses
+beating and see the wavy line of hills beating with them, as you look at
+the sun-warmed world.</p>
+
+<p>It is good sometimes to think where we are in the scheme of things, to
+realise that we are under the bell-glass of this balmy air, which shuts
+us in, safe from the pitch-dark spaces of infinite cold, through which
+the world is sweeping at eighteen miles a second; while we, with all our
+little problems to solve and work to do, are riding warm by this
+fireside, and the orange-tip butterflies with that curious pertinacity
+of flight which is speed without haste are keeping up their incessant,
+rippling patrol, to and fro along the length of every sunny lane, above
+the ditch-side border of white-blossomed keck!</p>
+
+<p>What has all this to do with stained-glass?</p>
+
+<p>Everything, my boy! Be a human! For you have got to choose your place in
+things, and to choose on which side you will work.</p>
+
+<p>A choice which, in these days, more than ever perhaps before, is one
+between <!-- Page 215 --><span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span>such things as these and the money-getting which cares so little
+for them. I have tried to show you one side by speaking of a little part
+of what may be seen and felt on a spring morning, along a ridge of
+untouched hills in "pleasant Hertfordshire:"<a name="FNanchor_1" id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">[1]</a> if you want to see the
+other side of things ride across to Buntingford, and take the train back
+up the Lea Valley. Look at Stratford (and smell it) and imagine it
+spreading, as no doubt it will, where its outposts of oil-mill and
+factory have already led the way, and think of the valley full up with
+slums, from Lea Bridge to Ponders End! For the present writer can
+remember&mdash;and that not half a lifetime back&mdash;Edmonton and Tottenham,
+Brondesbury and Upton Park, sweet country villages where quiet people
+lived and farmed and gardened amidst the orchards, fields, and hawthorn
+lanes.</p>
+
+<div class="footnote"><p><a name="Footnote_1" id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">[1]</span></a> West of the road between Welwyn and Hitchin.</p></div>
+
+<p>Here now live, in mile after mile of jerry-building, the "hands" who,
+never taught any craft or work worthy of a man, spend their lives in
+some little single operation that, as it happens, no machine has yet
+been invented to perform; month after month, year after year, painting,
+let <!-- Page 216 --><span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span>us say, endless repeats of one pattern to use as they are required for
+the borders of pious windows in the churches of this land.</p>
+
+<p>This is the "other side of things," much commended by what is looked on
+as "robust common sense"; and with this you have&mdash;nothing to do. Your
+place is elsewhere, and if it needs be that it seems an isolated one,
+you must bear it and accept it. Nature and your craft will solve all;
+live in them, bathe in them to the lips; and let nothing tempt you away
+from them to measure things by the standard of the mart.</p>
+
+<p>Let us go back to our sunny hillside. "It is good for us to be here,"
+for this also is Holy Ground; and you must indeed be much amongst such
+things if you would do stained-glass, for you will never learn all the
+joy of it in a dusty shop.</p>
+
+<p>"So hard to get out of London?"</p>
+
+<p>But get a bicycle then;&mdash;only sit upright on it and go slow&mdash;and get
+away from these bricks and mortar, to where we can see things like
+these! those dandelions and daisies against the deep, green grass; the
+blazing candles of the sycamore <!-- Page 217 --><span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span>buds against the purple haze of the oak
+copse; and those willows like puffs of grey smoke where the stream
+winds. Did you ever? No, you never! Well&mdash;do it then!</p>
+
+<p>But indeed, having stated our <i>principles</i> of colour, the practice of
+those principles and the influence of nature and of nature's hints upon
+that practice are infinite, both in number and variety. The flowers of
+the field and garden; butterflies, birds, and shells; the pebbles of the
+shore; above all, the dry seaweeds, lying there, with the evening sun
+slanting through them. These last are exceedingly like both in colour
+and texture, or rather in colour and the amount of translucency, to fine
+old stained-glass; so also are dead leaves. But, in short, the thing is
+endless. The "wine when it is red" (or amber, as the case may be), even
+the whisky and water, and whisky <i>without</i> water, side by side, make
+just those straw and ripe-corn coloured golden-yellows that are so hard
+to attain in stained-glass (impossible indeed by means of yellow-stain),
+and yet so much to be desired and sought after.</p>
+
+<p>Will you have more hints still? Well, there are many tropical
+butterflies, chiefly <!-- Page 218 --><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span>among the <i>Pierinf</i>, with broad spaces of yellow
+dashed with one small spot or flush of vivid orange or red. Now you know
+how terrible yellow and red may be made to look in a window; for you
+have seen "ruby" robes in conjunction with "yellow-stain," or the still
+more horrible combination where ruby has been acided off from a yellow
+base. But it is a question of the actual quality of the two tints and
+also of their quantity. What I have spoken of looks horrible because the
+yellow is of a brassy tone, as stain so often is, especially on
+green-white glasses, and the red inclining to puce&mdash;jam-colour. It is no
+use talking, therefore, of "red and yellow"&mdash;we must say <i>what</i> red and
+<i>what</i> yellow, and how much of each. A magenta-coloured dahlia and a
+lemon put together would set, I should think, any teeth on edge; yet
+ripe corn goes well with poppies, but not too many poppies&mdash;while if one
+wing of our butterfly were of its present yellow and the other wing of
+the same scarlet as the spot, it would be an ugly object instead of one
+of the delights of God. It is interesting, it is fascinating to take the
+hint from such things&mdash;to splash the golden wings of <!-- Page 219 --><span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span>your Resurrection
+Angel as he rolls away the stone with scarlet beads of sunrise, not seen
+but <i>felt</i> from where you stand on the pavement below. I want the reader
+to fully grasp this question of <i>quantity</i>, so I will instance the
+flower of the mullein which contains almost the very tints of the
+"lemon," and the "dahlia" I quoted, and yet is beautiful by virtue of
+its <i>quantities</i>: which may be said to be of a "lemon" yellow and yet
+can bear (ay! can it <i>not</i>?) the little crimson stamens in the heart of
+it and its sage-green leaves around.</p>
+
+<p>And there is even something besides "tint" and "quantity." The way you
+<i>distribute</i> your colour matters very much. Some in washes, some in
+splashes, some in spots, some in stripes. What will "not do" in one way
+will often be just right in the other: yes, and the very way you treat
+your glass when all is chosen and placed together&mdash;matt in one place,
+film in another, chequering, cross-hatching, clothing the raw glass with
+texture and bringing out its nature and its life.</p>
+
+<p>Do not be afraid; for the things that yet remain to do are numberless.
+Do <!-- Page 220 --><span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span>you like the look of deep vivid vermilion-red, upon dark cold green?
+Look at the hip-loaded rose-briar burning in the last rays of a red
+October sunset! You get physical pleasure from the sight; the eye seems
+to vibrate to the harmony as the ear enjoys a chord struck upon the
+strings. Therefore do not fear. But mind, it must be in nature's actual
+colour, not merely "green" and "red": for I once saw the head of a
+celebrated tragic actress painted by a Dutch artist who, to make it as
+deathly as he could, had placed the ashen face upon a background of
+emerald-green with spots of actual red sealing-wax. The eye was so
+affected that the colours swung to and fro, producing in a short time a
+nausea like sea-sickness. That is not pleasure.</p>
+
+<p>The training of the colour-sense, like all else, should be gradual;
+springing as it were from small seed. Be reticent, try small things
+first. You are not likely to be asked to do a great window all at once,
+even if you have the misfortune to be an independent artist approaching
+this new art without a gradual training under the service of others. Try
+some simple scheme from the things of Nature. <!-- Page 221 --><span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span>Hyacinths look well with their leaves: therefore <i>that</i> green and <i>that</i>
+blue, with the white of April clouds and the black of the tree-stems in
+the wood are colours that can be used together.
+</p>
+
+<p>You must be prepared to find almost a sort of penalty in this habit of
+looking at everything with the eye of a stained-glass artist. One seems
+after a time to see natural objects with numbers attached to them
+corresponding with the numbers of one's glasses in the racks:
+butterflies flying about labelled "No. 50, deep," or "75<i>a</i>, pale," or a
+bit of "123, special streaky" in the sunset. But if one does not obtrude
+this so as to bore one's friends, the little personal discomfort, if it
+exists, is a very small price to pay for the delight of living in this
+glorious fairyland of colour.</p>
+
+<p>Do not think it beneath your dignity or as if you were shirking some
+vital artistic obligation, to take hints from these natural objects, or
+from ancient or modern glass, in a perfectly frank and simple manner;
+nay, even to match your whole colour scheme, tint for tint, by them if
+it seems well to you. You may get help anywhere and from anything, and
+as much <!-- Page 222 --><span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span>as you like; it will only be so much more chance for you; so
+much richer a store to choose from, so much stronger resource to guide
+to good end; for after all, with all the helps you can get, much lies in
+the doing. Do what you like then&mdash;as a child: but be sure you <i>do</i> like
+it: and if the window wants a bit of any particular tint, put it there,
+meaning or no meaning. If there is no robe or other feature to excuse
+and account for it in the spot which seems to crave for it,&mdash;put the
+colour in, anywhere and anyhow&mdash;in the background if need be&mdash;a sudden
+orange or ruby "quarry" or bit of a quarry, as if the thing were done in
+purest waywardness. "You would like a bit there if there were an excuse
+for it?" Then there <i>is</i> an excuse&mdash;the best of all&mdash;that the eye
+demands it. Do it fearlessly.</p>
+
+<p>But to work in this way (it hardly need be said) you must watch and work
+at your glass yourself; for these hints come late on in the work, when
+colour, light and shade, and design are all fusing together into a
+harmony. You can no more forecast these final accidents, which are the
+flower and crown and finish of <!-- Page 223 --><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span>the whole, than you could forecast the
+lost "Chord";&mdash;</p>
+
+<div class="blockquot3">
+<p>
+"Which came from the soul of the organ,<br />
+And entered into mine."<br />
+</p></div>
+
+<p>It "comes from the soul" of the window.</p>
+
+<p>We all know the feeling&mdash;the climaxes, exceptions, surprises,
+suspensions, in which harmony delights; the change from the last bar of
+the overture to the first of the opening recitative in the "Messiah,"
+the chord upon which the victor is crowned in "The Meistersingers," the
+59th and 60th bars in Handel's "Every Valley." (I hope some of us are
+"old-fashioned" enough to be unashamed of still believing in Handel!)</p>
+
+<p>Or if it may be said that these are hardly examples of the kind of
+accidental things I have spoken of, being rather, indeed, the
+deliberately arranged climax to which the whole construction has been
+leading, I would instance the 12th (complete) bar in the overture to
+"Tannhäuser," the 20th and 22nd bar in Chopin's Funeral March, the
+change from the minor to major in Schubert's Romance from "Rosamunde,"
+and the 24th bar in his Serenade (<i>St&auml;ndchen</i>), the 13th <!-- Page 224 --><span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span>and following
+bars of the Crescendo in the Largo Appassionato of Beethoven's Op. 2. Or
+if you wish to have an example where <i>all</i> is exception, like one of the
+south nave windows in York Minster, the opening of the "Sonata
+Appassionata," Op. 57.</p>
+
+<p>Now how can you forecast such things as these!</p>
+
+<p>Let me draw another instance from actual practice. I was once painting a
+figure of a bishop in what I meant to be a dark green robe, the kind of
+black, and yet vivid, green of the summer leafage of the oak; for it was
+St. Boniface who cut down the heathen oak of Frisia. But the orphreys of
+his cope were to be embroidered in gold upon this green, and therefore
+the pattern had first to be added out in white upon a blue-flashed
+glass, which yellow stain over all would afterwards turn into green and
+gold. And when all was prepared and the staining should have followed,
+my head man sent for me to come to the shop, and there hung the figure
+with its dark green robe with orphreys of <i>deep blue</i> and <i>silver</i>.</p>
+
+<p>"I thought you'd like to look at it before we stained it," said he.
+</p>
+
+<p><!-- Page 225 --><span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>"<span class="smcap">Stain it!</span>" I said. "I wouldn't touch it; not for sixpence
+three-farthings!"</p>
+
+<p>There was a sigh of relief all round the shop, and the reply was, "Well,
+so we all thought!"</p>
+
+<p>Just so; therefore the figure remained, and so was erected in its place.
+Now suppose I had had men who did what they were told, instead of being
+encouraged to think and feel and suggest?</p>
+
+<p>A serious word to you about this question of staining. It is a resource
+very easily open to abuse&mdash;to excess. Be careful of the danger, and
+never stain without first trying the effect on the back of the
+easel-plate with pure gamboge, and if you wish for a very clear
+orange-stain, mix with the gamboge a little ordinary red ink. It is too
+much the custom to "pick out" every bit of silver "canopy" work with
+dottings and stripings of yellow. A <i>little</i> sometimes warms up
+pleasantly what would be too cold&mdash;and the old men used it with effect:
+but the modern tendency, as is the case in all things merely imitative,
+is to overdo it. For the old men used it very differently from those who
+copy them in the way I <!-- Page 226 --><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span>am speaking of, and, to begin with, used it
+chiefly on <i>pure white glass</i>. Much modern canopy work is done on
+greenish-white, upon which the stain immediately becomes that
+greenish-yellow that I have called "brassy." A little of this can be
+borne, when side by side with it is placed stain upon pure white. The
+reader will easily find, if he looks for them, plenty of examples in old
+glass, where the stain upon the white glass has taken even a <i>rosy</i>
+tinge exactly like that of a yellow crocus seen through its white
+sheath. It is perhaps owing partly to patina on the old glass, which
+"scumbles" it; but I have myself sometimes succeeded in getting the same
+effect by using yellow-stain on pure white glass. A whole window, where
+the highest light is a greenish white, is to me very unpleasant, and
+when in addition yellow-stain is used, unbearable. This became a fashion
+in stained-glass when red-lead-coloured pigments, started by Barff's
+formula, came into general use. They could not be used on pure white
+glass, and therefore pure white glass was discarded and greenish-white
+used instead. I can only say that if the practice of stained-glass were
+presented <!-- Page 227 --><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>to me with this condition&mdash;of abstaining from the use of pure
+white&mdash;I would try to learn some useful trade.</p>
+
+<p>There is another question of ideals in the treatment of colour in
+stained-glass about which a word must be said.</p>
+
+<p>Those who are enthusiastic about the material of stained-glass and its
+improvement are apt to condemn the degree of heaviness with which
+windows are ordinarily painted, and this to some extent is a just
+criticism. But I cannot go the length of thinking that all matt-painting
+should be avoided, and outline only used; or that stained-glass material
+can, except under very unusual conditions and in exceptional situations,
+be independent of this resource. As to the
+slab-glasses&mdash;"Early-English," "Norman," or "stamped-circles"&mdash;which are
+chiefly affected by this question, the texture and surface upon which
+their special character depends is sometimes a very useful resource in
+work seen against, or partly against, background of trees or buildings;
+while against an entirely "borrowed" light perhaps, sometimes, it can
+almost dispense with any painting. The grey shadows that come from the
+background play about in the <!-- Page 228 --><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span>glass and modify its tones, doing the work
+of painting, and doing it much more beautifully. But this advantage
+cannot always be had, for it vanishes against clear sky. It is all,
+therefore, a question of situation and of aspect, and I believe the
+right rule to be to do in all cases what seems best for every individual
+bit of glass&mdash;that each piece should be "cared for" on its merits and
+"nursed," so to speak, and its qualities brought out and its beauty
+heightened by any and every means, just as if it were a jewel to be cut
+(or left uncut) or foiled (or left unfoiled)&mdash;as Benvenuto Cellini would
+treat, as he tells you he <i>did</i> treat, precious stones. There is a
+fashion now of thinking that gems should be uncut. Well, gems are hardly
+a fair comparison in discussing stained-glass; for in glass what we aim
+at is the effect of a composition and combination of a multitude of
+things, while gems are individual things, for the most part, to be
+looked at separately. But I would not lay down a rule even about gems.
+Certainly the universal, awkward, faceting of all precious stones&mdash;which
+is a relic of the mid-Victorian period&mdash;is a vulgarity that one is glad
+to be rid of; but <!-- Page 229 --><span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span>if one <i>wants</i> for any reason the special sparkle,
+here or there, which comes from it, why not use it? I would use it in
+<i>stained-glass</i>&mdash;have done so. If I have got my window already brilliant
+and the whites pure white, and still want, over and above all this, my
+"Star of the Nativity," let us say, to sparkle out with a light that
+cannot be its own, shall I not use a faceted "jewel" of glass, forty
+feet from the eye, where none can see what it is but only what it does,
+just because it would be a gross vulgarity to use it where it would
+pretend to be a diamond?</p>
+
+<p>The safe guide (as far as there can be a <i>guide</i> where I have maintained
+that there should not be a <i>rule</i>) is, surely, to generally get the
+depth of colour that you want by the glass itself, <i>if you can</i>, and
+therefore with that aim to deal with rich, full-coloured glass and to
+promote its manufacture. But this being once done and the resource
+carried to its full limit, there is no reason why you should deny
+yourself the further resource of touching it with pigment to any extent
+that may seem fit to you as an artist, and necessary to get the effect
+of colour and texture that you are aiming at, in the thing seen as a
+whole. <!-- Page 230 --><span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span>As to the exaggeration of making accidental streaks in the glass do duty
+for folds of drapery, and manufacturing glass (as has been done) to meet
+this purpose, I hold the thing to be a gross degradation and an entire
+misconception of the relation of materials to art. You may also lay this
+to mind, as a thing worthy of consideration, that all old glass was
+painted, and that no school of stained-glass has ever existed which made
+a principle of refusing this aid. I would never argue from this that
+such cannot exist, but it is a thing to be thought on.</p>
+
+<p>Throw your net, then, into every sea, and catch what you can. Learn what
+purple is, in the north ambulatory at York; what green is, in the east
+window of the same, in the ante-chapel of New College, Oxford, and in
+the "Adam and Eve" window in the north aisle at Fairford; what blue and
+red are, in the glorious east window of the nave at Gloucester, and in
+the glow and gloom of Chartres and Canterbury and King's College,
+Cambridge. And when you have got all these things in your mind, and
+gathered lavishly in the field of Nature also, face your problem with a
+heart <!-- Page 231 --><span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span>heated through with the memory of them all, and with a will braced
+as to a great and arduous task, but one of rich reward. For remember
+this (and so let us draw to an end), that in any large window the spaces
+are so great and the problems so numerous that a <i>few</i> colours and
+groupings of colour, however well chosen, will not suffice. Set out the
+main scheme of colours first: those that shall lead and preponderate and
+convey your meaning to the mind and your intended impression to the eye.
+But if you stop here, the effect will be hard and coarse and
+cold-hearted in its harmonies, a lot of banging notes like a band all
+brass, not out of tune perhaps, but craving for the infinite embroidery
+of the strings and wood.</p>
+
+<p>When, therefore, the main relations of colour have been all set out and
+decided for your window, turn your attention to <i>small</i> differences, to
+harmonies <i>round</i> the harmonies. Make each note into a chord, each tint
+into a group of tints, not only the strong and bold, but also the subtle
+and tender; do not miss the value of small modifications of tint that
+soften brilliance into glow. Study how Nature does it on the petals of
+the pansy or sweet-pea.
+
+You think a pansy is purple, and there an end? but cut out the pale
+yellow band, the orange central spot, the faint lilacs and whites in
+between, and where is your pansy gone?</p>
+
+<hr style='width: 45%;' />
+
+<p><!-- Page 232 --><span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span>And here I must now leave it to you. But one last little hint, and do
+not smile at its simplicity.</p>
+
+<p>For the problem, after all, when you have gathered all the hints you can
+from nature or the past, and collected your resources from however
+varied fields, resolves itself at last into one question&mdash;"<i>How shall I
+do it in glass?</i>" And the practical solving of this problem is in the
+handling of the actual bits of coloured glass which are the tools of
+your craft. And for manipulating these I have found nothing so good as
+that old-fashioned toy&mdash;still my own delight when a sick-bed enforces
+idleness&mdash;the kaleidoscope. A sixpenny one, pulled to pieces, will give
+you the knowledge of how to make it; and you will find a "Bath-Oliver"
+biscuit-tin, or a large-sized millboard "postal-roll" will make an
+excellent instrument. But the former is best, because you also then have
+the lid and the end. If you cut <!-- Page 233 --><span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span>away all the end of the lid except a rim
+of one-eighth of an inch, and insert in its place with cement a piece of
+ground-glass, and then, inside this, have another lid of clear glass
+cemented on to a rim of wood or millboard, you can, in the space between
+the two, place chips of the glasses you think of using; and, replacing
+the whole on the instrument, a few minutes of turning with the hand will
+give you, not hundreds, but thousand of changes, both of the
+arrangement, and, what is far more important, of the <i>proportions</i> of
+the various colours. You can thus in a few moments watch them pass
+through an almost infinite succession of changes in their relation to
+each other, and form your judgment on those changes, choosing finally
+that which seems best. And I really think that the fact of these
+combinations being presented to us, as they are by the action of the
+instrument, arranged in ordered shapes, is a help to the judgment in
+deciding on the harmonies of colour. It is natural that it should be so.
+"Order is Heaven's first law." And it is right that we should rejoice in
+things ordered and arranged, as the savage in his string of beads, and
+reasonable that we <!-- Page 234 --><span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span>should find it easier to judge them in order rather
+than confused.</p>
+
+<p>Each in his place. How good a thing it is! how much to be desired! how
+well if we ourselves could be so, and know of the pattern that we make!
+For our lives are like the broken bits of glass, sadly or brightly
+coloured, jostled about and shaken hither and thither, in a seeming
+confusion, which yet we hope is somewhere held up to a light in which
+each one meets with his own, and holds his place; and, to the Eye that
+watches, plays his part in a universal harmony by us, as yet, unseen.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr17" id="chptr17">CHAPTER XVII</a></h2>
+
+<p class="blockquot2">OF ARCHITECTURAL FITNESS</p>
+
+
+<p>Come, in thought, reader, and stand in quiet village churches, nestling
+amongst trees where rooks are building; or in gaps of the chalk downs,
+where the village shelters from the wind; or in stately cathedrals,
+where the aisles echo to the footstep and the sound of the chimes comes
+down, with the memory of the centuries which have lived and died. Here
+<!-- Page 235 --><span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span>
+the old artists set their handmark to live now they are gone, and we who
+see it today see, if our eye be single, with what sincerity they built,
+carved, or painted their heart and life into these stones. In such a
+spirit and for such a memorial you too must do your work, to be weighed
+by the judgment of the coming ages, when you in turn are gone, in the
+same balance as theirs&mdash;perhaps even side by side with it.</p>
+
+<p>And will you dare to venture? Have no fear if you also bring your best.
+But if we enter on work like this as to a mere market for our wares, and
+with no other thought than to make a brisk business with those that buy
+and sell; we well may pray that some merciful scourge of small cords
+drive us also hence to dig or beg (which is more honourable), lest worse
+befall us!</p>
+
+<p>And I do not say these things because this or that place is "God's
+house." All places are so, and the first that was called so was the bare
+hillside; but because you are a man and have indeed here arrived, as
+there the lonely traveller did, at the arena of your wrestling. But,
+granted that you mean to hold your own and put your strength into it, I
+have brought you to these grave walls to consult with them as to the
+<!-- Page 236 --><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span>
+limits they impose upon your working.</p>
+
+<p>And perhaps the most important of all is already observed by your
+<i>being</i> here, for it is important that you should visit, whenever
+possible, the place where you are to do work; if you are not able to do
+this, get all the particulars you can as to aspect and surroundings.And
+yet a reservation must be made, even upon all this; for everything
+depends upon the way we use it, and if you only have an eye to the
+showing off of your work to advantage, treating the church as a mere
+frame for your picture, it would be better that your window should
+misfit and have to be cut down and altered, or anything else happen to
+it that would help to put it back and make it take second place. It is
+so hard to explain these things so that they cannot be misconstrued; but
+you remember I quoted the windows at St. Philip's, Birmingham, as an
+example of noble thought and work carried to the pitch of perfection and
+design. But that was in a classic building, with large, plain, single
+openings without tracery. Do you think the artist would have let himself
+go, <!-- Page 237 --><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span>in that full and ample way, in a beautiful Gothic building full of
+lovely architectural detail? Not so: rather would he have made his
+pictures hang lightly and daintily in the air amongst the slender
+shafts, as in St. Martin's Church in the same town, at Jesus College and
+at All Saints' Church, Cambridge, at Tamworth; and in Lyndhurst, and
+many another church where the architecture, to say truth, had but
+slender claims to such respect.</p>
+
+<hr style='width: 45%;' />
+
+<p>In short, you must think of the building first, and make your windows
+help it. You must observe its scale and the spacing and proportions of
+its style, and place your own work, with whatever new feeling and new
+detail may be natural to you, well within those circumscribing bounds.</p>
+
+<p>But here we find ourselves suddenly brought sharp up, face to face with
+a most difficult and thorny subject, upon which we have rushed without
+knowing it. "Must we observe then" (you say) "the style of the building
+into which we put our work, and not have a style of our own that is
+native to us"?</p>
+
+<p>"This is contrary to all you have been preaching! The old men did not
+so. Did <!-- Page 238 --><span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span>they not add the fancies of their own time to the old work, and
+fill with their dainty, branching tracery the severe, round-headed,
+Norman openings of Peterborough and Gloucester? Did fifteenth-century
+men do thirteenth-century glass when they had to refill a window of that
+date?" No. Nor must you. Never imitate, but graft your own work on to
+the old, reverently, and only changing from it so far forth as you, like
+itself, have also a living tradition, springing from mastery of
+craft&mdash;naturally, spontaneously, and inevitably.</p>
+
+<p>Whether we shall ever again have such a tradition running throughout all
+the arts is a thing that cannot possibly be foretold. But three things
+we may be quite sure of.</p>
+
+<p>First, that if it comes it will not be by way of any imitative revival
+of a past style;</p>
+
+<p>Second, that it will be in harmony with the principles of Nature; and</p>
+
+<p>Third, that it will be founded upon the crafts, and brought about by
+craftsmen working in it with their own hands, on the materials of
+architecture, designing only what they themselves can execute, and
+giving employment to others only in what they themselves can do.
+</p>
+
+<p>A<!-- Page 239 --><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span> word about each of these three conditions.</p>
+
+<p>In the course of the various attempted revivals in architecture that
+have taken place during the past sixty years, it has been frequently
+urged both by writers and architects that we should agree to revive some
+<i>one</i> style of ancient art that might again become a national style of
+architecture. It would, indeed, no doubt be better, if we must speak in
+a dead language, to agree to use only one, instead of our present
+confusion of tongues: but what, after all, is the adopting of this
+principle at all but to engage once again in the replanting of a
+full-grown tree&mdash;the mistake of the Renaissance and the Gothic revival
+repeated? Such things never take firm root or establish healthy growth
+which lives and goes on of its own vitality. They never succeed in
+obtaining a natural, national sympathy and acceptance. The movement is a
+scholarly and academic one, and the art so remains. The reaction against
+it is always a return to materials, and almost always the first result
+of this is a revival of simplicity. People get tired of being surrounded
+with elaborate mouldings and traceries and other architectural<!-- Page 240 --><span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> features,
+which are not the natural growth of their own day but of another day
+long since dead, which had other thoughts and moods, feelings and
+aspirations. "Let us have straightforward masonry and simple openings,
+and ornament them with something from Nature."</p>
+
+<p>So in the very midst of the pampered and enervated over-refinement of
+Roman decay, Constantine did something more than merely turn the
+conquering eagle back, against the course of the heavens, for which
+Dante seems to blame him,<a name="FNanchor_2" id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[2]</a> when he established his capital at
+Byzantium; for there at once upon the new soil, and in less than a
+single century, sprang to life again all the natural modes of building
+and decoration that, despised as barbaric, had been ignored and
+forgotten amid the Roman luxury and sham.</p>
+
+<div class="footnote"><p><a name="Footnote_2" id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">[2]</span></a> Paradise, canto vi. 1.</p></div>
+
+<p>It is a curious feature of these latest days of ours that this searching
+after sincerity should seem to be leading us towards a similar revival;
+taking even very much the same forms. We went back, at the time of the
+Gothic revival, to the forgotten Gothic art of stained-glass; now tired,
+as it would seem, of <!-- Page 241 --><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span>the insincerity and mere spirit of imitation with which it and similar
+arts have been practised, a number of us appear to be ready to throw it
+aside, along with scholarly mouldings and traceries, and build our arts
+afresh out of the ground, as was done by the Byzantines, with plain
+brickwork, mosaic, and matched slabs of marble. Definite examples in
+recent architecture will occur to the reader. But I am thinking less of
+these&mdash;which for the most part are deliberate and scholastic revivals of
+a particular style, founded on the study of previous examples and
+executed on rigid academic methods&mdash;than of what appears to be a
+widespread awakening to principles of simplicity, sincerity, and common
+sense in the arts of building generally. Signs are not wanting of a
+revived interest in building&mdash;a revived interest in materials for their
+own sake, and a revived practice of personally working in them and
+experimenting with them. One calls to mind examples of these things,
+growing in number daily&mdash;plain and strong furniture made with the
+designer's own hands and without machinery, and enjoyed in the
+making&mdash;made for actual places and personal needs and taste<!-- Page 242 --><span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span>s; houses
+built in the same spirit by architects who condescend to be masons also;
+an effort here and an effort there to revive the common ways of building
+that used to prevail&mdash;and not so long ago&mdash;for the ordinary housing and
+uses of country-folk and country-life, and which gave us cottages,
+barns, and sheds throughout the length and breadth of the land; simple
+things for simple needs, built by simple men, without
+self-consciousness, for actual use and pleasant dwelling; traditional
+construction and the habits of making belonging to the country-side.
+These still linger in the time-honoured ways of making the waggon and
+the cart and the plough; but they have vanished from architecture and
+building except in so far as they are being now, as I have said,
+consciously and deliberately revived by men who are going back from
+academic methods, to found their arts once more upon the actual making
+of things with their own hand and as their hand and materials will guide
+them.</p>
+
+<p>This was what happened in the time to which I have referred: in the dawn
+of the Christian era and of a new civilisation; and it has special
+interest for us of <!-- Page 243 --><span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span>today, because it was not a case of an infant or
+savage race, beginning all things from seed; but the revival, as in
+Sparta, centuries before it, of simplicity and sincerity of life, in the
+midst of enervation, luxury, and decay.</p>
+
+<p>This seems our hope for the future.</p>
+
+<p>There has already gathered together in the great field of the arts of
+today a little Byzantium of the crafts setting itself to learn from the
+beginning how things are actually made, how built, hammered, painted,
+cut, stitched; casting aside theories and academical thought, and
+founding itself upon simplicity, and sincerity, and materials. And the
+architect who condescends, or, as we should rather say, aspires, to be a
+>builder and a master-mason, true director of his craft, will, if things
+go on as they seem now going, find in the near future a band around him
+of other workers so minded, and will have these bright tools of the
+accessory crafts ready to his hand. This it is, if anything, that will
+solve all the vexed questions of "style," and lead, if anything will, to
+the art of the times to be. For the reason why the nineteenth century
+complained so constantly that it<!-- Page 244 --><span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span> had "no style of architecture" was
+surely because it had <i>every</i> style of architecture, and a race of
+architects who could design in every style because they could build in
+no style; knew by practical handling and tooling nothing of the real
+natures and capacities of stone or brick or wood or glass; received no
+criticism from their materials; whereas these should have daily and
+hourly moulded their work and formed the very breath of its life,
+warning and forbidding on the one hand, suggesting on the other, and so
+directing over all.</p>
+
+<p>I have thought fit, dear student, to touch on these great questions in
+passing, that you may know where you stand; but our real business is
+with ourselves: to make ourselves so secure upon firm standing ground,
+in our own particular province, that when the hour arrives, it may find
+in us the man. Let us therefore return again from these bright hopes to
+consider those particular details of architectural fitness which are our
+proper business as workers in glass.</p>
+
+<p>What, then, in detail, are the rules that must guide us in placing
+windows in ancient buildings? But first&mdash;<i>may</i> we <!-- Page 245 --><span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span>place windows in
+ancient buildings at all? "No," say some; "because we have no right to
+touch the past; it is 'restoration,' a word that has covered, in the
+past," they say (and we must agree with them), "a mass of artistic crime
+never to be expiated, and of loss never to be repaired." "Yes," say
+others, "because new churches will be older in
+half-an-hour&mdash;half-an-hour older; for the world has moved, and where
+will you draw the line? Also, glass has <i>to be renewed</i>, you must put in
+something, or some one must."</p>
+
+<p>Let each decide the question for himself; but, supposing you admit that
+it is permissible, what are the proper restrictions and conditions?</p>
+
+<p>You must not tell a lie, or "match" old work, joining your own on to it
+as if itself were old.</p>
+
+<p>Shall we work in the style of the "New art," then&mdash;"<i>l'art Nouveau</i>"?
+the style of the last new poster? the art-tree, the art-bird, the
+art-squirm, and the ace of spades form of ornament?</p>
+
+<p>Heaven in mercy defend us and forbid it!</p>
+
+<p>Canopies are venerable; thirteenth-century panels and borders are
+venerable, t<!-- Page 246 --><span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span>he great traditional vestments are so, and liturgy, and
+symbolism, and ceremony. These are not things of one age alone, but
+belong to all time. Get, wherever possible, authority on all these
+points.</p>
+
+<p>Must we work in a "style," then&mdash;a "Gothic" style?</p>
+
+<p>No.</p>
+
+<p>What rule, then?</p>
+
+<p>It is hard to formulate so as to cover all questions, but something
+thus:&mdash;</p>
+
+<p>Take forms, and proportions, and scale from the style of the church you
+are to work in.</p>
+
+<p>Add your own feeling to it from&mdash;</p>
+
+<p>(1) The feeling of the day, but the best and most reverent feeling.</p>
+
+<p>(2) From Nature.</p>
+
+<p>(3) From (and the whole conditioned by) materials and the knowledge of
+craft.</p>
+
+<p>Finally, let us say that you must consider each case on its merits, and
+be ready even sometimes perhaps to admit that the old white glass may be
+better for a certain position than your new glass could be, while old
+<i>stained-glass</i>, of course, should always be sacred to you, a thing to
+be left untouched. Even where new work <!-- Page 247 --><span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span>seems justifiable and to be
+demanded, proceed as if treading on holy ground. Do not try crude
+experiments on venerable and beautiful buildings, but be modest and
+reticent; know the styles of the past thoroughly and add your own fresh
+feeling to them reverently. And in thought do not think it necessary to
+be novel in order to be original. There is quite enough originality in
+making a noble figure of a saint, or treating with reverent and
+dignified art some actual theme of Scripture or tradition, and working
+into its detail the sweetness of nature and the skill of your hands,
+without going into eccentricity for the sake of novelty, and into weak
+allegory to show your originality and independence, tired with the
+world-old truths and laws of holy life and noble character. And this
+leads us to the point where we must speak of these deep things in the
+great province of thought.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 248 --><span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span></p>
+<h2><a name="chptr18" id="chptr18">CHAPTER XVIII</a></h2>
+
+<p class="blockquot2">OF THOUGHT, IMAGINATION, AND ALLEGORY</p>
+
+
+<p>"<i>The first thing one should demand of a man who calls himself an artist
+is that he has something to say, some truth to teach, some lesson to
+enforce. Don't you think so?</i>"</p>
+
+<p>Thus once said to me an artist of respectable attainment.</p>
+
+<p>"<i>I don't care a hang for subject; give me good colour, composition,
+fine effects of light, skill in technique, that's all one wants. Don't
+you think so?</i>"</p>
+
+<p>Thus once said to me a member of a window-committee, himself also an
+artist.</p>
+
+<p>To both I answered, and would answer with all the emphasis possible&mdash;No!</p>
+
+<p>The <i>first</i> duty of an artist, as of every other kind of worker, is to
+know his business; and, unless he knows it, all the "truths" he wishes
+to "teach," and the lessons he wishes to enforce, are but <!-- Page 249 --><span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span>degraded and
+discredited in the eyes of men by his bungling advocacy.</p>
+
+<p>On the other hand, the artist who has trained himself to speak with the
+tongues of angels and after all has nothing to say, is also, to me, an
+imperfect being. What follows is written, as the whole book is written,
+for the young student, just beginning his career and feeling the
+pressure and conflict of these questions. For such I must venture to
+discuss points which the wise and the experienced may pass by.</p>
+
+<p>The present day is deluged with allegory; and the first thing three
+students out of four wish to attempt when they arrive at the stage of
+original art is the presentation, by figures and emblems, of some deep
+abstract truth, some problem of the great battle of life, some force of
+the universe that they begin to feel around them, pressing upon their
+being. Forty years ago such a thing was hardly heard of. In the
+sketching-clubs at the Academies of that day, the historical, the
+concrete, or the respectably pious were all that one ever saw. We can
+hardly realise it, the art of the late sixties. The pre-Raphaelite
+brotherhood, as such, a thing <!-- Page 250 --><span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span>of the past, and seemingly leaving few
+imitators. Burne-Jones just heard of as a strange, unknown artist, who
+wouldn't exhibit his pictures, but who had done some queer new kind of
+stained-glass windows at Lyndhurst, which one might perhaps be curious
+to see when we went (as of course we must) to worship "Leighton's great
+altar-piece." Nay, ten years later, at the opening of the Grosvenor
+Gallery, the new, imaginative, and allegorical art could be met with a
+large measure of derision, and <i>Punch</i> could write, regarding it, an
+audacious and contemptuous parody of the "Palace of Art"; while, abroad,
+Botticelli's <i>Primavera</i> hung over a door, and the attendants at the
+<i>Uffizii</i> were puzzled by requests, granted grudgingly (<i>if</i> granted), to
+have his other pictures placed for copying and study! Times have
+altogether changed, and we now see in every school competition&mdash;often
+set as the subject of such&mdash;abstract and allegorical themes, demanding
+for their adequate expression the highest and deepest thought and the
+noblest mood of mind and views of life.</p>
+
+<p>It is impossible to lay down any hard and fast rule about these things,
+for each <!-- Page 251 --><span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span>case must differ. There is such a thing as <i>genius</i>, and where
+that is there is but small question of rules or even of youth or age,
+maturity or immaturity. And even apart from the question of genius the
+mind of childhood is a very precious thing, and "the thoughts of youth
+are long, long thoughts." Nay, the mere <i>fact</i> of youth with its trials,
+is a great thing; we shall never again have such a chance, such fresh,
+responsive hearts, such capacity for feeling&mdash;for suffering&mdash;that school
+of wisdom and source of inspiration! It is well to record its lessons
+while they are fresh, to jot down for ourselves, if we can, something of
+the passing hours; to store up their thoughts and feelings for future
+expression perhaps, when our powers of expression have grown more worthy
+of them; but it is not well to try to make universal lessons out of, or
+universal applications of, what we haven't ourselves learned. Our own
+proper lesson at this time is to learn our trade; to strengthen our weak
+hands and train the ignorance of our mind to knowledge day by day,
+strenuously, and only <i>spurred on by</i> the deep stirrings of thought and
+life within us, which generally <!-- Page 252 --><span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span>ought to remain for the present
+<i>unspoken</i>.</p>
+
+<p>A great point of happiness in this dangerous and critical time is to
+have a definite trade; learnt in its completeness and practised day by
+day, step by step, upwards from its elements, in constant subservience
+to wise and kind mastership. This indeed is a golden lot, and one rare
+in these days; and perhaps we must not look to be so shielded. This was
+the sober and happy craftsmanship of the Middle Ages, and produced for
+us all that imagery and ornature, instinct with gaiety and simplicity of
+heart, which decorates, where the hand of the ruthless restorer has
+spared it, the churches and cathedrals of Europe.</p>
+
+<p>But in these changeful days it would be rash indeed to forecast where
+lies the sphere of duty for any individual life. It may lie in the
+reconstruction by solitary, personal experiment, of some forgotten art
+or system, the quiet laying of foundation for the future rather than
+building the monument of today. Or perhaps the self-devoted life of the
+seer may be the Age's chief need, and it is not a Giotto that is wanted
+for the twentieth century <!-- Page 253 --><span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span>but a Dante or a Blake, with the accompanying
+destiny of having to prove as they did&mdash;</p>
+
+<div class="blockquot3">
+<p><span style="margin-left: 6em;">
+"si come sa di sale</span><br />
+Lo pane altrui, e com'h duro calle<br />
+Lo scendere e'l salir per l'altrui scale."<a name="FNanchor_3" id="FNanchor_3"></a><a href="#Footnote_3" class="fnanchor">[3]</a><br />
+</p></div>
+
+<div class="footnote"><p><a name="Footnote_3" id="Footnote_3"></a><a href="#FNanchor_3"><span class="label">[3]</span></a></p>
+<p>"how tastes of salt<br />
+The bread of others, and how is hard the passage<br />
+To go down and to go up by other's stairs."<br />
+&mdash;<i>Paradise,</i> xvii. 58.</p>
+</div>
+
+
+<p>But, however these things be, whether working happily in harmony with
+the scheme of things around us, and only concerned to give it full
+expression, or not; whether we are the fortunate apprentices of a
+well-taught trade, gaining secure and advancing knowledge day by day, or
+whether we are lonely experimentalists, wringing the secret from
+reluctant Nature and Art upon some untrodden path; there is one last
+great principle that covers all conditions, solves all questions, and is
+an abiding rock which remains, unfailing foundation on which all may
+build; and that is the constant measuring of our smallness against the
+greatness of things, a thing which, done in the right <!-- Page 254 --><span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span>spirit, does not
+daunt, but inspires. For the greatness of all things is ours for the
+winning, almost for the asking.</p>
+
+<p>The great imaginative poets and thinkers and artists of the
+mid-nineteenth century have drawn aside for us the curtain of the world
+behind the veil, and he would be an ambitious man who would expect to
+set the mark higher, in type of beauty or depth of feeling, than they
+have placed it for us; but all must hope to do so, even if they do not
+expect it; for the great themes are not exhausted or ever to be
+exhausted; and the storehouse of the great thought and action of the
+past is ever open to us to clothe our nakedness and enrich our poverty;
+we need only ask to have.</p>
+
+<p>"Ah!" said Coningsby, "I should like to be a great man."</p>
+
+<p>The stranger threw at him a scrutinising glance. His countenance was
+serious. He said in a voice of almost solemn melody&mdash;</p>
+
+<p>"Nurture your mind with great thoughts. To believe in the heroic makes
+heroes."<a name="FNanchor_4" id="FNanchor_4"></a><a href="#Footnote_4" class="fnanchor">[4]</a></p>
+
+<div class="footnote">
+<p><a name="Footnote_4" id="Footnote_4"></a><a href="#FNanchor_4"><span class="label">[4]</span></a> Coningsby, Book iii. ch. i.</p></div>
+
+<p>All the great thoughts of the world <!-- Page 255 --><span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span>are stored up in books, and all the
+great books of the world, or nearly all, have been translated into
+English. You should make it a systematic part of your life to search
+these things out and, if only by a page or two, try how far they fit
+your need. We do not enough realise how wide a field this is, how great
+an undertaking, how completely unattainable except by carefully
+husbanding our time from the start, how impossible it is in the span of
+a human life to read the great books unless we strictly save the time
+which so many spend on the little books. Ruskin's words on this subject,
+almost harsh in their blunt common sense, bring the matter home so well
+that I cannot refrain from quoting them.<a name="FNanchor_5" id="FNanchor_5"></a><a href="#Footnote_5" class="fnanchor">[5]</a></p>
+
+<div class="footnote"><p><a name="Footnote_5" id="Footnote_5"></a><a href="#FNanchor_5"><span class="label">[5]</span></a> "Sesame and Lilies," Lecture 1.</p></div>
+
+<p>"Do you know, if you read this, that you cannot read that&mdash;that what you
+lose today you cannot gain to-morrow? Will you go and gossip with your
+housemaid, or your stable-boy, when you may talk with queens and kings;
+or flatter yourselves that it is with any worthy consciousness of your
+own claims to respect that you jostle with the common crowd for entrie
+here, and audience there, when all <!-- Page 256 --><span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span>the while this eternal court is open
+to you, with its society wide as the world, multitudinous as its days,
+the chosen, and the mighty, of every place and time? Into that you may
+enter always; in that you may take fellowship and rank according to your
+wish; from that, once entered into it, you can never be outcast but by
+your own fault; by your aristocracy of companionship there, your own
+inherent aristocracy will be assuredly tested, and the motives with
+which you strive to take high place in the society of the living,
+measured, as to all the truth and sincerity that are in them, by the
+place you desire to take in this company of the Dead."</p>
+
+<p>This is the great world of BOOKS that is open to you; and how shall you
+find your way in it, in these days, amongst the plethora of the second
+and third and fourth rate, shouting out at you and besieging your
+attention on every stall? It is no more possible to give you entire
+guidance towards this than to give complete advice on any other problem
+of life; your own nature must be your guide, choosing the good and
+refusing the evil in the degree in which itself is good or evil. But one
+may name some landmarks, <!-- Page 257 --><span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span>set up some guide-posts, and the best of all
+guidance surely is not that of a guide-post, but that of a guide, a
+kindly hand of one who knows the way, to take your hand.</p>
+
+<p>Do you ask for such a guide? A man of our own day, in full view of all
+its questions from the loftiest to the least, and heart and soul engaged
+in them, with deep and sympathetic wisdom born of his own companionship
+with all the great thoughts of the ages? One surely need not hesitate a
+moment in naming as the one for our special needs the writer we have
+just quoted.</p>
+
+<p>Scattered up and down the whole of his works is constant reference to
+and commentary upon the great themes of all ages, the great creeds of
+all peoples.</p>
+
+<p>"Queen of the Air," "Aratra Pentelici," "Ariadne Florentina," "The
+Mornings in Florence," "St. Mark's Rest," "The Oxford Inaugural
+Lectures," "The Bible of Amiens," "Fors Clavigera."</p>
+
+<p>With these as portals you can enter by easy steps into the whole
+universe of great things: the divine myth and symbolism of the old pagan
+world (as we call it) and of more recent Christendom; all the makers of
+ancient Greece and Italy <!-- Page 258 --><span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span>and of our own England; worship and kingship
+and leadership, and the high thought and noble deed of all times. And
+clustering in groups round these centres is the world of books. All
+Theology, Philosophy, Poetry, Sacred History; Homer, Plato, Virgil, the
+Bible, and the Breviary. The great doctors and saints, kings and heroes,
+poets and painters, Gerome and Dominic and Francis; St. Louis and
+C[&oelig;]ur-de-Lion; Dante, St. Jerome, Chaucer, and Froissart; Botticelli,
+Giotto, Angelico; the "Golden Legend"; and many another ancient or
+modern legend and story or passage from the history of some great and
+splendid life, or illuminating hint upon the beauties of liturgy and
+symbolism. They, and a hundred other things, are all gathered up and
+introduced to us in Ruskin's books; and we are shown them from the exact
+standpoint from which they are most likely to appeal to us, and be of
+use. There never was a great world made so easy and pleasant of entrance
+for the adventuring traveller; you have only to enter and take
+possession.</p>
+
+<p>Do you incline towards myth and symbolism and allegory&mdash;the expression
+of <!-- Page 259 --><span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span>abstract thought by beautiful figures? Read the myths of Greece
+expounded to you in their exquisite spirituality in the "Queen of the
+Air." Or is your bent devotion and the devout life, expressed in
+thrilling story and gorgeous colour? Read, say, the life of St.
+Catherine or of St. George in the "Golden Legend." Or are you in love,
+and would express its spring-time beauty? Translate into your own native
+language of form and colour "The Romaunt of the Rose."</p>
+
+<p>For the great safeguard and guide in the perilous forest of fancy is to
+find enough interest in the actual facts of some history or the
+qualities of some heroic character, whether real or fabled, round which
+at first you may group your thought and allegory. Listen to <i>them</i>, and
+try to formulate and illustrate <i>their</i> meaning, not to announce your
+own. Do not set puzzles, or set things that will be puzzling, without
+the highest and deepest reasons and the apostleship urgently laid upon
+you so to do&mdash;but let your allegory surround some definite subject, so
+that men in general can see it and say, "Yes, that is so and so," and go
+away satisfied rather than puzzled and affronted; leaving the <!-- Page 260 --><span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span>inner few
+for whom you really speak, the hearts that, you hope, are waiting for
+your message, to find it out (and you need have no fear that they will
+do so), and to say, "Yes, that <i>means</i> so and so, and it is a good
+thought."</p>
+
+<p>For, remember always that, even if you conceive that you have a mission
+laid upon you to declare Truth, it is most sternly conditioned by an
+obligation, as binding as itself and of as high authority, to set forth
+Beauty: the holiness of beauty equally with the beauty of holiness. No
+amount of good intent can make up for lack of skill; it is your business
+to know your business. Youth always would begin with allegory, but the
+ambition of the good intention is generally in exactly the reverse
+proportion to the ability to carry it out in expression. But the true
+allegory that appeals to all is the presentment of noble natures and of
+noble deeds. Where, for most people at any rate, is the "allegory" in
+the Theseus or the Venus of Milo? Yet is not the whole race of man the
+better for them?</p>
+
+<p>Work, therefore, quietly and continually at the great themes ready set
+for you in the story of the past and "understanded <!-- Page 261 --><span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span>of the people," while
+you are patiently strengthening and maturing your powers of art in
+safety, sheltered from yourself, and sheltered from the condemnation due
+to the too presumptuous assumption of apostleship. For it is one thing
+to stand forth and say, "<i>I</i> have a message to deliver to the world,"
+and quite another to say, "<i>There is</i> such a message, and it has fallen
+to me to be its mouthpiece; woe is me, because I am a man of unclean
+lips." It is needless, therefore&mdash;nay, it is harmful&mdash;to be always
+breaking your heart against tasks beyond your strength. Work in some
+little province; get foothold and grow outwards from it; go on from
+weakness to strength, and then from strength to the stronger, doing the
+things you <i>can</i> do while you practise towards the things you hope to
+do, and illustrating impersonal themes until the time comes for you to
+try your own individual battle in the great world of thought and
+feeling; till, mature in strength equal to the portrayal of great
+natures, the Angels of God as shown forth by you may be recognised as
+indeed Spirit, and His Ministers as flaming Fire.</p>
+
+<p>There is even yet one last word, and <!-- Page 262 --><span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span>that is, in all the <i>minor</i>
+symbolism surrounding your subjects, to observe a due proportion. For
+you may easily be tempted to allow some beautiful little fancy, not
+essential to the subject, to find expression in a form or symbol that
+will thrust itself unduly on the attention, and will only puzzle and
+distract.</p>
+
+<p>Never let little things come first, and never let them be allowed at all
+to the damage, or impairing, or obscuring of the simplicity and dignity
+of the great things; remembering always that the first function of a
+window is to have stately and seemly figures in beautiful glass, and not
+to arrest or distract the attention of the spectator with puzzles. Given
+the great themes adequately expressed, the little fancies may then
+cluster round them and will be carried lightly, as the victor wears his
+wreath; while, on the other hand, if these be lacking no amount of
+symbolism or attribute will supply their place. "<i>Cucullus non facit
+monachum</i>," as the old proverb says&mdash;"It is not the hood that makes the
+monk," but the ascetic face you depict within it. Indeed, rather beware
+of trusting even to the ordinary, well-recognised symbols in common use,
+and being misled <!-- Page 263 --><span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span>by them to think you have done something you have not
+done; and rather withhold these until the other be made sure. Get your
+figures dignified and your faces beautiful; show the majesty or the
+sanctity that you are aiming at in these alone, and your saint will be
+recognised as saintly without his halo of glory, and your angel as
+angelic without his tongue of flame.</p>
+
+<hr style='width: 45%;' />
+
+<p>In my own practice, when drawing from the life, I make a great point of
+keeping back all these ornaments and symbols of attribute, until I feel
+that my figure alone expresses itself fully, as far as my powers go,
+without them. No ornament upon the robe, or the crosier, or the sword;
+above all, no circle round the head, until&mdash;the figure standing out at
+last and seeming to represent, as near as may be, the true pastor or
+warrior it claims to represent&mdash;the moment arrives when I say, "Yes, I
+have done all I can,&mdash;<i>now</i> he may have his nimbus!"
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 264 --><span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span></p>
+<h2><a name="chptr19" id="chptr19">CHAPTER XIX</a></h2>
+
+<p class="blockquot">Of General Conduct and Procedure&mdash;Amount of Legitimate
+Assistance&mdash;The Ordinary Practice&mdash;The Great Rule&mdash;The Second Great
+Rule&mdash;Four Things to Observe&mdash;Art <i>v.</i> Routine&mdash;The Truth of the
+Case&mdash;The Penalty of Virtue in the Matter&mdash;The Compensating
+Privilege&mdash;Practical Applications&mdash;An Economy of Time in the
+Studio&mdash;Industry&mdash;Work "To Order"&mdash;Clients and Patrons&mdash;And
+Requests Reasonable and Unreasonable&mdash;The Chief Difficulty the
+Chief Opportunity&mdash;But ascertain all Conditions before starting
+Work&mdash;Business Habits&mdash;Order&mdash;Accuracy&mdash;Setting out Cartoon
+Forms&mdash;An Artist must Dream&mdash;But Wake&mdash;Three Plain Rules.</p>
+
+
+<p>Having now described, as well as I can, the whole of your equipment&mdash;of
+hand, and head, and heart&mdash;your mental and technical weapons for the
+practice of stained-glass, there now follow a few simple hints to guide
+you in the use of them; how best to dispose your forces, and on what to
+employ them. This must be a very broken and fragmentary chapter, full of
+little everyday matters, very different to the high themes we have just
+been trying to discuss&mdash;and relating chiefly to<!-- Page 265 --><span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> your conduct of the
+thing as a business, and your relationships with the interests that
+surround you; modes of procedure, business hints, practical matters. I
+am sorry, just as you were beginning (I hope) to be warmed to the
+subject, and fired with the high ambitions that it suggests, to take and
+toss you into the cold world of matter-of-fact things; but that is life,
+and we have to face it. Open the door into the cold air and let us bang
+at it straight away!</p>
+
+<p>Now there is one great and plain question that contains all the rest;
+you do not see it now, but you will find it facing you before you have
+gone very far. The great question, "Must I do it all myself, or may I
+train pupils and assistants?"</p>
+
+<p>Let us first amplify the question and get it fairly and fully stated.
+Then we shall have a better chance of being able to answer it wisely.</p>
+
+<p>I have described or implied elsewhere the usual practice in the matter
+amongst those who produce stained-glass on a large scale. In great
+establishments the work is divided up into branches: designers,
+cartoonists, painters, cutters, lead workers, kiln-men: none of whom, as
+a <!-- Page 266 --><span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span>rule, know any branch of the work except their own.</p>
+
+<p>Obviously one of the principal contentions of this book is against the
+idea that such division, as practised, is an ideal method.</p>
+
+<p>On the other hand, you will gather that the writer himself uses the
+service of assistants.</p>
+
+<p>While in the plates at the end are examples of glass where everything
+has been done by the artists themselves (Plates <a href="#i">I.</a>, <a href="#ii">II.</a>,
+<a href="#iii">III.</a>, <a href="#iv">IV.</a>, <a href="#vii">VII.</a>).</p>
+
+<p>I must freely confess that when I first saw in the work of these men the
+beauty resulting from the personal touch of the artist on the whole of
+the cutting and leading, a qualm of doubt arose whether the practice of
+admitting <i>any</i> other hand to my assistance was not a compromise to some
+extent with absolute ideal; whether it were not the only right plan,
+after all, to do the whole oneself; to sit down to the bench with one's
+drawing, and pick out the glass, piece by piece, on its merits,
+carefully considering each bit as it passed through hand; cutting it and
+trimming it affectionately to preserve its beauties, and, later, leading
+it into its <!-- Page 267 --><span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span>place with thicker or thinner lead, in the same careful
+spirit. But I do not think so. I fancy the truth to be that the <i>whole</i>
+business should be opened up to all, and afterwards each should
+gravitate to his place by natural fitness. For the cartoonist <i>once
+having the whole craft</i> requires more constant practice in drawing to
+keep himself a good cartoonist than he would get if he also did all the
+other work of each window; quantity being in this matter even essential
+to quality. I think we must look for more monumental figures, achieved
+by the delegation of minor craft matters, in short, by co-operation.
+Nevertheless, I have never felt less certainty in pronouncing on any
+question of my craft than in this particular matter; whether, to get the
+best attainable results, one should do the whole of the work oneself. On
+the other hand, I never felt <i>more</i> certainty in pronouncing on any
+question of the craft, than now in laying down as an absolute rule and
+condition of doing good work at all: that one should be <i>able</i> to do the
+whole of the work oneself. <i>That</i> is the key to the whole situation, but
+it is not the whole key; for following close upon it comes the rule that
+<!-- Page 268 --><span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span>
+springs naturally out of it; that, being a master oneself, one must make
+it one's object to train all assistants towards mastership also: to give
+them the whole ladder to climb. This at least has been the case with the
+work of my own which is shown in the other collotypes. There has been
+assistance, but every one of those assisting has had the opportunity to
+learn to make, and according to the degree of his talent is actually
+able to make, the whole of a stained-glass window himself. There is not
+a touch of painting on any of the panels shown which is not by a hand
+that can also cut and lead and design and draw, and perform all the
+other offices pertaining to stained-glass noted in the foregoing pages.</p>
+
+<p>Speaking generally, I care not whether a man calls himself Brown, or
+Brown and Co., or, co-operating with others, works under the style of
+Brown, Jones and Robinson, so long as he observe four things.</p>
+
+<p>(1) Not to direct what he cannot practise;</p>
+
+<p>(2) To make masters of apprentices, or aim at making them;</p>
+
+<p>(3) To keep his hand of mastery over
+<!-- Page 269 --><span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span>
+the whole work personally at all stages; and</p>
+
+<p>(4) To be prepared sometimes to make sacrifices of profit for the sake
+of the Art, should the interests of the two clash.</p>
+
+<p>Such an one we must call an artist, a master, and a worthy craftsman. It
+is almost impossible to describe the deadening influence which a routine
+embodying the reverse of these four things has upon the mind of those
+who should be artists. Under this influence not only is the subdivision
+of labour which places each successive operation in separate hands
+accepted as a matter of course, but into each operation itself this
+separation imports a spirit of lassitude and dulness and compliance with
+false conditions and limited aims which would seem almost incredible in
+those practising what should be an inspiring art. To men so trained, so
+employed, all counsels of perfection are foolishness; all idea of
+tentative work, experiment, modification while in progress, is looked
+upon as mere delusion. To them work consists of a series of never-varied
+formulas, all fitting into each other and combined to aim at producing a
+definite result, the like of which they have produced a thousand <!-- Page 270 --><span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span>times
+before and will produce a thousand times again.</p>
+
+<p>"With us," once said, to a friend of the writer, a man so trained, "it's
+a matter of judgment and experience. It's all nonsense this talk about
+seeing work at a distance and against the sky, and so forth, while as to
+the ever taking it down again for retouching after once erecting it,
+that could only be done by an amateur. We paint a good deal of the work
+on the bench, and never see it as a whole until it's leaded up; but then
+we know what we want and get it."</p>
+
+<p>"We know what we want!" To what a pass have we come that such a thing
+could be spoken by any one engaged in the arts! Were it wholly and
+universally true, nothing more would be needed in condemnation of wide
+fields of modern practice in the architectural and applied arts, for,
+most assuredly it is a sentence that could never be spoken of any one
+worthy of the name of artist that ever lived. Whence would you like
+instances quoted? Literature? Painting? Sculpture? Music? Their name is
+legion in the history of all these arts, and in the lives of the great
+men who wrought in them.
+</p>
+
+<p><!-- Page 271 --><span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span>For a taste&mdash;</p>
+
+<p>Did Michael Angelo "know what he wanted" when, half-way through his
+figure, he found the block not large enough, and had to make the limb
+too short?</p>
+
+<p>Did Beethoven know, when he evolved a movement in one of his concerted
+pieces out of a quarrel with his landlady? and another, "from singing or
+rather roaring up and down the scale," until at last he said, "I think I
+have found a motive"&mdash;as one of his biographers relates? Tennyson, when
+he corrected and re-corrected his poems from youth to his death? D&uuml;rer,
+the precise, the perfect, able to say, "It cannot be better done," yet
+re-engraving a portion of his best-known plate, and frankly leaving the
+rejected portion half erased?<a name="FNanchor_6" id="FNanchor_6"></a><a href="#Footnote_6" class="fnanchor">[6]</a>
+Titian, whose custom it was to lay
+aside his pictures for long periods and then criticise them, imagining
+that he was looking at them "with the eyes of his worst enemy"?</p>
+
+<div class="footnote"><p><a name="Footnote_6" id="Footnote_6"></a><a href="#FNanchor_6"><span class="label">[6]</span></a> "Ariadne Florentina," p. 31.</p></div>
+
+<p>There is not, I suppose, in the English language a more "perfect" poem
+than "Lycidas." It purports to have been written in a single day, and
+its wholeness and unity and crystalline completeness <!-- Page 272--><span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span>give good colour to
+the thought that it probably was so.</p>
+
+<p>"Thus sang the uncouth swain to the oaks and rills,<br />
+<span style="margin-left: 1em;">While the still morn went out with sandals gray;</span><br />
+He touched the tender stops of various quills,<br />
+<span style="margin-left: 1em;">With eager thought warbling his Doric lay:</span><br />
+And now the sun had stretched out all the hills,<br />
+<span style="margin-left: 1em;">And now was dropt into the western bay:</span><br />
+At last he rose, and twitched his mantle blue;<br />
+To-morrow, to fresh woods and pastures new."<br />
+</p>
+
+<p>Yet, regarding it, the delightful Charles Lamb writes:<a name="FNanchor_7" id="FNanchor_7"></a><a href="#Footnote_7" class="fnanchor">[7]</a>&mdash;</p>
+
+<div class="footnote"><p><a name="Footnote_7" id="Footnote_7"></a><a href="#FNanchor_7"><span class="label">[7]</span></a> "A Saturday's Dinner."</p></div>
+
+<p>"I had thought of the <i>Lycidas</i> as of a full-grown beauty,&mdash;as springing
+with all its parts absolute,&mdash;till, in evil hour, I was shown the
+original copy of it, together with the other minor poems of its author,
+in the library of Trinity, kept like something to be proud of. I wish
+they had thrown them in the Cam, or sent them, after the later cantos of
+Spenser, into the Irish Channel. How it staggered me to see the fine
+things in their ore!&mdash;interlined, corrected, as if their words were
+mortal, alterable, displaceable at pleasure; as if they might have been
+otherwise, and just as good; as if inspiration were made up of parts,
+and those fluctuating, successive, <!-- Page 273--><span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span>indifferent! I will never go into the
+workshop of any great artist again, nor desire a sight of his picture,
+till it is fairly off the easel; no, not if Raphael were to be alive
+again, and painting another Galatea."</p>
+
+<p>But the real truth of the case is that whatever "inspiration" may be,
+and whether or not "made up of parts," it, or man's spirit and will in
+all works of art, has to <i>deal with</i> things so made up; and not only so,
+but also as described by the other words here chosen: <i>fluctuating</i>,
+<i>successive</i>, and <i>indifferent</i>. You have to deal with the whole sum of
+things all at once; the possible material crowds around the artist's
+will, shifting, changing, presenting at all stages and in all details of
+a work of art, infinite and continual choice. "Nothing," we are told,
+"is single," but all things have relations with each other. How much
+more, then, is it true that every bit of glass in a window is the centre
+of such relations with its brother and sister pieces, and that nothing
+is final until all is finished? A work of art is like a battle; conflict
+after conflict, man[&oelig;]uvre after man[&oelig;]uvre, combination after
+combination. <!-- Page 274--><span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span>The general does not pin himself down from the outset to
+one plan of tactics, but watches the field and moulds its issues to his
+will, according to the yielding or the resistance of the opposing
+forces, keeping all things solvent until the combinations of the strife
+have woven together into a soluble problem, upon which he can launch the
+final charge that shall bring him back with victory.</p>
+
+<p>So also is all art, and you must hold all things in suspense. Aye! the
+last touch more or less of light or shade or colour upon the smallest
+piece, keeping all open and solvent to the last, until the whole thing
+rushes together and fuses into a harmony. It is not to be done by
+"judgment and experience," for all things are new, and there are no two
+tasks the same; and it is impossible for you from the outset to "know
+what you want," or to know it at any stage until you can say that the
+whole work is finished.</p>
+
+<p>"But if we work on these methods we shall only get such a small quantity
+of work done, and it will be so costly done on a system like that you
+speak of! Make my assistants masters, and so rivals! put a window in,
+and take it out again, <!-- Page 275--><span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span>forsooth!" What remedy or answer for this?
+</p>
+
+<p>Well&mdash;setting aside the question of the more or less genius&mdash;there are
+only two solutions that I can see:&mdash;an increase in industry or a
+possible decrease in profit, though much may be accomplished in
+mitigation of these hard conditions, if they prove <i>too</i> hard, by a good
+and economical system of work, and by time-saving appliances and
+methods.</p>
+
+<p>But, after all, you were not looking out for an easy task, were you, in
+this world of stress and strain to have the privileges of an artist's
+life without its penalties? Why, look you, you must remember that
+besides the business of "saving your soul," which you may share in
+common with every one else, <i>you</i> have the special privilege of
+<i>enjoying for its own sake your personal work in the world</i>.</p>
+
+<p>And you must expect to pay for that privilege at some corresponding
+personal cost; all the more so in these days when your lot is so
+exceptional a fortune, and when to enjoy daily work falls to so few.
+Nevertheless, when I say "enjoy" I do not mean that art is easy or
+pleasant in the way that ease is pleasant; <!-- Page 276--><span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span>there is nothing harder; and
+the better the artist, probably the harder it is. But you enjoy it
+because of its privileges; because beauty is delightful; because you
+know that good art does high and unquestioned service to man, and is
+even one of the ways for the advancing of the kingdom of God.</p>
+
+<p>That should be pleasure enough for any one, and compensation for any
+pains. You must learn the secret of human suffering&mdash;and you can only
+learn it by tasting it&mdash;because it is yours to point its meaning to
+others and to give the message of hope.</p>
+
+<p>In this spirit, then, and within these limitations, must you guide your
+own work and claim the co-operation of others, and arrange your
+relationships with them, and the limits of their assistance and your
+whole personal conduct and course of procedure:&mdash;</p>
+
+<p>To be yourself a master.</p>
+
+<p>To train others up to mastery.</p>
+
+<p>To keep your hand over the whole.</p>
+
+<p>To work in a spirit of sacrifice.</p>
+
+<p>These things once firmly established, questions of procedure become
+simple. But a few detached hints may be given.
+<!-- Page 277--><span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span>
+I shall string them together just as they come.</p>
+
+<p><i>An Economy of Time in the Studio.</i>&mdash;Have a portion of your studio or
+work-room wall lined with thin boarding&mdash;"picture-backing" of 1/8 inch
+thick is enough, and this is to <i>pin things on to</i>. The cartoon is what
+you are busy upon, but you must "think in glass" all the time you are
+drawing it. Have therefore, pinned up, a number of slips of paper&mdash;a
+foolscap half-sheet divided <i>vertically</i> into two long strips I find
+best.</p>
+
+<p>On these write down every direction to the cutter, or the painter, or
+the designer of minor ornament, <i>the moment it comes into your mind</i>, as
+you work at the charcoal drawing. If you once let the moment pass you
+will never remember these things again, but you will have them
+constantly forced back upon your memory, by the mistranslations of your
+intention which will face you when you first see your work in the glass.
+This practice is a huge saving of time&mdash;and of disappointment. But you
+also want this convenient wall space for a dozen other needs; for
+tracings and shiftings of parts, and all sorts of essays and suggestions
+for alteration.
+</p>
+
+<p><!-- Page 278--><span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span><i>That we should work always.</i>&mdash;I hope it is not necessary to urge the
+importance of <i>work</i>. It is not of much use to work only when we <i>feel
+inclined</i>; many people very seldom do feel naturally inclined. Perhaps
+there are few things so sweet as the triumph of working <i>through</i>
+disinclination till it is leavened through with the will and becomes
+enjoyment by becoming conquest. To work through the dead three o'clock
+period on a July afternoon with an ache in the small of one's back and
+one's limbs all a-jerk with nervousness, drooping eyelids, and a general
+inclination to scream. At such a time, I fear, one sometimes falls back
+on rather low and sordid motives to act as a spur to the lethargic will.
+I think of the shortness of the time, the greatness of the task, but
+also of all those hosts of others who, if I lag, must pass me in the
+race. Not of actual rivals&mdash;or good nature and sense of comradeship
+would always break the vision&mdash;but of possible and unknown ones whom it
+is my habit to club all together and typify under the style and title of
+"that fellow Jones." And at such a time it is my habit to say or think,
+"Aha! I bet Jones is on his back under a plane <!-- Page 279--><span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span>tree!"&mdash;or thoughts to
+that effect&mdash;and grasp the charcoal firmer.</p>
+
+<p>It is habits and dodges and ways of thinking such as these that will
+gradually cultivate in you the ability to "stand and deliver," as they
+say in the decorative arts. For, speaking now to the amateur (if any
+such, picture-painter or student, are hesitating on the brink of an art
+new to them), you must know that these arts are not like
+picture-painting, where you can choose your own times and seasons: they
+are always done to definite order and expected in a definite time; and
+that brings me to speak of the very important subject of "Clients."</p>
+
+<p><i>Of Clients and Patrons.</i>&mdash;It must, of course, be left to each one to
+establish his own relations with those who ask work of him; but a few
+hints may be given.</p>
+
+<p>You will get many requests that will seem to you unreasonable and
+impossible of carrying out&mdash;some no doubt will really be so; but at
+least <i>consider them</i>. Remember what we said a little way back&mdash;not to
+be set on your own allegory, but to accept your subject from outside and
+add your poetic thought to it. And also what <!-- Page 280--><span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span>in another place we said
+about keeping all "solvent"&mdash;so do with actual suggestion of subject and
+with the wishes of your client: treat the whole thing as "raw material,"
+and all surrounding questions as factors in one general problem. Here
+also Ruskin has a pregnant word of advice&mdash;as indeed where has he
+not?&mdash;"A great painter's business is to do what the public ask of him,
+in the way that shall be helpful and instructive to them."
+<a name="FNanchor_8" id="FNanchor_8"></a>
+<a href="#Footnote_8" class="fnanchor">[8]</a> You cannot
+always do what people ask, but you can do it more often than a
+headstrong man would at first think.</p>
+
+<div class="footnote"><p><a name="Footnote_8" id="Footnote_8"></a><a href="#FNanchor_8"><span class="label">[8]</span></a> "Aratra Pentelici," p. 253.</p></div>
+
+<p>I was once doing a series of small square panels, set at intervals in
+the height of some large, tall windows, and containing Scripture
+subjects, the intermediate spaces being filled with "grisaille" work.
+The subjects, of course, had to be approximately on one scale, and
+several of them became very tough problems on account of this
+restriction. However, all managed to slip through somehow till we came
+to "Jacob's Ladder," and there I stood firm, or perhaps I ought rather
+to say <i>stuck fast</i>. "How is it possible," I said to my client, "that
+you can have a picture of the 'Fall' in one
+<!-- Page 281--><span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span>
+panel with Eve's figure taking up almost the whole height of it, and
+have a similar panel with 'Angels Ascending and Descending' up and down
+a ladder? There are only two ways of doing it&mdash;to put the ladder far off
+in a landscape, which would reduce it to insignificance, and besides be
+unsuitable in glass; or to make the angels the size of dolls. Don't you
+see that it's impossible?" No, he didn't see that it was impossible.
+What he wanted was "Jacob's Ladder"; the possibility or otherwise was
+nothing to him. He said (what you'll often hear said, reader, if you do
+stained-glass), "I don't, of course, know anything about art, and I
+can't say how this could be done; that is the artist's province."</p>
+
+<p>It was in my younger days, and I'm afraid I must have replied to the
+effect that it was not a question of art but of common reason, and that
+the artist's province did not extend to making bricks without straw or
+making two and two into five; and the work fell through. But had I the
+same thing to deal with now I should waste no words on it, but run the
+"ladder" right up out of the panel into the grisaille above; an
+opportunity for one of those delightful na&iuml;ve <i>exceptions</i>
+<!-- Page 282--><span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span>of which old
+art is so full&mdash;like, for instance, the west door of St. Maclou at
+Rouen, where the crowd of falling angels burst out of the tympanum, bang
+through the lintel, defying architecture as they defied the first great
+Architect, and continue their fall amongst the columns below. "Angels
+Descending," by-the-bye, with a vengeance! And if the bad ones, why not
+the good? I might just as well have done it, and probably it would have
+been the very thing out of the whole commission which would have
+prevented the series from being the tame things that such sometimes are.
+Anyway, remember this&mdash;for I have invariably found it true&mdash;that <i>the
+chief difficulty of a work of art is always its chief opportunity</i>. A
+thing can be looked at in a thousand and one ways, and something
+dauntingly impossible will often be the very thing that will shake your
+jogtrot cart out of its rut, make you whip up your horses, and get you
+right home.</p>
+
+<p>BUT</p>
+
+<p>Observe this&mdash;that all these wishes of the client should be most
+strictly ascertained <i>beforehand</i>; all possibility of midway criticism
+and alteration prevented. Thresh the thing well out in the preliminary
+<!-- Page 283--><span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span>
+stages and start clear; as long as it <i>is</i> raw material, all in
+solution, all hanging in the balance&mdash;you can do anything. It is like
+"clay in the hands of the potter," and you can make the vessel as you
+please: "Out of the same lump making one vessel to honour and another to
+dishonour." But when the work is <i>half-done</i>, when colour is calling out
+to colour, and shape to shape, and thought to thought, throughout the
+length and breadth of the work; when the ideas and the clothing of them
+are all fusing together into one harmony; when, in short, the thing is
+becoming that indestructible, unalterable unity which we call a Work of
+Art:&mdash;then, indeed, to be required to change or to reconsider is a real
+agony of impossibility; tearing the glowing web of thought, and form,
+and fancy into a destruction never to be reconstructed, and which no
+piecing or patching will mend.</p>
+
+<p>There are many minor points, but they are really so entirely matters of
+experience, that it hardly seems worth while to dwell upon them. Start
+with recognising the fact that you must try to add business habits and
+sensible and <!-- Page 284--><span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span>economical ways to your genius as an artist; in short,
+another whole side to your character; and keep that ever in view, and
+the details will fall into their places.</p>
+
+<p><i>Have Everything in Order.</i>&mdash;Every letter relating to a current job
+should be findable at a moment's notice in an office "letter basket,"
+rather wider than a sheet of foolscap paper, and with sides high enough
+to allow of the papers standing upright in unfolded sheets, each group
+of them behind a card taller than the tallest kind of ordinary document,
+and bearing along the top edge in large red letters&mdash;Roman capitals for
+choice&mdash;the name of the work: and it need hardly be said that these
+should be arranged in alphabetical order. For minor matters too small
+for such classification it is well to have, in the <i>front</i> place in the
+basket, cards dividing the alphabet itself into about four parts, so
+that unarranged small matters can be still kept roughly alphabetical.
+When the work is done, transfer all documents to separate labelled
+portfolios&mdash;a folded sheet of the thickest brown paper, such as they put
+under carpets, is very good&mdash;and store them away for reference. Larger
+portfolios <!-- Page 285--><span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span>for all <i>templates</i>, tracings, or architects' details or
+drawings relating to the work. If you have not a good system with regard
+to the ordering of these things, believe me the mere <i>administration</i> of
+a very moderate amount of work will take you <i>all your day</i>.</p>
+
+<p>So also with <i>measurement</i>.</p>
+
+
+<p class="center">ON ACCURACY IN MEASUREMENT.</p>
+
+<p>In one of Turgenieff's novels a Russian country proverb is
+quoted&mdash;"Measure thrice, cut once." It is a golden rule, and should be
+inscribed in the heart of every worker, and I will add one that springs
+out of it&mdash;"Never trust a measurement unless it has been made by
+yourself, or for yourself&mdash;to your order."</p>
+
+<p>The measurements on architects' designs, or even working drawings, can
+never be trusted for the dimensions of the built work. Even the
+builders' templates, by which the work was built, cannot be, for the
+masons knock these quite enough out, in actual building, to make your
+work done by these guides a misfit. Have your own measurements taken
+again. Above all, beware of trusting to the supposed verticals or
+horizontals in built work, <!-- Page 286--><span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span>especially in tracery. A thing may be
+theoretically and intentionally at a certain angle, but actually at
+quite a different one. If level is important, take it yourself with
+spirit-level and plumb-line.</p>
+
+<p>With regard to accuracy of work <i>in the shop</i>, where it depends on
+yourself and the system you observe, I cannot do better than write out
+for you here the written notice by which the matter is regulated in my
+own practice with regard to cartoons.</p>
+
+<p class="center"><i>"Rules to be Observed in Setting out Forms for Cartoons.</i></p>
+
+<p>"In every case of setting out any form, or batch of forms, for new
+windows the truth of the first long line ruled must be <i>tested</i> by
+stretching a thread.</p>
+
+<p>If the lath is proved to be out, it must at once be sent to a joiner to
+be accurately 'shot,' and the accuracy of <i>both</i> its edges must then be
+tested with a thread.</p>
+
+<p>The first right angle made (for the corner of the form) must also be
+tested by raising a perpendicular, with a radius of the compasses not
+less than 6 inches and with a needle-pointed pencil, and by the
+subjoined formula and no other.</p>
+
+<p>From a given point in a given straight line to raise a perpendicular.
+
+Let A B be the given straight line (this must be the <i>long</i> side of the
+form, and the point B must be one corner of the base-line): it is
+required to raise from the point B a line perpendicular to the line A B.</p>
+<p>
+<!-- Page 287--><span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span></p>
+<div class="figcenter" style="width: 309px;">
+<img src="images/fig71.jpg" width="309" height="500" alt="FIG. 71." title="" />
+<span class="smcap"><b>Fig. 71.</b></span>
+</div>
+
+<p><!-- Page 288--><span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span>(1) Prolong the line A B at least 6 inches beyond B (if there is not
+room on the paper, it must be pinned on to a smooth board, and a piece
+of paper pinned on, so as to meet the edge of it, and continue it to the
+required distance).</p>
+
+<p>(2) With the centre B (the compass leg being in all cases placed with
+absolute accuracy, using a lens if necessary to place it) describe the
+circle C D E.</p>
+
+<p>(3) With the centres C and E, and with a radius of not less than 9
+inches, describe arcs intersecting at F and G.</p>
+
+<p>(4) Join F G.</p>
+
+<p>Then, if the work has been correctly done, the line F G will <i>pass
+through the point</i> B, and be perpendicular to the line A B. If it does
+not do so, the work is incorrect, and must be repeated.</p>
+
+<p>When the base and the springing-line are drawn on the form, the form
+must be accurately measured from the bottom upwards, and <i>every foot
+marked on both sides</i>.
+<!-- Page 289--><span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span>
+Such markings to be in fine pencil-line, and to be drawn from the sides
+of the form to the extreme margin of the paper, and you are not to trust
+your eye by laying the lath flat down and ticking off opposite the
+inch-marks, but you are to stand the lath on its edge, so that the
+inch-marks actually meet the paper, and then tick opposite to them.</p>
+
+<p>Also if there are any bars in the window to be observed, the places of
+these must be marked, and it must be made quite clear whether the mark
+is the middle of the bar or its edge; and all this marking must be done
+lightly, but very carefully, with a needle-pointed pencil.</p>
+
+<p>In every case where the forms are set out from templates, the accuracy
+of the templates must be verified, and in the event of the base not
+being at right angles with the side, a true horizontal must be made from
+the corner which is higher than the other (the one therefore which has
+the obtuse angle) and marked within the untrue line; and all
+measurements, whether of feet, bars, or squaring-out lines, or levels
+for canopies, bases, or any other divisions of the light, must be <!-- Page 290--><span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span>made
+upwards <span class="smcap">from this true level line</span>."</p>
+
+<p>These rules, I suppose, have saved me on an average an hour a day since
+they were drawn up; and, mark you, an hour of <i>waste</i> and an hour of
+<i>worry</i> a day&mdash;which is as good as saving a day's work at the least.</p>
+
+<p>An artist must dream; you will not charge me with undervaluing that; but
+a decorator must also wake, and have his wits about him! Start,
+therefore, in all the outward ordering of your career with the three
+plain rules:&mdash;</p>
+
+<p>(1) To have everything orderly;</p>
+
+<p>(2) To have everything accurate;</p>
+
+<p>(3) To bring everything and every question to a point, <i>at the time</i>,
+and clinch it.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="chptr20" id="chptr20">CHAPTER XX</a></h2>
+
+<p class="blockquot2">A STRING OF BEADS</p>
+
+
+<p>Is there anything more to say?</p>
+
+<p>A whole world-full, of course; for every single thing is a part of all
+things. But I have said most of my say; and I could now wish that you
+were here <!-- Page 291--><span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span>that you might ask me aught else you want.</p>
+
+<p>A few threads remain that might be gathered up&mdash;parting words, hints
+that cannot be classified. I must string them together like a row of
+beads; big and little mixed; we will try to get the big ones more or
+less in the middle if we can.</p>
+
+<p>Grow everything from seed.</p>
+
+<p>All seeds that are living (and therefore worth growing) have the power
+in them to grow.</p>
+
+<p>But so many people miss the fact that, on the other hand, <i>nothing else</i>
+will grow; and that it is useless in art to transplant full-grown trees.</p>
+
+<p>This is the key to great and little miseries, great and little mistakes.</p>
+
+<p>Were you sorry to be on the lowest step of the ladder? Be glad; for all
+your hopes of climbing are in that.</p>
+
+<p>And this applies in all things, from conditions of success and methods
+of "getting work" up to the highest questions of art and the "steps to
+Parnassus," by which are reached the very loftiest of ideals.</p>
+
+<p>I must not linger over the former of these two things or do more than
+<!-- Page 292--><span class='pagenum'><a name="Page_292" id="Page_292">[Pg 292]</a></span>
+sum it up in the advice, to take anything you can get, and to be glad,
+not sorry, if it is small and comes to you but slowly. Simple things,
+and little things, and many things, are more needed in the arts today
+than complex things and great and isolated achievements. If you have
+nothing to do for others, do some little thing for yourself: it is a
+seed, presently it will send out a shoot of your first "commission," and
+that will probably lead to two others, or to a larger one; but pray to
+be led by small steps; and make sure of firm footing as you go, for
+there is such a thing as trying to take a <i>leap</i> on the ladder, and
+leaping off it.</p>
+
+<p>So much for the seed of success.</p>
+
+<p>The seed of craftsmanship I have tried to describe in this book.</p>
+
+<p>The seed of ornament and design, it is impossible to treat of here; it
+would require as large a book as this to itself: but I will hazard the
+devotion of a page each to the A and the B of my own A B C of the
+subject as I try to teach it to my pupils, and put them before you
+without comment, hoping they may be of some slight use. (See figs. 72
+and 73.)
+</p>
+
+<p><!-- Page 293--><span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span>But though I said that nothing will grow but seed, it does not, of
+course, follow that every seed will grow, or, if it does, that you
+yourself will reap the exact harvest you expect, or even recognise it in
+its fruitage as the growth of what you have sown. Expect to give much
+for little, to lose sight of the bread cast on the waters, not even sure
+that you will know it again even if you find it after many days. You
+never know, and therefore do not count your scalps too carefully or try
+to number your Israel and Judah. Neither, on the other hand, allow your
+seed to be forced by the hothouse of advertising or business pushing, or
+anything which will distract or distort that quiet gaze upon the work by
+which you love it for its own sake, and judge it on its merits; all such
+sidelights are misleading, since you do not know whether it is intended
+that this or that shall prosper or both be alike good.</p>
+
+<p>How many a man one sees, earnest and sincere at starting, led aside off
+the track by the false lights of publicity and a first success. Art is
+peace. Do things because you love them. If purple is your favourite
+colour, put purple in your window; if green, green; if yellow, yellow.
+
+Flowers and leaves and buds because you love them. Glass because you
+love it. It is not that you are to despise either fame or wealth.
+Honestly acquired both are good. But you must bear in mind that the
+pursuit of these separately by any other means than perfecting your work
+is a thing requiring great outlay of TIME, and you cannot afford to
+withdraw any time from your work in order to acquire them.</p>
+<p><!-- Page 294--><span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span></p>
+
+<p style="margin-left:10%;margin-right:30%;border-style:solid;border-width:thin;padding:10px;text-align:left;">
+FIG. 72: Design consists of arrangement. Let us practise
+<img style="float:left;" src="images/fig72a.jpg" width="109" height="54" alt="a" title="" />
+arrangement separately, and on its simplest terms. Take the simplest
+possible arranged form, and make all ornament spring from this, without,
+for a considerable time changing its character, or making any additions
+of a different character to it. If we are not then to do this what
+resource have we? we may change its direction. Proceed then to do so,
+observing a few very simple rules.
+<img style="float:left;" src="images/fig72b.jpg" width="80" height="73" alt="b" title="" />
+1. Do the work in single "stitches"
+2. &amp; to each arm of the cross in turn. 3 keep a record of each step;
+that is, as soon as you have got any definite developement from your
+original form, put that down on paper and leave it, drawing it over
+again and developing from the second drawing.
+<img style="float:left;" src="images/fig72c.jpg" width="80" height="66" alt="c" title="" />
+The fourth rule is the
+most important of all: 4. Keep "on the spot" as much as possible, i.e.
+take a number of single steps from the point you have arrived at, not a
+number of consecutive steps leading farther from it.
+<img style="float:left;" src="images/fig72c.jpg" width="80" height="66" alt="c" title="" />
+<img style="float:left;" src="images/fig72d.jpg" width="80" height="67" alt="d" title="" />
+For example: "b"
+here is a single step from "a", you do one thing. I do not want you to
+go on developing from it [fig. "b"] as "c", "d" &amp; "e" until you have
+<img style="float:left;" src="images/fig72e.jpg" width="80" height="66" alt="e" title="" />
+<img style="float:left;" src="images/fig72f.jpg" width="80" height="75" alt="f" title="" />
+gone back to fig. "a" and made all the immediately possible steps to be
+taken from it, one of wh. is shown, fig "f."</p>
+<p><!-- Page 295--><span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span></p>
+<p style="margin-left:10%;margin-right:30%;border-style:solid;border-width:thin;padding:10px;text-align:left;">
+FIG. 73: Seed of design as applied to Craft &amp; Material.
+<img style="float:left;" src="images/fig73a.jpg" width="200" height="98" alt="a" title="" />
+Suppose you have three simple openings. (fig. 'a'.) garret windows, or
+passage windows, we will suppose, each with a central horizontal bar:
+and suppose you have a number of pieces of glass to use up already cut
+to one gauge, and that
+<img style="float:left;" src="images/fig73x.jpg" width="30" height="34" alt="x" title="" />
+six of these fill a window, can you get any
+little variety by arrangement on the following terms. 1. Treating both
+upper and lower ranges alike 2. Allowing yourself to halve them,
+vertically only. 3. Not wasting any glass.
+<img style="float:left;" src="images/fig73b.jpg" width="200" height="89" alt="b" title="" />
+4. Not halving more than two
+in each light. How is this, fig. b? you despise it? so absurdly simple?
+It is the key to all simple ornament in leaded glass. Exhaust all the
+possible varieties, there are at least nine. Do them. That's all.
+<img src="images/fig73c.jpg" width="400" height="168" alt="c" title="" /></p>
+
+<p><!-- Page 296--><span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span>In these days and in our huge cities there are so many avenues open to
+celebrity, through Society, the Press, Exhibition, and so forth, that a
+man once led to spend time on them is in danger of finding half his
+working life run away with by them before he is aware, while even if
+they are successful the success won by them is a poor thing compared to
+that which might have been earned by the work which was sacrificed for
+them. It becomes almost a profession in itself to keep oneself
+notorious.</p>
+
+<p>To spend large slices out of one's time in the mere putting forward of
+one's work, <i>showing</i> it apart from <i>doing</i> it, necessary as this
+sometimes is, is a thing to be done <!-- Page 297--><span class='pagenum'><a name="Page_297" id="Page_297">[Pg 297]</a></span>grudgingly; still more so should one
+grudge to be called from one's work here, there, and everywhere by the
+social claims which crowd round the position of a public man.</p>
+
+<hr style='width: 45%;' />
+
+<p>There are strenuous things enough for you in the work itself without
+wasting your strength on these. We will speak of them presently; but a
+word first upon originality.</p>
+
+<p>Don't <i>strive</i> to be original; no one ever got Heaven's gift of
+invention by saying, "I must have it, and since I don't feel it I must
+assume it and pretend it;" follow rather your master patiently and
+lovingly for a long time; give and take, echo his habits as Botticelli
+echoed Filippo Lippi's, but improve upon them; add something to them if
+you can, as he also did, and pass then on, as he also did, to the
+<i>little</i> Filippo&mdash;Filippino&mdash;making him a truer and sweeter heart than
+his father, out of the well of truth and sweetness with which
+Botticelli's own heart was brimming. Do this, but at the same time
+expect with happy patience, as a boy longs for his manhood, yet does not
+try to hasten it and does not pretend to forestall it, the <!-- Page 298--><span class='pagenum'><a name="Page_298" id="Page_298">[Pg 298]</a></span>time when
+some fresh idea in imagination, some fresh method in design, some fresh
+process in craftsmanship, will come to you as a reward of patient
+working&mdash;and come by accident, as all such things do, lest you should
+think it your own and miss the joy of knowing that it is not yours but
+Heaven's.</p>
+
+<p>And when this comes, guard it and mature it carefully. Do not throw it
+out too lavishly broadcast with the ostentation of a generous genius
+having gifts to spare. Share it with proved and worthy friends, when
+they notice it and ask you about it, but in the meanwhile develop and
+cultivate it as a gardener does a tree. And this leads me to the most
+important point of all&mdash;namely, the value, the all-sufficing value, of
+<i>one</i> new step on the road of Beauty. If such is really granted you,
+consider it as enough for your lifetime. One such thing in the history
+of the arts has generally been enough for a century; how much more,
+then, for a generation.</p>
+
+<p>For indeed there is only one rule for fine work in art, that you should
+put your whole strength, all the powers of mind and body into every
+touch. Nothing less will do than that. You must face it in <!-- Page 299--><span class='pagenum'><a name="Page_299" id="Page_299">[Pg 299]</a></span>drawing from
+the life. Try it in its acutest form, not from the posed, professional
+model, who will sit like a stone; try it with children, two years old or
+so; the despair of it, the exhaustion: and then, in a flash, when you
+thought you had really done somewhat, a still more captivating,
+fascinating gesture, which makes all you have done look like lead. Can
+you screw your exhaustion up <i>again,</i> sacrifice all you have done, and
+face the labour of wrestling with the new idea? And if you do? You are
+sick with doubt between the new and the old. You ask your friends; you
+probably choose wrong; your judgment is clouded by the fatigue of your
+previous toil.</p>
+
+<p>But you have gained strength. That is the real point of the thing. It is
+not what you have done in this instance, but what you have become in
+doing it. Next time, fresh and strong, you will dash the beautiful
+sudden thought upon the paper and leave it, happy to make others happy,
+but only through the pains you took before, which are a small price to
+pay for the joy of the strength you have gained.</p>
+
+<p>This is the rule of great work. Puzzle and hesitation and compromise can
+only <!-- Page 300--><span class='pagenum'><a name="Page_300" id="Page_300">[Pg 300]</a></span>occur because you have left some factor of the problem out of
+count, and this should never be. Your business is to take all into
+account and to sacrifice everything, however fascinating and tempting it
+may be in itself, if it does not fit in as part of an harmonious
+<i>whole</i>. Remember in this case, when loth to make such sacrifice, the
+old saying that "there's as good fish in the sea as ever came out."
+Brace yourself to try for something still better. Recast your
+composition. If it is defective, the defect all comes from some want of
+strenuousness as you went along. It is like getting a bit of your figure
+out of drawing because your eye only measured some portion of it with
+one or two portions of the rest and not with the whole figure and
+attitude. Every student knows the feeling. So in your composition: you
+may get impossible levels, impossible relations between the subject and
+the surrounding canopy: perhaps one coming in front of the other at one
+point and the reverse at another point. You drew the thing dreamily: you
+were not alert enough. And now you must waste what you had got to love,
+because though it's so pretty it is not fitting.
+</p>
+
+<p><!-- Page 301--><span class='pagenum'><a name="Page_301" id="Page_301">[Pg 301]</a></span>But sometimes it will happen that some line of your composition is thus
+hacked off by no fault of yours, by some mismeasurement of a bar by your
+builder, or some change of mind or whim of your client, who "likes it
+all but"&mdash;&mdash; (some vital feature). As we have said, this is not quite a
+fair demand to be made upon the artist, but it will sometimes occur,
+whatever we do. Pull yourself together, and, before you stand out about
+it and refuse to change, consider. Try the modification, and try it in
+such an aroused and angry spirit as shall flame out against the
+difficulty with force and heat. Let the whole thing be as fuel of fire,
+and the reward will be given. The chief difficulty may become&mdash;it is
+more than an even chance that it does become&mdash;the chief glory, and that
+the composition will be like the new-born Ph[&oelig;]nix, sprung from the
+ashes of the old and thrice as fair.</p>
+
+<p>Then also strike while the iron is hot, and work while you're warm to
+it. When you have done the main figure-study and slain its difficulty
+you feel braced up, your mind clear, and you see your way to link it in
+with the surroundings. Will <!-- Page 302--><span class='pagenum'><a name="Page_302" id="Page_302">[Pg 302]</a></span>you let it all get cold because it is toward
+evening and you are physically tired, when another hour would set the
+whole problem right for next day's work; now, while you are warm, while
+the beauty of the model you have drawn from is still glowing in you with
+a thousand suggestions and possibilities? You will do in another hour
+now what would take you days to do when the fire has died down&mdash;if you
+ever do it at all.</p>
+
+<p>It is after a day's work such as this that one feels the true delight of
+the balm of Nature. For conquered difficulty brings new insight through
+the feeling of new power; and new beauties are seen because they are
+felt to be attainable, and by virtue of the assurance that one has got
+distinctly a step nearer to the veil that hides the inner heart of
+things which is our destined home.</p>
+
+<p>It is after work like this, feeling the stirrings of some real strength
+within you, promising power to deal with nature's secrets by-and-by,
+that you see as never before the beauty of things.</p>
+
+<p>The keen eyes that have been so busy turn gratefully to the silver of
+the sky with the grey, quiet trees against it and <!-- Page 303--><span class='pagenum'><a name="Page_303" id="Page_303">[Pg 303]</a></span>the watery gleam of
+sunset like pale gold, low down behind the boughs, where the robin, half
+seen, is flitting from place to place, choosing his rest and twittering
+his good-night; and you think with good hope of your life that is
+coming, and of all your aspirations and your dreams. And in the
+stillness and the coolness and the peace you can dwell with confidence
+upon the thought of all the Unknown that is moving onward towards you,
+as the glow which is fading renews itself day by day in the East,
+bringing the daily task with it.</p>
+
+<p>You feel that you are able to meet it, and that all is well; that there
+are quiet and good things in store, and that this constant renewal of
+the glories of day and night, this constant procession of morning and
+evening as the world rolls round, has become almost a special possession
+to you, to which only those who pay the price have entrance, an
+inheritance of your own as a reward of your endeavour and acquired
+power, and leading to some purposed end that will be peace.</p>
+
+<hr style='width: 45%;' />
+
+<p>Stained-glass, stained-glass, stained-glass! At night in the lofty
+church <!-- Page 304--><span class='pagenum'><a name="Page_304" id="Page_304">[Pg 304]</a></span>windows the bits glow and gloom and talk to one another in their
+places; and the pictured angels and saints look down, peopling the empty
+aisles and companioning the lamp of the sanctuary.</p>
+
+<hr style='width: 45%;' />
+
+<p>The beads worth threading seem about all threaded now, and the book
+appears to be done. Thus we have gone on then, making it as it came to
+hand, blundering, as it seems to me, on the borders of half a dozen
+literary or illiterate styles, the pen not being the tool of our proper
+craft; but on the whole saying somehow what we meant to say: laughing
+when we felt amused, and being serious when the subject seemed so, our
+object being indeed to make workers in stained-glass and not a book
+about it. Is it worth while to try and put a little clasp to our string
+of beads and tie all together?</p>
+
+<p>There was a little boy (was he six or seven or eight?), and his seat on
+Sunday was opposite the door in the fourteenth-century chancel of the
+little Norman country church. There the great, tall windows hung in the
+air around him, and he used to stare up at them with goggle-eyes in the
+way that used to earn him <!-- Page 305--><span class='pagenum'><a name="Page_305" id="Page_305">[Pg 305]</a></span>household names, wondering which he liked
+best. And for months one would be the favourite, and for months another
+would supplant it; his fancy would change, and now he liked this&mdash;now
+that. Only the stone tracery-bars, for there was no stained-glass to
+spoil them. The broad, plain flagstones of the floor spread round him in
+cool, white spaces, in loved unevenness, honoured by the foot-tracks
+which had worn the stone into little valleys from the door and through
+the narrow, Norman chancel-arch up towards the altar rails, telling of
+generations of feet, long since at rest, that had carried simple lives
+to seek the place as the place of their help or peace.</p>
+
+<p>Plain rush-plaited hassocks and little brass sconces where, on lenten
+nights, in the unwarmed church, glimmered the few candles that lit the
+devotion of the strong, rough sons of the glebe, hedgers and ditchers,
+who came there after daily labour to spell out simple prayer and praise.
+But it was best on the summer Sunday mornings, when the great spaces of
+blue, and the towering white clouds looked down through the diamond
+panes; and the iron-studded door, with the <!-- Page 306--><span class='pagenum'><a name="Page_306" id="Page_306">[Pg 306]</a></span>wonderful big key, which his
+hands were not yet strong enough to turn, stood wide open; and outside,
+amongst the deep grass that grew upon the graves, he could see the
+tortoise-shell butterflies sunning themselves upon the dandelions. Then
+it was that he used to think the outside the best, and fancy (with
+perfect truth, as I believe) that angels must be looking in, just as
+much as he was looking out, and gazing down, grave-eyed, upon the little
+people inside, as he himself used to watch the red ants busy in their
+tiny mounds upon the grass plot or the gravel path; and he wondered
+sometimes whether the outside or the inside was "God's House" most: the
+place where he was sitting, with rough, simple things about him that the
+village carpenter or mason or blacksmith had made, or the beautiful
+glowing world outside. And as he thought, with the grave mind of a
+child, about these things, he came to fancy that the eyes that looked
+out through the silver diamond-panes which kept out the wind and rain,
+mattered less than the eyes that looked in from the other side where
+basked the butterflies and flowers and all the living things he so
+loved; awful eyes <!-- Page 307--><span class='pagenum'><a name="Page_307" id="Page_307">[Pg 307]</a></span>that were at home where hung the sun himself in his
+distances and the stars in the great star-spaces; where Orion and the
+Pleiades glittered in the winter nights, where "Mazzaroth was brought
+forth in his season," and where through the purple skies of summer
+evening was laid out overhead the assigned path along which moved
+Arcturus with his sons.
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 308--><span class='pagenum'><a name="Page_308" id="Page_308">[Pg 308]</a></span></p>
+
+<h2><a name="app01" id="app01">APPENDIX I</a></h2>
+
+<p class="blockquot2">SOME SUGGESTIONS AS TO THE STUDY OF OLD GLASS</p>
+
+
+<p>Every one who wants to study glass should go to York Minster. Go to the
+extreme west end, the first two windows are of plain quarries most
+prettily leaded, and showing how pleasant "plain-glazing" may be, with
+silvery glass and a child-like enjoyment of simple patterning,
+unconscious of "high art." But look at the second window on the north
+side. What do you see? You see a yellow shield? Exactly. Every one who
+looks at that window as he passes at a quick walk must come away
+remembering that he had seen a yellow shield. But stop and look at it.
+Don't you <i>like</i> it&mdash;<i>I</i> do! Why?&mdash;well, because it happens to be by
+good luck just <i>right</i>, and it is a very good lesson of the degree <!-- Page 309--><span class='pagenum'><a name="Page_309" id="Page_309">[Pg 309]</a></span>in
+which beauty in glass depends on juxtaposition. I had thought of it as a
+particularly beautiful bit of glass in quality and colour&mdash;but not at
+all! it is textureless and rather crude. I had thought of it as old&mdash;not
+at all: it is probably eighteenth-century. But look what it happens to
+be set in&mdash;the mixture of agate, silver, greenish and black quarries.
+Imagine it by itself without the dull citron crocketting and pale
+yellow-stain "sun" and "shafting" of the panel below&mdash;without the black
+and yellow escutcheon in the light to its right hand&mdash;even without the
+cutting up and breaking with black lead lines of its own upper half. In
+short, you could have it so placed that you would like it no better,
+that it would <i>be</i> no better, than the bit of "builder's glazing" in the
+top quatrefoil of the next window, which looks like, and I fancy is, of
+almost the very same glass, but clumsily mixed, and, fortunately,
+<i>dated</i> for our instruction, 1779.</p>
+
+<p>I do not know any place where you can get more study of certain
+properties of glass than in the city of York. The cathedral alone is a
+mine of wealth.
+<!-- Page 310--><span class='pagenum'><a name="Page_310" id="Page_310">[Pg 310]</a></span>The nave windows are near enough to see all necessary detail. There is
+something of every period. And with regard to the nave and clerestory
+windows, they have been so mauled and re-leaded that you need not be in
+the least afraid of admiring the wrong thing or passing by the right.
+You can be quite frank and simple about it all. For instance, my own
+favourite window is the fifth from the west on the south side. The old
+restorer has coolly slipped down one whole panel below its proper level
+in a shower of rose-leaves (which were really, I believe, originally a
+pavement), and, frankly, I don't know (and don't care) whether they are
+part of his work in the late eighteenth century or the original glass of
+the late fourteenth. I rather incline to think that they came out of
+some other window and are bits of fifteenth-century glass. The same with
+the chequered shield of Vernon in the other light. I daresay it is a bit
+of builder's glazing&mdash;but isn't it jolly? And what do you think of the
+colour of the little central circle half-way up the middle light? Isn't
+it a flower? And look at the petal that's dropped from it on to the bar
+<!-- Page 311--><span class='pagenum'><a name="Page_311" id="Page_311">[Pg 311]</a></span>
+below! or the <i>whole</i> of the left-hand light; well, or the middle light,
+or the right-hand light? If that's not colour I don't know what is. I
+doubt if it was any more beautiful when it was new, perhaps not so
+beautiful. Compare it, for example, with the window in the same wall (I
+think next to it on the west, which has been "restored"). The window
+exactly opposite seems one of the least retouched, and the least
+interesting; if you think the yellow canopies disagreeable in colour
+don't be ashamed to say so: they are not unbeautiful exactly, I think,
+but, personally, I could do with less of them. Yet I should not be
+surprised to be assured that they are all genuine fourteenth-century. In
+the north transept is the celebrated "Five Sisters," the most beautiful
+bit of thirteenth-century "grisaille" perhaps in existence. That is
+where we get our patterns for "kamptulicon" from; but we don't make
+kamptulicon quite like it. If you want a sample of "nineteenth-century
+thirteenth-century" work you have only to look over your left shoulder.</p>
+
+<p>A similar glance to the right will show you "nineteenth-century
+fifteenth-century"<!-- Page 312--><span class='pagenum'><a name="Page_312" id="Page_312">[Pg 312]</a></span> work&mdash;and show it you in a curious and instructive
+transition stage&mdash;portions of the two right-hand windows of the five
+being old glass worked in with new, while the right-hand one of all is a
+little abbot who is nearly all old and has shrunk behind a tomb,
+wondering, as it seems to me, "how those fellows got in," and making up
+his mind whether he's going to stand being bullied by the new St. Peter.
+In the south transept opposite, all the five eastern windows are
+fifteenth-century, and some of them very well preserved, while those in
+the southern wall are modern. The great east window has a history of its
+own quite easily ascertainable on the spot and worthy of research and
+study. Then go into the north ambulatory, look at the third of the big
+windows. Well, the right-hand light; look at the bishop at the top in a
+dark red chasuble, note the bits of dull rose colour in the lower dress,
+the bit of blackish grey touching the pastoral staff just below the edge
+of the chasuble, look at the bits of sharp strong blue in the
+background. Now I believe these are all accidents&mdash;bits put in in
+releading; but when the choir is singing and you <!-- Page 313--><span class='pagenum'><a name="Page_313" id="Page_313">[Pg 313]</a></span>can pick out every
+separate note of the harmony as it comes down to you from each curve of
+the fretted roof, if you don't think this window goes with it and is
+music also, you must be wrong, I think, in eye or ear. But indeed this
+part of the church and all round the choir aisles on both sides is a
+perfect treasure-house of glass.</p>
+
+<p>If you want an instance of what I said (<a href="#discord">p. 212</a>) as to "added notes
+turning discord into harmony," look at the <i>patched</i> east window of the
+south choir aisle. Mere jumble&mdash;probably no selection&mdash;yet how
+beautiful! like beds of flowers. Did you ever see a bed of flowers that
+was <i>not</i> beautiful?&mdash;often and often, when the gardener had carefully
+selected the plants of his ribbon-bordering; but I would have you think
+of an old-fashioned cottage garden, with its roses and lilies and
+larkspur and snapdragon and marigolds&mdash;those are what windows should be
+like.</p>
+
+<p>In addition to the minster, almost every church in the city has some
+interesting glass; several of them a great quantity, and some finer than
+any in the cathedral itself. And here I would give a hint. <i>Never pass a
+church or chapel of any sort or kind</i>, <!-- Page 314--><span class='pagenum'><a name="Page_314" id="Page_314">[Pg 314]</a></span><i>old or new, without looking in.</i>
+You cannot tell what you may find.</p>
+
+<p>And a second hint. Do not make written pencil notes regarding colour,
+either from glass or nature, for you'll never trouble to puzzle them out
+afterwards. Take your colour-box with you. The merest dot of tint on the
+paper will bring everything back to mind.</p>
+
+<p>Space prevents our making here anything like a complete itinerary
+setting forth where glass may be studied; it must suffice to name a few
+centres, noting a few places in the same district which may be visited
+from them easily. I name only those I know myself, and of course the
+list is very slight.</p>
+
+<p><span class="smcap">York.</span> And all churches in the city.</p>
+
+<p><span class="smcap">Gloucester.</span> Tewkesbury, Cirencester.</p>
+
+<p><span class="smcap">Birmingham.</span> (For Burne-Jones glass.) Shrewsbury, Warwick, Tamworth,
+Malvern.</p>
+
+<p><span class="smcap">Wells.</span></p>
+
+<p><span class="smcap">Oxford.</span> Much glass in the city, old and new. Fairford.</p>
+
+<p><span class="smcap">Cambridge.</span> Much glass in the city, old and new.</p>
+
+<p><span class="smcap">Canterbury.</span></p>
+
+<p><span class="smcap">Chartres.</span> (If there is still any left <!-- Page 315--><span class='pagenum'><a name="Page_315" id="Page_315">[Pg 315]</a></span>unrestored.) St. Pierre in the
+
+same town.</p>
+
+<p><span class="smcap">Sens.</span></p>
+
+<p><span class="smcap">Troyes.</span> <span class="smcap">Auxerre.</span></p>
+
+<p>Of the last two I have only seen some copies. For glass by Rossetti,
+Burne-Jones, and Madox-Brown, consult their lives.</p>
+
+<p>There are many well-known books on the subject of ancient glass,
+Winston, Westlake, &amp;c., which give fuller details on this matter.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="app02" id="app02">APPENDIX II</a></h2>
+
+<p class="blockquot2">ON THE RESTORING OF ANCIENT WINDOWS</p>
+
+
+<p>Let us realise what <i>is</i> done.</p>
+
+<p>And let us consider what <i>ought to be done</i>.</p>
+
+<p>A window of ancient glass needs releading. The lead has decayed and the
+whole is loose and shaky. The ancient glass has worn very thin, pitted
+almost through like a worn-out thimble with little holes where the
+alkalis have worked their way out. It is as fragile and tender as an old
+oil-painting that needs to be taken off a rotten canvas and re-lined. If
+you examine a piece of old glass whose lead has had time to decay, you
+will find <!-- Page 316--><span class='pagenum'><a name="Page_316" id="Page_316">[Pg 316]</a></span>that the glass itself is often in an equally tender state. The
+painting would remain for years, probably for centuries yet, if
+untouched, just as dust, without any attachment at all, will hang on a
+vertical looking-glass. But if you scrape it, even only with the
+finger-nail, you will generally find that that is sufficient to bring
+much&mdash;perhaps most&mdash;of the painting off, while both sides of the glass
+are covered with a "patina" of age which is its chief glory in quality
+and colour, and which, or most of which, a wet handkerchief dipped in a
+little dust and rubbed smartly will remove.</p>
+
+<p>In short, here is a work of art as beautiful and precious as a picture
+by Titian or Holbein, and probably, as being the chief glory of some
+stately cathedral, still more precious, which ought only to be trusted
+to the gentle hands of a cultivated and scientific artist, connoisseur,
+and expert. The glass should all be handled as if it were old filigree
+silver. If the lead is so perished that it is absolutely impossible to
+avoid taking the glass down, it should be received on the scaffold
+itself, straight from its place in the stone, between packing-boards
+lined <!-- Page 317--><span class='pagenum'><a name="Page_317" id="Page_317">[Pg 317]</a></span>with sheets of wadding&mdash;"cotton-wool"&mdash;attached to the boards with
+size or paste, and with, of course, the "fluffy" side outwards. These
+boards, section by section, should be finally corded or clamped ready
+for travelling <i>before being lowered from the scaffold</i>; if any pieces
+of the glass get detached they should be carefully packed in separate
+boxes, each labelled with a letter corresponding to one placed on the
+section as packed, so that there may be no chance of their place ever
+being lost, and when all is done the whole window will be ready to be
+gently lowered, securely "packed for removal," to the pavement below.
+The ideal thing now would be to hire a room and do the work on the spot;
+but if this is impossible on account of expense and the thing has to
+bear a journey, the sections, packed as above described, should be
+themselves packed, two or three together, as may be convenient, in an
+outer packing-case for travelling. It should be insured, for then a
+representative of the railway must attend to certify the packing, and
+also extra care will be taken in transit.</p>
+
+<p>Arrived at the shop, the window should <!-- Page 318--><span class='pagenum'><a name="Page_318" id="Page_318">[Pg 318]</a></span>be laid out carefully on the
+bench and each bit re-leaded into its place, the very fragile pieces
+between two bits of thin sheet-glass.</p>
+
+<p>Unless this last practice is adopted <i>throughout</i>, the ordinary process
+of cementing must be omitted and careful puttying substituted for it.
+While if it <i>is</i> adopted the whole must be puttied <i>before</i> cementing,
+otherwise the cement will run in between the various thicknesses of
+glass. It would be an expensive and tedious and rather thankless
+process, for the repairer's whole aim would be to hide from the
+spectator the fact that anything whatever had been done.</p>
+
+<p>What does happen at present is this. A country clergyman, or, in the
+case of a cathedral, an architectural surveyor, neither of whom know by
+actual practice anything technically of stained-glass, hand the job over
+to some one representing a stained-glass establishment. This gentleman
+has studied stained-glass on paper, and knows as much about cutting or
+leading technically and by personal practice, as an architect does of
+masonry, or stone-carving&mdash;neither more nor less. That is to say, he has
+made sketch-books <!-- Page 319--><span class='pagenum'><a name="Page_319" id="Page_319">[Pg 319]</a></span>full of water-colour or pencil studies, and endless
+notes from old examples, and has never cut a bit of glass in his life,
+or leaded it.</p>
+
+<p>Well, he assumes the responsibility, and the client reposes in the
+blissful confidence that all is well.</p>
+
+<p>Is all well?</p>
+
+<p>The work is placed in the charge of the manager, and through him it
+filters down as part of the ordinary, natural course of events into the
+glazing-shop. Here this precious and fragile work of art we have
+described is handed over to a number of ordinary working men to treat by
+the ordinary methods of their trade. They know perfectly well that
+nobody above them knows as much as they, or, indeed, anything at all of
+their craft. Division of labour has made them "glaziers," as it has made
+the gentlemen above stairs, who do the cartoons or the painting,
+"artists." These last know nothing of glazing, why should glaziers know
+anything of art? It is perfectly just reasoning; they do their very
+best, and what they do is this. They take out the old, tender glass,
+with the colour hardly clinging to it, and they put it <!-- Page 320--><span class='pagenum'><a name="Page_320" id="Page_320">[Pg 320]</a></span>into fresh leads,
+and then they solder up the joints. And, by way of a triumphant wind-up
+to a good, solid, English, common-sense job, with no art-nonsense or
+fads about it, they proceed to scrub the whole on both sides with stiff
+grass-brushes (ordinarily sold at the oil-shops for keeping back-kitchen
+sinks clean), using with them a composition mainly consisting of exactly
+the same materials with which a housemaid polishes the fender and
+fire-irons. That is a plain, simple, unvarnished statement of facts. You
+may find it difficult of belief, but this is what actually happens. This
+is what you are having done everywhere, guardians of our ancient
+buildings. You'll soon have all your old windows "quite as good as new."
+It's a merry world, isn't it?
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 321--><span class='pagenum'><a name="Page_321" id="Page_321">[Pg 321]</a></span></p>
+<h2><a name="app03" id="app03">APPENDIX III</a></h2>
+
+<div class="blockquot"><p>Hints for the Curriculum of a Technical School for
+Stained-Glass&mdash;Examples for Painting&mdash;Examples of Drapery&mdash;Drawing
+from Nature&mdash;Ornamental Design.</p></div>
+
+
+<p><i>Examples for Painting.</i>&mdash;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 <i>painting</i>; 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&mdash;even
+supposing one could get them&mdash;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<!-- Page 322--><span class='pagenum'><a name="Page_322" id="Page_322">[Pg 322]</a></span> 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 <i>accidents</i> of his production,
+and not the <i>method</i> and <i>principle</i> 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 <i>we</i> 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.</p>
+
+<p><i>Examples of Drapery.</i>&mdash;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, <!-- Page 323--><span class='pagenum'><a name="Page_323" id="Page_323">[Pg 323]</a></span>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 D&uuml;rer 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 <i>is</i> 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.</p>
+
+<p>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 <!-- Page 324--><span class='pagenum'><a name="Page_324" id="Page_324">[Pg 324]</a></span>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 <i>craftsmanship</i> 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&mdash;where there
+is no lesson taught, no subject dwelt on, no character studied or
+portrayed. If we wish it to be so&mdash;if we have nothing to teach or learn,
+if we wish to be let alone, to be soothed and lulled by mere sacred
+<i>trappings</i>, by pleasant colours and fine and delicate sheen and the
+glitter of silk and jewels&mdash;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.</p>
+
+<p><i>Drawing from Nature.</i>&mdash;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<!-- Page 325--><span class='pagenum'><a name="Page_325" id="Page_325">[Pg 325]</a></span> 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&mdash;<i>not to frighten or daunt the student with big tasks at first</i>. A
+single grain of wheat, not a whole ear of corn; some tiny seed, tiny
+shell; but whatever <i>is</i> 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,<a name="FNanchor_9" id="FNanchor_9"></a><a href="#Footnote_9" class="fnanchor">[9]</a> "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?"</p>
+
+<div class="footnote"><p><a name="Footnote_9" id="Footnote_9"></a><a href="#FNanchor_9"><span class="label">[9]</span></a> "Ariadne Florentina," p. 108.</p></div>
+
+<p><i>Ornamental Design.</i>&mdash;It is impossible here to enter into a description
+of any system of teaching ornament. At p. 294
+<!-- Page 326--><span class='pagenum'><a name="Page_326" id="Page_326">[Pg 326]</a></span>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&mdash;very imperfectly, but as well as the scale and the difficulties
+of photography and the absence of colour will allow.</p>
+
+<p>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.</p>
+
+<p><i>Technical Work.</i>&mdash;Cutting, glazing, &amp;c.</p>
+
+<p><i>Painting Work.</i>&mdash;By graduated examples, from simple outline up to a
+head of Botticelli.</p>
+
+<p><i>Ornament</i>, as described; and</p>
+
+<p><i>Drawing from Nature</i>, in the spirit and methods we have spoken of.</p>
+
+<p>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.
+</p>
+
+<p><!-- Page 327--><span class='pagenum'><a name="Page_327" id="Page_327">[Pg 327]</a></span></p>
+<h2><a name="sect01" id="sect01">NOTES ON THE COLLOTYPE PLATES</a></h2>
+
+
+<p><!-- Page 328--><span class='pagenum'><a name="Page_328" id="Page_328">[Pg 328]</a></span>It is obvious that stained-glass cannot be adequately shown in
+book-illustration.</p>
+
+<p>For instance, we cannot have either the scale of it or the colour&mdash;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.</p>
+
+<p>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 <i>scale</i>
+is not so ill-treated.
+</p>
+
+<p><!-- Page 329--><span class='pagenum'><a name="Page_329" id="Page_329">[Pg 329]</a></span>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 (<i>if done</i>) with many annotations and exceptions
+and with a much larger range of examples than is possible here.</p>
+
+<p>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&mdash;always a very difficult thing to do.
+The illustrations can be seen much better by the aid of a moderately
+strong reading-lens.</p>
+
+<p><a name="i" id="i"></a>PLATE I.&mdash;<i>Part of East Window, St. Anselm's, Woodridings, Pinner, by
+Louis Davis.</i> The design, cartoons, and cut-line made, all the glass
+chosen and painted, and the leading superintended by the artist.</p>
+
+<p><a name="sect02" id="sect02"></a></p>
+
+<div class="figcenter" style="width: 258px;">
+<a href="images/plate01l.jpg">
+<img src="images/plate01.jpg" width="258" height="619" alt="I.&mdash;Part of Window. St. Anselm&#39;s, Woodridings, Pinner." title=""  />
+<br />
+I.&mdash;Part of Window. St. Anselm&#39;s, Woodridings, Pinner.
+</a>
+</div>
+
+<p><a name="ii" id="ii"></a>PLATE II.&mdash;<i>Another portion of the same window, by the same. Scenes from
+the Life of St. Anselm.</i> 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.</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/plate02l.jpg">
+<img src="images/plate02.jpg" width="311" height="538" alt="II.&mdash;Part of Window. St. Anselm&#39;s, Woodridings, Pinner." title="" />
+<br />
+II.&mdash;Part of Window. St. Anselm&#39;s, Woodridings, Pinner.
+</a>
+</div>
+
+
+<p><a name="iii" id="iii"></a>PLATE III.&mdash;<i>Window in St. Peter's Church, Clapham Road&mdash;"Blessed are</i>
+<!-- Page 330--><span class='pagenum'><a name="Page_330" id="Page_330">[Pg 330]</a></span>
+<i>they that Mourn," by Reginald Hallward.</i> The <i>whole</i> of the work in
+this instance, including cutting, leading, &amp;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 <i>scroll</i> 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&mdash;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.</p>
+
+<div class="figcenter" style="width: 311px;">
+<a href="images/plate03l.jpg">
+<img src="images/plate03.jpg" width="311" height="535" alt="III.&mdash;Window. St. Peter&#39;s Church, Clapham." title="" />
+<br />
+III.&mdash;Window. St. Peter&#39;s Church, Clapham.
+</a>
+</div>
+
+
+<p><a name="iv" id="iv"></a>PLATE IV.&mdash;<i>Central part of Window in Cobham Church, Kent, by Reginald
+Hallward.</i> Executed under the same conditions as the preceding.</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/plate04l.jpg">
+<img src="images/plate04.jpg" width="313" height="538" alt="IV.&mdash;Part of Window. Cobham Church, Kent." title="" />
+<br />
+IV.&mdash;Part of Window. Cobham Church, Kent.
+</a>
+</div>
+
+
+<p><a name="v" id="v"></a>PLATE V.&mdash;<i>Part of Window in Ardrahan Church, Galway&mdash;"St. Robert" by
+Selwyn Image.</i> From the cartoon. See p. 83.</p>
+
+<div class="figcenter" style="width: 246px;">
+<a href="images/plate05l.jpg">
+<img src="images/plate05.jpg" width="246" height="608" alt="V.&mdash;Part of Window. Ardrahan, Galway." title="" />
+<br />
+V.&mdash;Part of Window. Ardrahan, Galway.
+</a>
+</div>
+
+
+<p><a name="vi" id="vi"></a>PLATE VI.&mdash;<i>Two Designs for Domestic Glass, by Miss M. J. Newill.</i> From
+the cartoons.</p>
+
+<div class="figcenter" style="width: 313px;">
+<a href="images/plate06l.jpg">
+<img src="images/plate06.jpg" width="313" height="499" alt="VI.&mdash;From Cartoons for Domestic Glass." title="" />
+<br />
+VI.&mdash;From Cartoons for Domestic Glass.
+</a>
+</div>
+
+
+<p><a name="vii" id="vii"></a>PLATE VII.&mdash;<i>"The Dream of St. Kenelm," by H. A. Payne.</i> The author <!-- Page 331--><span class='pagenum'><a name="Page_331" id="Page_331">[Pg 331]</a></span>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.</p>
+
+<div class="figcenter" style="width: 277px;">
+<a href="images/plate07l.jpg">
+<img src="images/plate07.jpg" width="277" height="504" alt="VII.&mdash;Window. &quot;The Dream of St. Kenelm." title="" />
+<br />
+VII.&mdash;Window. &quot;The Dream of St. Kenelm.
+</a>
+</div>
+
+
+<p><a name="viii" id="viii"></a>PLATE VIII.&mdash;<i>Six "Quarries"&mdash;"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.</i>
+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
+<i>untouched after tracing</i>. They are more elaborate than would be
+desirable for <i>ordinary</i> quarry glazing; being intended for interior
+work on a screen, to be seen close at hand with borrowed light.</p>
+
+<div class="figcenter" style="width: 315px;">
+<a href="images/plate08l.jpg">
+<img src="images/plate08.jpg" width="315" height="502" alt="VIII.&mdash;Quarries. (Size of originals, 4-1/2 by 4 ins.)" title="" />
+<br />
+VIII.&mdash;Quarries. (Size of originals, 4-1/2 by 4 ins.)
+</a>
+</div>
+
+
+<p><a name="ix" id="ix"></a>PLATE IX.&mdash;<i>Micro-photographs</i>. 1. <i>A piece of outline that has "fried"
+in the kiln.</i> Magnified 20 diameters. See p. 104.</p>
+
+<p>2. <i>A small Diamond seen from above.</i> Magnified 10-1/2 diameters. The
+white horizontal line is the cutting edge.</p>
+
+<p>3. <i>A larger Diamond that has been "re</i><i>set</i>." <!-- Page 332--><span class='pagenum'><a name="Page_332" id="Page_332">[Pg 332]</a></span>That is to say,
+<i>re-ground</i>: 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.</p>
+
+<p>4. No. 2 <i>seen from the side</i>. Magnified 10-1/2 diameters; the cutting
+edge faces towards the left.</p>
+
+<div class="figcenter" style="width: 320px;">
+<a href="images/plate09l.jpg">
+<img src="images/plate09.jpg" width="320" height="502" alt="IX.&mdash;Micro-photographs from details connected with Glass Work." title="" />
+<br />
+IX.&mdash;Micro-photographs from details connected with Glass Work.
+</a>
+</div>
+
+
+<p><a name="x" id="x"></a>PLATE X.&mdash;<i>Micro-photographs of Glass-cutting</i> Very difficult to
+explain. "A" is a sheet of glass seen <i>in section</i> multiplied 15-1/2
+diameters. The black marks along the <i>top edge</i> are diamond-cuts, good
+and bad, coming <i>straight towards the spectator</i>. The two outside ones
+are very <i>bad</i> 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&mdash;C is a similar piece of glass also magnified 15-1/2 diameters,
+with <i>wheel-cuts</i> 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 <!-- Page 333--><span class='pagenum'><a name="Page_333" id="Page_333">[Pg 333]</a></span>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.</p>
+
+<p>D, E&mdash;<i>Wheel-cuts.</i> 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 encyclop&aelig;dia or
+some work on optics. <i>Good</i> 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.</p>
+
+<p>If you now hold the illustration <i>upside down</i>, what then becomes the
+top edge of section C shows a wheel-cut seen sideways <!-- Page 334--><span class='pagenum'><a name="Page_334" id="Page_334">[Pg 334]</a></span>along the section
+of the glass which it has divided, the direction of this cut being from
+left to right.</p>
+
+<p>In the same way section "A" seen upside down gives the appearance of a
+<i>diamond</i>-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.</p>
+
+<p>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.</p>
+
+<p>The illustrations that follow are from the work of the author and his
+pupils conjointly. Those in which no <i>design</i> 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 <i>in the glass</i> has
+been the work of pupils under his supervision. All design of diaper,
+canopy, lettering, <!-- Page 335--><span class='pagenum'><a name="Page_335" id="Page_335">[Pg 335]</a></span>and quarries is so, in all the examples selected.</p>
+
+
+<div class="figcenter" style="width: 343px;">
+<a href="images/plate10l.jpg">
+<img src="images/plate10.jpg" width="343" height="514" alt="X.&mdash;Micro-photographs. Diamond and Wheel Cuts seen in Section and Plan." title="" />
+<br />
+X.&mdash;Micro-photographs. Diamond and Wheel Cuts seen in Section and Plan.
+</a>
+</div>
+
+
+<p><a name="xi" id="xi"></a>PLATE XI.&mdash;<i>From Gloucester Cathedral&mdash;"St. Boniface" by the author and
+his pupils.</i></p>
+
+<div class="figcenter" style="width: 232px;">
+<a href="images/plate11l.jpg">
+<img src="images/plate11.jpg" width="232" height="504" alt="XI.&mdash;Part of Window. Gloucester Cathedral." title="" />
+<br />
+XI.&mdash;Part of Window. Gloucester Cathedral.
+</a>
+</div>
+
+
+<p><a name="xii" id="xii"></a>PLATE XII.&mdash;<i>From the same&mdash;"The Stork of Iona" and "The Infant Church,"
+by the same.</i> Canopies from Oak and Ivy.</p>
+
+<div class="figcenter" style="width: 333px;">
+<a href="images/plate12l.jpg">
+<img src="images/plate12.jpg" width="333" height="502" alt="XII.&mdash;Part of Window. Gloucester Cathedral." title="" />
+<br />
+XII.&mdash;Part of Window. Gloucester Cathedral.
+</a>
+</div>
+
+
+<p><a name="xiii" id="xiii"></a>PLATE XIII.&mdash;<i>Portion of a Window in progress (destined for Ashbourne
+Church), by the author.</i> This has been specially photographed <i>on the
+easel</i>, to show how near, by the use of false lead lines, &amp;c., the work
+can be got, during its progress, to approach to its actual conditions
+when finished.</p>
+
+<div class="figcenter" style="width: 303px;">
+<a href="images/plate13l.jpg">
+<img src="images/plate13.jpg" width="303" height="581" alt="XIII.&mdash;Portion of Unfinished Window, photographed from Work on the Easel." title="" />
+<br />
+XIII.&mdash;Portion of Unfinished Window, photographed from Work on the Easel.
+</a>
+</div>
+
+
+<p><a name="xiv" id="xiv"></a>PLATE XIV.&mdash;<i>Drawings from Nature, by the author's pupils.</i> Pieced
+together from various drawings by three different hands; made in preparation for design of Oak "canopy." See p. 324 and Plate <a href="#xi">XI.</a></p>
+
+<div class="figcenter" style="width: 340px;">
+<a href="images/plate14l.jpg">
+<img src="images/plate14.jpg" width="340" height="512" alt="XIV.&mdash;Drawings from Nature, in Preparation for Design." title="" />
+<br />
+XIV.&mdash;Drawings from Nature, in Preparation for Design.
+</a>
+</div>
+
+
+<p><a name="xv" id="xv"></a>PLATE XV.&mdash;<i>Part of East Window of School Chapel, Tonbridge, by the
+author.</i> From the cartoon: the figure playing the dulcimer is underneath
+the manger, above which is seated the Virgin and Child.</p>
+
+<div class="figcenter" style="width: 293px;">
+<a href="images/plate15l.jpg">
+<img src="images/plate15.jpg" width="293" height="506" alt="XV.&mdash;Part of Window. Tonbridge School Chapel, photographed from the Cartoon." title="" />
+<br />
+XV.&mdash;Part of Window. Tonbridge School Chapel, photographed from the Cartoon.
+</a>
+</div>
+
+
+<p><a name="xvi" id="xvi"></a>PLATE XVI.&mdash;<i>Figure of one of the Choir of "Dominations." From
+Gloucester, by the author and his pupils.</i></p>
+
+<div class="figcenter" style="width: 273px;">
+<a href="images/plate16l.jpg">
+<img src="images/plate16.jpg" width="273" height="570" alt="XVI.&mdash;Part of Window. Gloucester Cathedral." title="" />
+<br />
+XVI.&mdash;Part of Window. Gloucester Cathedral.
+</a>
+</div>
+
+
+<p>The names of the pupils whose work appears in Plate <a href="#viii">VIII.</a> are J. H.
+Saunders <!-- Page 336--><span class='pagenum'><a name="Page_336" id="Page_336">[Pg 336]</a></span>and R. J. Stubington. In Plate <a href="#xiv">XIV.</a> A. E. Child, K. Parsons,
+and J. H. Stanley; and in the Plates <a href="#xi">XI.</a> to <a href="#xvi">XVI.</a> 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.</p>
+
+<p><!-- Page 337--><span class='pagenum'><a name="Page_337" id="Page_337">[Pg 337]</a></span></p>
+<p><!-- Page 339--><span class='pagenum'><a name="Page_339" id="Page_339">[Pg 339]</a></span></p>
+<p><!-- Page 341--><span class='pagenum'><a name="Page_341" id="Page_341">[Pg 341]</a></span></p>
+<p><!-- Page 343--><span class='pagenum'><a name="Page_343" id="Page_343">[Pg 343]</a></span></p>
+<p><!-- Page 346--><span class='pagenum'><a name="Page_346" id="Page_346">[Pg 346]</a></span></p>
+<p><!-- Page 348--><span class='pagenum'><a name="Page_348" id="Page_348">[Pg 348]</a></span></p>
+<p><!-- Page 350--><span class='pagenum'><a name="Page_350" id="Page_350">[Pg 350]</a></span></p>
+<p><!-- Page 352--><span class='pagenum'><a name="Page_352" id="Page_352">[Pg 352]</a></span></p>
+<p><!-- Page 353--><span class='pagenum'><a name="Page_353" id="Page_353">[Pg 353]</a></span></p>
+<p><!-- Page 355--><span class='pagenum'><a name="Page_355" id="Page_355">[Pg 355]</a></span></p>
+<p><!-- Page 357--><span class='pagenum'><a name="Page_357" id="Page_357">[Pg 357]</a></span></p>
+<p><!-- Page 359--><span class='pagenum'><a name="Page_359" id="Page_359">[Pg 359]</a></span></p>
+<p><!-- Page 362--><span class='pagenum'><a name="Page_362" id="Page_362">[Pg 362]</a></span></p>
+<p><!-- Page 364--><span class='pagenum'><a name="Page_364" id="Page_364">[Pg 364]</a></span></p>
+<p><!-- Page 366--><span class='pagenum'><a name="Page_366" id="Page_366">[Pg 366]</a></span></p>
+<p><!-- Page 368--><span class='pagenum'><a name="Page_368" id="Page_368">[Pg 368]</a></span></p>
+
+<hr style="width: 65%;" />
+<p><!-- Page 369--><span class='pagenum'><a name="Page_369" id="Page_369">[Pg 369]</a></span></p>
+<h2><a name="sect03" id="sect03"></a>GLOSSARY</h2>
+
+
+<p><i>Antiques</i>, coloured glasses made in imitation of the qualities of
+ancient glass.</p>
+
+<p><i>Banding</i>, putting on the copper "ties" by which the glazed light is
+attached to the supporting bars.</p>
+
+<p><i>Base</i>, (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."</p>
+
+<p><i>Borrowed light</i>, a light not coming direct from daylight, but from the
+interior light of a building as in the case of a <i>screen</i> of glass. (The
+result is similar when a window is seen against near background of trees
+or buildings.)</p>
+
+<p><i>Calm</i> (of lead), the strip of lead, 3 to 4 feet long, as used for
+leading up the glass.</p>
+
+<p><i>Canopy</i> 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."</p>
+
+<p><i>Cartoon</i>, the design of the window, full size, on paper.</p>
+
+<p><i>Chasuble</i>, the outermost sacrificial vestment of a bishop or priest.</p>
+
+<p><!-- Page 370--><span class='pagenum'><a name="Page_370" id="Page_370">[Pg 370]</a></span><i>Cope</i>, the outermost ceremonial and processional vestment of a bishop
+or priest.</p>
+
+<p><i>Core</i> (of lead), the crossbar of the "H" section as shown in fig. 34.</p>
+
+<p><i>Crocketting</i>, the ornamenting of any architectural member at intervals
+with sculptured bosses or crockets.</p>
+
+<p><i>Cullet</i>, the waste cuttings of glass. Generally used over again in
+greater or less quantity as an ingredient in the making of new glass.</p>
+
+<p><i>Cut-line</i>, the tracing (containing the lead lines only) by which the
+work is cut and glazed.</p>
+
+<p><i>Flux</i>, the solvent which assists the melting of the metallic pigments
+in the kiln. Various materials are used, <i>e.g.</i> 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).</p>
+
+<p><i>Form</i>, the sheet of "continuous cartridge" or cartoon paper on which
+the dimensions, &amp;c., are marked out for drawing the cartoon.</p>
+
+<p><i>Gauge</i>, (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).</p>
+
+<p><i>Grisaille</i> (from Fr. <i>gris</i>, 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.</p>
+
+<p><i>Groseing</i>, 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 <!-- Page 371--><span class='pagenum'><a name="Page_371" id="Page_371">[Pg 371]</a></span>suggested for the <i>latter</i> 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.</p>
+
+<p><i>Lath</i>, the ruler, 3 to 8 feet long, and marked with inches, &amp;c., used
+in setting out the "forms."</p>
+
+<p><i>Lathykin</i>, doubtless old English "a little lath," described p. 137.</p>
+
+<p><i>Lasting-nails</i>, described p. 141.</p>
+
+<p><i>Leaf</i> (of lead), the two uprights of the "H" section (fig. 34).</p>
+
+<p><i>Muller</i>, a piece of granite or glass, flat at the base, for grinding
+pigment, &amp;c.</p>
+
+<p><i>Obtuse</i>, an angle having a wider opening than a right-angle or
+"perpendicular."</p>
+
+<p><i>Orphreys</i> (<i>aurifrigia</i>, from Lat. <i>aurum</i>, gold), the bands of
+ornament on ecclesiastical vestments.</p>
+
+<p><i>Patina</i>, the film produced on various substances by chemical action
+(oxidation, sulphurisation, &amp;c.), either artificially, as in bronze
+sculpture, or by age, as in glass.</p>
+
+<p><i>Plating</i>, the doubling of one glass with another in the same lead.</p>
+
+<p><i>Quarries</i>, the diamond, square, or other shaped panes used in
+plain-glazing.</p>
+
+<p><i>Reamy</i>, wavy or streaky glass. (See p. 179.)</p>
+
+<p><!-- Page 372--><span class='pagenum'><a name="Page_372" id="Page_372">[Pg 372]</a></span><i>Scratch-card</i>, a wire brush to remove tarnish from lead before
+soldering (p. 144).</p>
+
+<p><i>Setting</i>, fixing a charcoal or chalk drawing on the paper by means of a
+spray of fixative.</p>
+
+<p><i>Shafting</i>, see "Canopy."</p>
+
+<p><i>Shooting</i> (in carpentry), the planing down of an edge to get it truly
+straight.</p>
+
+<p><i>Squaring-out</i>, enlarging (or reducing) any design by drawing from point
+to point across proportional squares.</p>
+
+<p><i>Stippling</i>, described p. 100.</p>
+
+<p><i>Stopping-knife</i>, the knife by which the glass and lead are manipulated
+in leading-up.</p>
+
+<p><i>Tabernacle work</i>, see "Canopy."</p>
+
+<p><i>Template</i>, the form in paper, card, wood, or zinc, of <i>shaped</i>
+openings, by which the correct figure is set out on the cartoon-form.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><!-- Page 374--><span class='pagenum'><a name="Page_374" id="Page_374">[Pg 374]</a></span></p>
+<h2><a name="sect04" id="sect04"></a>INDEX</h2>
+
+
+<p>
+Accidental qualities in glass, value of, <a href='#Page_114'>114</a> <br />
+<br />
+Accuracy in setting out forms, <a href='#Page_286'>286</a> <br />
+<br />
+Accuracy of measurement, <a href='#Page_115'>115</a> , <a href='#Page_285'>285</a> <br />
+<br />
+Accuracy of work in the shop, rules for, formula for right angles, <a href='#Page_286'>286</a> <br />
+<br />
+Aciding, <a href='#Page_130'>130</a> <br />
+<br />
+Action, violent, to be avoided, <a href='#Page_173'>173</a> <br />
+<br />
+Advertising, <a href='#Page_293'>293</a> <br />
+<br />
+Allegory, <a href='#Page_248'>248</a> <br />
+<br />
+Allegory, true allegory the presentment of noble natures, <a href='#Page_260'>260</a> <br />
+<br />
+Ancient buildings, sacredness of, <a href='#Page_245'>245</a> <br />
+<br />
+Ancient glass, <a href='#Page_171'>171</a> , <a href='#Page_314'>314</a> , <a href='#Page_321'>321</a> , <a href='#Page_328'>328</a> <br />
+<br />
+Antique glasses, <a href='#Page_31'>31</a> <br />
+<br />
+Architectural fitness, <a href='#Page_234'>234</a> <br />
+<br />
+Architecture, harmony with, <a href='#Page_174'>174</a> <br />
+<br />
+Architecture, stained-glass accessory to, <a href='#Page_168'>168</a> <br />
+<br />
+Architecture, subservient to, <a href='#Page_155'>155</a> , <a href='#Page_236'>236</a> <br />
+<br />
+Armour, by use of aciding in flashed blue glass, <a href='#Page_131'>131</a> <br />
+<br />
+Art colours, <a href='#Page_201'>201</a> <br />
+<br />
+Artist, right claim to the title, <a href='#Page_269'>269</a> <br />
+<br />
+Asleep, Millais' picture of, <a href='#Page_209'>209</a> <br />
+<br />
+Assistants, to be trained to mastership, <a href='#Page_268'>268</a> <br />
+<br />
+Auxerre, centre for study of glass, <a href='#Page_315'>315</a> <br />
+<br />
+<br />
+Backing, <a href='#Page_126'>126</a> <br />
+<br />
+Badger, <a href='#Page_72'>72</a> , <a href='#Page_74'>74</a> <br />
+<br />
+Badger, how to dry, <a href='#Page_193'>193</a> <br />
+<br />
+Banding, <a href='#Page_151'>151</a> <br />
+<br />
+Barff's formula for pigment, <a href='#Page_226'>226</a> <br />
+<br />
+Bars, <a href='#Page_151'>151</a> , <a href='#Page_159'>159</a> , <a href='#Page_167'>167</a> <br />
+<br />
+Bars and lead lines, <a href='#Page_166'>166</a> , <a href='#Page_176'>176</a> <br />
+<br />
+Beads, a string of, <a href='#Page_190'>190</a> <br />
+<br />
+Beethoven, colour, <a href='#Page_224'>224</a> , <a href='#Page_271'>271</a> <br />
+<br />
+Bicycle, use of, <a href='#Page_216'>216</a> <br />
+<br />
+Birds, <a href='#Page_217'>217</a> <br />
+<br />
+Birmingham, Burne-Jones windows, <a href='#Page_236'>236</a> , <a href='#Page_324'>324</a> <br />
+<br />
+Boniface, St., a question of staining, <a href='#Page_224'>224</a> <br />
+<br />
+Books, <a href='#Page_255'>255</a> , <a href='#Page_257'>257</a> <br />
+<br />
+Borax, untrustworthy as flux, <a href='#Page_370'>370</a> <br />
+<br />
+Borrowed light, <a href='#Page_227'>227</a>  (and Glossary)<br />
+
+<!-- Page 375--><span class='pagenum'><a name="Page_375" id="Page_375">[Pg 375]</a></span>
+
+<br />
+Botticelli, <a href='#Page_64'>64</a> , <a href='#Page_78'>78</a> , <a href='#Page_250'>250</a> , <a href='#Page_297'>297</a> , <a href='#Page_322'>322</a> <br />
+<br />
+Brown, Madox, <a href='#Page_203'>203</a> <br />
+<br />
+Brush, how to fill, <a href='#Page_58'>58</a> <br />
+<br />
+Builders' glazing, <a href='#Page_180'>180</a> <br />
+<br />
+Buntingford, ride from, <a href='#Page_216'>216</a> <br />
+<br />
+Burne-Jones, <a href='#Page_131'>131</a> , <a href='#Page_203'>203</a> , <a href='#Page_236'>236</a> , <a href='#Page_250'>250</a> , <a href='#Page_324'>324</a> <br />
+<br />
+Burning, <a href='#Page_129'>129</a> <br />
+<br />
+Burnt umber, <a href='#Page_203'>203</a> <br />
+<br />
+Butterfly, <a href='#Page_217'>217</a> <br />
+<br />
+Byzantium of the crafts, <a href='#Page_243'>243</a> <br />
+<br />
+Byzantine revival, <a href='#Page_241'>241</a> <br />
+<br />
+<br />
+Calm of lead, <a href='#Page_137'>137</a>  (and Glossary)<br />
+<br />
+Cambridge, Burne-Jones windows, <a href='#Page_237'>237</a> <br />
+<br />
+Cambridge, centre for study of glass, <a href='#Page_314'>314</a> <br />
+<br />
+Cambridge, King's College, for blue and red, <a href='#Page_230'>230</a> <br />
+<br />
+Canopies, <a href='#Page_245'>245</a> <br />
+<br />
+Canopy, <a href='#Page_177'>177</a> , <a href='#Page_300'>300</a> <br />
+<br />
+Canterbury, centre for study of glass, <a href='#Page_314'>314</a> <br />
+<br />
+Canterbury, for blue and red, <a href='#Page_230'>230</a> <br />
+<br />
+Cartoons, <a href='#Page_83'>83</a> , <a href='#Page_192'>192</a> <br />
+<br />
+Cathedrals, <a href='#Page_178'>178</a> , <a href='#Page_180'>180</a> , <a href='#Page_215'>215</a> , <a href='#Page_230'>230</a> , <a href='#Page_234'>234</a> , <a href='#Page_238'>238</a> , <a href='#Page_246'>246</a> , <a href='#Page_282'>282</a> , <a href='#Page_314'>314</a> <br />
+<br />
+Cellini, <a href='#Page_228'>228</a> <br />
+<br />
+Cement and cementing, <a href='#Page_147'>147</a> <br />
+<br />
+Centres for study of glass, <a href='#Page_314'>314</a> , <a href='#Page_315'>315</a> <br />
+<br />
+Chartres, centre for study of glass, <a href='#Page_230'>230</a> , <a href='#Page_314'>314</a> <br />
+<br />
+Chartres, for blue and red, <a href='#Page_230'>230</a> <br />
+<br />
+Chief difficulty (in art) the chief opportunity, <a href='#Page_301'>301</a> <br />
+<br />
+Chopin, <a href='#Page_223'>223</a> <br />
+<br />
+Cirencester windows, <a href='#Page_180'>180</a> <br />
+<br />
+Cleanliness, <a href='#Page_67'>67</a> , <a href='#Page_164'>164</a> , <a href='#Page_193'>193</a> <br />
+<br />
+Clients, <a href='#Page_279'>279</a> <br />
+<br />
+Collotypes, notes on, <a href='#Page_327'>327-336</a> <br />
+<br />
+Colour, <a href='#Page_198'>198-231</a> <br />
+<br />
+Comfort in work, <a href='#Page_67'>67</a> <br />
+<br />
+Commission, one's first, <a href='#Page_292'>292</a> <br />
+<br />
+Conditions, importance of ascertaining at commencement, <a href='#Page_283'>283</a> <br />
+<br />
+Conduct, general, <a href='#Page_264'>264</a> <br />
+<br />
+Constantine and Byzantium, <a href='#Page_240'>240</a> <br />
+<br />
+Co-operation, <a href='#Page_163'>163</a> , <a href='#Page_265'>265</a> , <a href='#Page_268'>268</a> , <a href='#Page_274'>274-6</a> <br />
+<br />
+Corn-colour, <a href='#Page_217'>217-218</a> <br />
+<br />
+Countercharging, <a href='#Page_94'>94</a> <br />
+<br />
+Covering up the pigment, <a href='#Page_164'>164</a> <br />
+<br />
+Craft, complete teaching of, <a href='#Page_174'>174</a> , <a href='#Page_197'>197</a> <br />
+<br />
+Craftsman, right claims to the title, <a href='#Page_269'>269</a> <br />
+<br />
+Craftsmanship, revival of, <a href='#Page_243'>243</a> <br />
+Middle Ages, <a href='#Page_252'>252</a><br />
+<br />
+Cullet, value of, <a href='#Page_159'>159</a> <br />
+<br />
+Curriculum, <a href='#Page_321'>321-326</a> <br />
+<br />
+Cut-in glass, <a href='#Page_49'>49</a> <br />
+<br />
+Cut-line, <a href='#Page_85'>85</a> , <a href='#Page_89'>89</a> <br />
+<br />
+Cutter and cartoonist, <a href='#Page_44'>44</a> <br />
+<br />
+Cutting, <a href='#Page_37'>37</a> , <a href='#Page_42'>42</a> , <a href='#Page_47'>47</a> , <a href='#Page_87'>87</a> , <a href='#Page_162'>162</a> <br />
+<br />
+Cutting, advanced, <a href='#Page_83'>83</a> <br />
+<br />
+Cutting-knife, <a href='#Page_138'>138</a> <br />
+<br />
+Cutting-wheel (<i>see</i> Wheel-cutter)<br />
+<br />
+<br />
+Dahlia, colour of, <a href='#Page_218'>218</a> <br />
+<br />
+Dante or Blake, perhaps needed today, <a href='#Page_253'>253</a> <br />
+<br />
+Dante on Constantine, <a href='#Page_240'>240</a> <br />
+<br />
+Dappling, <a href='#Page_163'>163</a> <br />
+<br />
+Dentist, precision of a, <a href='#Page_67'>67</a> <br />
+<br />
+Design, <a href='#Page_167'>167</a> , <a href='#Page_175'>175</a> , <a href='#Page_325'>325</a> <br />
+<br />
+Diamond, <a href='#Page_33'>33</a> , <a href='#Page_88'>88</a> , <a href='#Page_331'>331</a> <br />
+<br />
+Difficulty conquered  brings new  insight  and  new power, <a href='#Page_302'>302</a> <br />
+
+<!-- Page 376--><span class='pagenum'><a name="Page_376" id="Page_376">[Pg 376]</a></span>
+
+<br />
+Difficulty, the chief opportunity in a work of art, <a href='#Page_282'>282</a> <br />
+<br />
+Directing assistants, clearness in, promptness in, <a href='#Page_277'>277</a> <br />
+<br />
+Discords harmonised by added notes, <a href='#Page_212'>212</a> <br />
+<br />
+Distance, effect of, <a href='#Page_102'>102</a> , <a href='#Page_192'>192</a> <br />
+<br />
+Division of labour, <a href='#Page_170'>170</a> , <a href='#Page_269'>269</a> <br />
+<br />
+Docketing of papers, system of, <a href='#Page_284'>284</a> <br />
+<br />
+Dodges, a few little, <a href='#Page_182'>182</a> <br />
+<br />
+Doubling glass, <a href='#Page_132'>132</a> <br />
+<br />
+Drapery, <a href='#Page_230'>230</a> , <a href='#Page_322'>322</a> <br />
+<br />
+Drawing from Nature, <a href='#Page_324'>324</a> <br />
+<br />
+Drawing, Ruskin's advice on fineness in work, <a href='#Page_325'>325</a> <br />
+<br />
+Du Maurier, <a href='#Page_207'>207</a> <br />
+<br />
+D&uuml;rer, revision of his work, <a href='#Page_271'>271</a> <br />
+<br />
+Dutch artist's portrait of actress, <a href='#Page_220'>220</a> <br />
+<br />
+<br />
+Early English glass, <a href='#Page_31'>31</a> , <a href='#Page_227'>227</a> <br />
+<br />
+Easels, <a href='#Page_186'>186</a> , <a href='#Page_191'>191</a> <br />
+<br />
+Eccentricity to be avoided, <a href='#Page_247'>247</a> <br />
+<br />
+Economy, <a href='#Page_156'>156</a> , <a href='#Page_158'>158</a> <br />
+<br />
+Egyptians, <a href='#Page_182'>182</a> <br />
+<br />
+English wastefulness, <a href='#Page_156'>156</a> <br />
+<br />
+Etching (<i>see</i> Aciding)<br />
+<br />
+Examples for painting, <a href='#Page_321'>321</a> <br />
+<br />
+Examples for stained-glass work, Holbein, <a href='#Page_322'>322</a> <br />
+<br />
+Expression, influence of distance on, <a href='#Page_102'>102</a> <br />
+<br />
+<br />
+Faceting of stones and glass, <a href='#Page_228'>228</a> , <a href='#Page_332'>332</a> <br />
+<br />
+Fairford, green in Eve window, <a href='#Page_211'>211</a> , <a href='#Page_230'>230</a> <br />
+<br />
+Fairford, old glass in, <a href='#Page_314'>314</a> <br />
+<br />
+False lead lines, <a href='#Page_166'>166</a> <br />
+<br />
+Fame and wealth good, but not at expense of work, <a href='#Page_296'>296</a> <br />
+<br />
+Fancy, safe guide in, <a href='#Page_259'>259</a> <br />
+<br />
+Film, <a href='#Page_94'>94</a> , <a href='#Page_101'>101</a> <br />
+<br />
+Fine work in art, <a href='#Page_298'>298-303</a> <br />
+<br />
+Finish in  work, precision and cleanliness, <a href='#Page_67'>67</a> <br />
+<br />
+Firing, <a href='#Page_105'>105-119</a> <br />
+<br />
+First duty of an artist, <a href='#Page_248'>248</a> <br />
+<br />
+Five Sisters window, <a href='#Page_178'>178</a> , <a href='#Page_311'>311</a> <br />
+<br />
+Fixing, <a href='#Page_135'>135</a> , <a href='#Page_151'>151</a> <br />
+<br />
+Flashed glass, <a href='#Page_33'>33</a> <br />
+<br />
+Flatness, desirable, obtained by leading, <a href='#Page_176'>176</a> <br />
+<br />
+Flowers, <a href='#Page_217'>217</a> <br />
+<br />
+Flux, <a href='#Page_370'>370</a> <br />
+<br />
+Forms, accuracy of, <a href='#Page_286'>286-289</a> <br />
+<br />
+Fresh methods and ideas come accidentally, <a href='#Page_298'>298</a> <br />
+<br />
+Freshness of work, advantage of, <a href='#Page_116'>116</a> <br />
+<br />
+Fried work, how to remove, <a href='#Page_104'>104</a> <br />
+<br />
+Frying, <a href='#Page_104'>104</a> <br />
+<br />
+<br />
+Garish colour, <a href='#Page_202'>202</a> <br />
+<br />
+Garter plates, <a href='#Page_61'>61</a> , <a href='#Page_62'>62</a> , <a href='#Page_70'>70</a> , <a href='#Page_71'>71</a> <br />
+<br />
+Gas-kiln, <a href='#Page_108'>108-10</a> <br />
+<br />
+Gauge for cutting, how to make, <a href='#Page_88'>88</a> <br />
+<br />
+General conduct, <a href='#Page_264'>264</a> <br />
+<br />
+Giotto, <a href='#Page_252'>252</a> <br />
+<br />
+Giorgione, <a href='#Page_203'>203</a> <br />
+<br />
+Glass, ancient, <a href='#Page_328'>328</a> <br />
+<br />
+Glass, how made, <a href='#Page_32'>32</a> <br />
+<br />
+Glass, how to wax up on plate, <a href='#Page_95'>95</a> <br />
+<br />
+Glass in relation to stonework, <a href='#Page_134'>134</a> <br />
+<br />
+Glass, Munich, <a href='#Page_84'>84</a> , <a href='#Page_176'>176</a> <br />
+<br />
+Glass, Norman, <a href='#Page_227'>227</a> <br />
+<br />
+Glass, old, <a href='#Page_308'>308</a> , <a href='#Page_315'>315</a> <br />
+<br />
+Glass, painted, <a href='#Page_84'>84</a> <br />
+<br />
+Glass-painter's methods described, <a href='#Page_205'>205</a> <br />
+
+<!-- Page 377--><span class='pagenum'><a name="Page_377" id="Page_377">[Pg 377]</a></span>
+
+Glass-painting compared with mezzotint, <a href='#Page_81'>81</a> <br />
+<br />
+Glass-painting compared with oil-painting, <a href='#Page_200'>200</a> <br />
+<br />
+Glass, Prior's, <a href='#Page_31'>31</a> <br />
+<br />
+Glass, value of accidental qualities in, <a href='#Page_114'>114</a> <br />
+<br />
+Glasses, "antique," <a href='#Page_31'>31</a> <br />
+<br />
+Glazing, <a href='#Page_151'>151</a> , <a href='#Page_180'>180</a> <br />
+<br />
+Glossary, <a href='#Page_369'>369</a> <br />
+<br />
+Gloucester for blue and red, <a href='#Page_230'>230</a> <br />
+<br />
+Gloucester, centre for study of glass, <a href='#Page_314'>314</a> <br />
+<br />
+God's house, <a href='#Page_235'>235</a> <br />
+<br />
+Gold pink, value of, <a href='#Page_160'>160</a> <br />
+<br />
+Good Shepherd, <a href='#Page_172'>172</a> <br />
+<br />
+Gothic revival, the, <a href='#Page_239'>239</a> <br />
+<br />
+Groseing, <a href='#Page_43'>43</a>  (and Glossary)<br />
+<br />
+Groseing tool, substitute for, <a href='#Page_55'>55</a> <br />
+<br />
+Grozeing (<i>see</i> Groseing)<br />
+<br />
+Gum-arabic, <a href='#Page_58'>58</a> <br />
+<br />
+Gum, quality and quantity of, <a href='#Page_77'>77</a> <br />
+<br />
+<br />
+Handel, <a href='#Page_223'>223</a> <br />
+<br />
+Handling leaded lights, <a href='#Page_146'>146</a> <br />
+<br />
+Hand-rest, <a href='#Page_61'>61</a> <br />
+<br />
+Harmony in colour, the great rule of, <a href='#Page_211'>211</a> <br />
+<br />
+Harmony, universal, <a href='#Page_234'>234</a> <br />
+<br />
+Harmony with architecture, <a href='#Page_174'>174</a> <br />
+<br />
+Heaton's kiln-feeder, <a href='#Page_184'>184</a> <br />
+<br />
+Hertfordshire, ride through, <a href='#Page_215'>215</a> <br />
+<br />
+Holbein, <a href='#Page_64'>64</a> , <a href='#Page_78'>78</a> , <a href='#Page_316'>316</a> , <a href='#Page_322'>322</a> <br />
+<br />
+Hollander, thrift of, <a href='#Page_157'>157</a> <br />
+<br />
+Hurry to be avoided, <a href='#Page_165'>165</a> <br />
+<br />
+Hyacinths and leaves, colour of, <a href='#Page_221'>221</a> <br />
+<br />
+<br />
+Image, Selwyn, <a href='#Page_83'>83</a> <br />
+<br />
+Imagination, <a href='#Page_248'>248</a> , <a href='#Page_259'>259</a> <br />
+<br />
+Industry, <a href='#Page_65'>65</a> , <a href='#Page_278'>278</a> <br />
+<br />
+<i>In situ</i>, to try work, <a href='#Page_175'>175</a> <br />
+<br />
+Inspiration, nature of, discussed, <a href='#Page_273'>273</a> <br />
+<br />
+Italian, thrift of, <a href='#Page_157'>157</a> <br />
+<br />
+<br />
+Jacob's ladder, difficulty, <a href='#Page_280'>280</a> <br />
+<br />
+Joints, good and bad, <a href='#Page_140'>140</a> <br />
+<br />
+Jugglery, craft, to be avoided, <a href='#Page_174'>174</a> <br />
+<br />
+<br />
+Kaleidoscope, <a href='#Page_232'>232</a> <br />
+<br />
+Kiln-feeder, a clumsy, <a href='#Page_183'>183</a> <br />
+<br />
+Kilns, <a href='#Page_105'>105</a> <br />
+<br />
+King, portrait of, <a href='#Page_102'>102</a> <br />
+<br />
+Knives, cutting and stopping, <a href='#Page_138'>138</a> , <a href='#Page_142'>142</a> <br />
+<br />
+Knocking up, <a href='#Page_144'>144</a> <br />
+<br />
+<br />
+Labour and material, cost of, <a href='#Page_162'>162</a> <br />
+<br />
+Lamb, Charles, on Milton's <i>Lycidas</i>, <a href='#Page_272'>272</a> <br />
+<br />
+Large work, difficulty of, <a href='#Page_77'>77</a> <br />
+<br />
+<i>L'Art Nouveau</i>, <a href='#Page_245'>245</a> <br />
+<br />
+Lasting nails, <a href='#Page_141'>141</a> <br />
+<br />
+Lathykin, <a href='#Page_137'>137</a>  (and Glossary)<br />
+<br />
+Lea Valley, description of, <a href='#Page_215'>215</a> <br />
+<br />
+Lead, <a href='#Page_89'>89</a> <br />
+<br />
+Lead, "calm" of, <a href='#Page_137'>137</a>  (and Glossary)<br />
+<br />
+Lead, <a href='#Page_90'>90</a> , <a href='#Page_132'>132</a> , <a href='#Page_137'>137</a> <br />
+<br />
+lead line, <a href='#Page_84'>84</a> , <a href='#Page_172'>172</a> <br />
+<br />
+lead lines, false, <a href='#Page_166'>166</a> <br />
+<br />
+Lead-mill, <a href='#Page_91'>91</a> <br />
+<br />
+Lead, purity of, <a href='#Page_90'>90</a> <br />
+<br />
+Lead, outer lead showing, <a href='#Page_136'>136</a> <br />
+<br />
+Leaded lights, how to handle, <a href='#Page_146'>146</a> <br />
+<br />
+Leading, <a href='#Page_133'>133</a> <br />
+<br />
+Leadwork, artistic use of, <a href='#Page_176'>176</a> <br />
+
+<!-- Page 378--><span class='pagenum'><a name="Page_378" id="Page_378">[Pg 378]</a></span>
+
+lead workers, wage of, <a href='#Page_159'>159</a> <br />
+<br />
+Light, <a href='#Page_227'>227</a>  (and Glossary)<br />
+<br />
+Lights, <a href='#Page_72'>72</a> , <a href='#Page_146'>146</a> , <a href='#Page_151'>151</a> <br />
+<br />
+Limitations, <a href='#Page_154'>154</a> , <a href='#Page_170'>170</a> <br />
+<br />
+Linnell's colour, <a href='#Page_202'>202</a> <br />
+<br />
+<i>Lycidas</i>, perfection of, <a href='#Page_271'>271</a> <br />
+<br />
+Lyndhurst, windows at, <a href='#Page_237'>237</a> , <a href='#Page_250'>250</a> <br />
+<br />
+<br />
+Maclou, St., at Rouen, <a href='#Page_282'>282</a> <br />
+<br />
+Man's work, nature of, <a href='#Page_196'>196</a> <br />
+<br />
+Master, book no substitute for, <a href='#Page_82'>82</a> <br />
+<br />
+Master, need of, <a href='#Page_82'>82</a> , <a href='#Page_195'>195</a> <br />
+<br />
+Material and labour, cost of, <a href='#Page_162'>162</a> <br />
+<br />
+Matting, <a href='#Page_72'>72</a> <br />
+<br />
+Matting-brush, <a href='#Page_73'>73</a> , <a href='#Page_75'>75</a> <br />
+<br />
+Matting  over unfired  outline, <a href='#Page_76'>76</a> <br />
+<br />
+Measure thrice, cut once, <a href='#Page_285'>285</a> <br />
+<br />
+Measurement, accuracy of, <a href='#Page_115'>115</a> , <a href='#Page_285'>285</a> <br />
+<br />
+Measurement, relation of glass to the stonework, <a href='#Page_134'>134</a> <br />
+<br />
+Meistersingers, the, <a href='#Page_223'>223</a> <br />
+<br />
+Mezzotint compared with glass-painting, <a href='#Page_81'>81</a> <br />
+<br />
+Michael Angelo, <a href='#Page_271'>271</a> <br />
+<br />
+Middle Ages, craftsmanship of, <a href='#Page_252'>252</a> <br />
+<br />
+Millais' picture of "Asleep," <a href='#Page_209'>209</a> <br />
+<br />
+Millinery and upholstery in glass, to avoid, <a href='#Page_324'>324</a> <br />
+<br />
+Morris, <a href='#Page_203'>203</a> <br />
+<br />
+Muller, <a href='#Page_79'>79</a> <br />
+<br />
+Munich glass, <a href='#Page_84'>84</a> , <a href='#Page_176'>176</a> <br />
+<br />
+Music, illustration derived from, <a href='#Page_223'>223</a> <br />
+<br />
+<br />
+Nails, <a href='#Page_141'>141</a> <br />
+<br />
+Nativity, star of, <a href='#Page_229'>229</a> <br />
+<br />
+Nature, <a href='#Page_213'>213</a> , <a href='#Page_217'>217</a> , <a href='#Page_302'>302</a> , <a href='#Page_324'>324</a> , <a href='#Page_335'>335</a> <br />
+<br />
+Neatness, <a href='#Page_96'>96</a> <br />
+<br />
+Needle, <a href='#Page_68'>68</a> , <a href='#Page_123'>123</a> <br />
+<br />
+New College, <a href='#Page_230'>230</a> <br />
+<br />
+Niggling, no use in, <a href='#Page_158'>158</a> <br />
+<br />
+Nimbus, withheld till the figure is finished, <a href='#Page_263'>263</a> <br />
+<br />
+Norman glass, <a href='#Page_227'>227</a> <br />
+<br />
+Novelty not essential to originality, <a href='#Page_247'>247</a> <br />
+<br />
+Numbers attached to natural objects, <a href='#Page_221'>221</a> <br />
+<br />
+<br />
+Oil-painting and glass-painting compared, <a href='#Page_198'>198</a> <br />
+<br />
+Oil stone, substitutes for, <a href='#Page_53'>53</a> <br />
+<br />
+Old glass, <a href='#Page_171'>171</a> , <a href='#Page_308'>308</a> , <a href='#Page_314'>314</a> , <a href='#Page_321'>321</a> <br />
+<br />
+Orange-tip butterfly, <a href='#Page_214'>214</a> <br />
+<br />
+Order, "Heaven's first law," <a href='#Page_233'>233</a> <br />
+<br />
+Orderliness, <a href='#Page_284'>284</a> <br />
+<br />
+Originality not to be striven after, <a href='#Page_297'>297</a> <br />
+<br />
+Ornament, system of teaching, <a href='#Page_325'>325</a> <br />
+<br />
+Outline, <a href='#Page_59'>59-82</a> <br />
+<br />
+Overpainting, danger of, <a href='#Page_120'>120</a> <br />
+<br />
+Oxford, centre for study of glass, <a href='#Page_314'>314</a> <br />
+<br />
+Oxford, New College, for green, <a href='#Page_230'>230</a> <br />
+<br />
+Oxide (<i>see</i> Pigment)<br />
+<br />
+<br />
+Painted glass, <a href='#Page_84'>84</a> <br />
+<br />
+Painter and glass-painter contrasted, <a href='#Page_199'>199</a> <br />
+<br />
+Painting, <a href='#Page_56'>56</a> , <a href='#Page_94'>94</a> , <a href='#Page_118'>118</a> , <a href='#Page_321'>321</a> <br />
+<br />
+Painting, heaviness of, objected to by some, <a href='#Page_227'>227</a> <br />
+<br />
+Painting, rule regarding amount of, <a href='#Page_229'>229</a> <br />
+<br />
+Pansy, colour of, <a href='#Page_232'>232</a> <br />
+<br />
+Patrons, <a href='#Page_264'>264</a> <br />
+
+<!-- Page 379--><span class='pagenum'><a name="Page_379" id="Page_379">[Pg 379]</a></span>
+
+Parthenon frieze, repose of, <a href='#Page_173'>173</a> <br />
+<br />
+Perfection, <a href='#Page_163'>163</a> <br />
+<br />
+Perpendicular, rules for raising a, <a href='#Page_286'>286</a> <br />
+<br />
+Peterborough, Gothic tracery in Norman openings, <a href='#Page_238'>238</a> <br />
+<br />
+Pictures, criticism on, <a href='#Page_208'>208</a> <br />
+<br />
+Pigment, <a href='#Page_164'>164</a> , <a href='#Page_226'>226</a> <br />
+<br />
+Pigment, mixture of, <a href='#Page_57'>57</a> <br />
+<br />
+Pigment, oxide of iron, <a href='#Page_57'>57</a> <br />
+<br />
+Pigment, soft, danger of, <a href='#Page_112'>112</a> <br />
+<br />
+Pigment, unpleasant red, <a href='#Page_57'>57</a> <br />
+<br />
+Plain glazing, removing, <a href='#Page_151'>151</a> <br />
+<br />
+Plating, <a href='#Page_147'>147</a> <br />
+<br />
+Pliers, <a href='#Page_43'>43</a> <br />
+<br />
+Poppies, <a href='#Page_218'>218</a> <br />
+<br />
+Prices of stained glasses, <a href='#Page_159'>159</a> <br />
+<br />
+Principles of old work to be imitated, not accidents, <a href='#Page_322'>322</a> <br />
+<br />
+Prior's glass, <a href='#Page_31'>31</a> <br />
+<br />
+Publicity, danger of wasting time on pursuit of, <a href='#Page_296'>296</a> <br />
+<br />
+<i>Punch</i>, parody of the "Palace of Art," <a href='#Page_250'>250</a> <br />
+<br />
+Pupils' work, <a href='#Page_335'>335</a> <br />
+<br />
+Putty, substitute for cement in plated work, <a href='#Page_318'>318</a> <br />
+<br />
+Putty, to be used when glass is doubled, <a href='#Page_147'>147</a> <br />
+<br />
+<br />
+Quarries, <a href='#Page_331'>331</a> <br />
+<br />
+Quarry glazing, with subject, <a href='#Page_177'>177</a> <br />
+<br />
+<br />
+Rack for glass samples, <a href='#Page_186'>186</a> <br />
+<br />
+Realism to be avoided, <a href='#Page_173'>173</a> <br />
+<br />
+Recasting of composition, <a href='#Page_301'>301</a> <br />
+<br />
+Removing the plain glazing, <a href='#Page_151'>151</a> <br />
+<br />
+Repose in architectural art, <a href='#Page_174'>174</a> <br />
+<br />
+Rest for hand, <a href='#Page_61'>61</a> <br />
+<br />
+Restoration, <a href='#Page_181'>181</a> , <a href='#Page_245'>245</a> , <a href='#Page_315'>315</a> <br />
+<br />
+Resurrection, sunrise in, <a href='#Page_219'>219</a> <br />
+<br />
+Revivals, architectural, <a href='#Page_239'>239</a> <br />
+<br />
+Rich and plain work, <a href='#Page_177'>177</a> <br />
+<br />
+Right angles, formula for, <a href='#Page_286'>286</a> <br />
+<br />
+Roman decadence, <a href='#Page_240'>240</a> <br />
+<br />
+Room, to make the most of, <a href='#Page_192'>192</a> <br />
+<br />
+Rose-briar, colour of, in sunset, <a href='#Page_220'>220</a> <br />
+<br />
+Rossetti, <a href='#Page_203'>203</a> <br />
+<br />
+Ruby glass, <a href='#Page_33'>33</a> <br />
+<br />
+Ruby glass, value of, <a href='#Page_160'>160</a> <br />
+<br />
+Rule of thumb, <a href='#Page_113'>113</a> <br />
+<br />
+Rules for work, <a href='#Page_264'>264</a> , <a href='#Page_286'>286</a> <br />
+<br />
+Ruskin, <a href='#Page_202'>202</a> , <a href='#Page_255'>255</a> , <a href='#Page_325'>325</a> <br />
+<br />
+<br />
+Sacredness of ancient buildings, <a href='#Page_245'>245</a> <br />
+<br />
+Schubert, <a href='#Page_223'>223</a> <br />
+<br />
+Scratch-card, <a href='#Page_144'>144</a> <br />
+<br />
+Scrubs, <a href='#Page_81'>81</a> <br />
+<br />
+Sea-weeds, <a href='#Page_217'>217</a> <br />
+<br />
+Second painting, <a href='#Page_118'>118</a> , <a href='#Page_126'>126</a> , <a href='#Page_127'>127</a> <br />
+<br />
+Sections, how to join together in fixing, <a href='#Page_150'>150</a> <br />
+<br />
+Sections, large work made in, <a href='#Page_150'>150</a> <br />
+<br />
+Seed, everything grown from, <a href='#Page_291'>291</a> <br />
+<br />
+Seed of ornament, <a href='#Page_294'>294</a> <br />
+<br />
+Selvage edge, to tear off, <a href='#Page_193'>193</a> <br />
+<br />
+Sens, centre for study of glass, <a href='#Page_315'>315</a> <br />
+<br />
+Setting mixture, <a href='#Page_86'>86</a> <br />
+<br />
+Sharpening diamonds, <a href='#Page_33'>33</a> <br />
+<br />
+Siennese painters, good work to copy in glass, <a href='#Page_322'>322</a> <br />
+<br />
+Single fire, <a href='#Page_127'>127</a> <br />
+<br />
+Sketching in glass, <a href='#Page_175'>175</a> <br />
+<br />
+Soldering, <a href='#Page_144'>144</a> <br />
+<br />
+Sparta, revival of simplicity in, <a href='#Page_243'>243</a> <br />
+
+<!-- Page 380--><span class='pagenum'><a name="Page_380" id="Page_380">[Pg 380]</a></span>
+
+Special glasses, <a href='#Page_227'>227</a> <br />
+<br />
+Spotting, <a href='#Page_163'>163</a> <br />
+<br />
+Spring morning, ride on a, <a href='#Page_214'>214</a> <br />
+<br />
+Squaring outlines, <a href='#Page_286'>286</a> <br />
+<br />
+Stain, <a href='#Page_129'>129</a> <br />
+<br />
+Stain it!, <a href='#Page_225'>225</a> <br />
+<br />
+Stain overfiring, result of, <a href='#Page_129'>129</a> <br />
+<br />
+Stained-glass, accessory to architecture, <a href='#Page_168'>168</a> <br />
+<br />
+Stained-glass, ancient, to be held sacred, <a href='#Page_245'>245</a> <br />
+<br />
+Stained-glass, definition and description of, <a href='#Page_29'>29</a> <br />
+<br />
+Stained-glass, diapering, spotting, and streaking, <a href='#Page_179'>179</a> <br />
+<br />
+Stained-glass, joys of, <a href='#Page_303'>303</a> <br />
+<br />
+Stained-glass, loving and careful treatment of, <a href='#Page_177'>177</a> <br />
+<br />
+Stained-glass, new developments of, <a href='#Page_132'>132</a> <br />
+<br />
+Stained-glass, prices of material, <a href='#Page_159'>159</a> <br />
+<br />
+Stained-glass, subservient to architecture, <a href='#Page_155'>155</a> , <a href='#Page_236'>236</a> <br />
+<br />
+Stained-glass <i>versus</i> painted glass, <a href='#Page_84'>84</a> <br />
+<br />
+Staining, <a href='#Page_225'>225</a> <br />
+<br />
+Stale colour, danger of, <a href='#Page_165'>165</a> <br />
+<br />
+Stale work, disadvantage of, <a href='#Page_114'>114</a> <br />
+<br />
+Standardising, <a href='#Page_113'>113</a> <br />
+<br />
+Stencil brush, <a href='#Page_121'>121</a> <br />
+<br />
+Stepping back to inspect work, <a href='#Page_176'>176</a> <br />
+<br />
+Stevenson, R. L., <a href='#Page_156'>156</a> <br />
+<br />
+Stick, <a href='#Page_68'>68</a> <br />
+<br />
+Stipple, <a href='#Page_99'>99</a> , <a href='#Page_101'>101</a> <br />
+<br />
+Stippling brush, <a href='#Page_100'>100</a> <br />
+<br />
+Stonework, relation of glass to, <a href='#Page_134'>134</a> <br />
+<br />
+Stopping-knife, <a href='#Page_142'>142</a> <br />
+<br />
+Streaky glass, imitating drapery, <a href='#Page_230'>230</a> <br />
+<br />
+Strength in painting, limits of, <a href='#Page_125'>125</a> <br />
+<br />
+Stretching the lead, <a href='#Page_137'>137</a> <br />
+<br />
+Style, <a href='#Page_237'>237</a> , <a href='#Page_246'>246</a> <br />
+<br />
+Subject, right limits to importance of, <a href='#Page_248'>248</a> <br />
+<br />
+Sufficient firing, test of, <a href='#Page_117'>117</a> <br />
+<br />
+Sugar or treacle as substitute for gum, <a href='#Page_62'>62</a> <br />
+<br />
+Surgeon, precision of a, <a href='#Page_67'>67</a> <br />
+<br />
+Symbolism, proportion in, <a href='#Page_262'>262</a> <br />
+<br />
+<br />
+Tabernacle (<i>see</i> Canopy)<br />
+<br />
+Tamworth, <a href='#Page_237'>237</a> <br />
+<br />
+Tapping, <a href='#Page_41'>41</a> <br />
+<br />
+Taste, some principles of, <a href='#Page_92'>92</a> <br />
+<br />
+Technical school, curriculum of, <a href='#Page_321'>321</a> <br />
+<br />
+Templates to be verified, <a href='#Page_289'>289</a> <br />
+<br />
+Tennyson, his constant revision, <a href='#Page_271'>271</a> <br />
+<br />
+Texture of glass, use of, <a href='#Page_126'>126</a> <br />
+<br />
+Theseus, <a href='#Page_260'>260</a> <br />
+<br />
+Thought, imagination, allegory, <a href='#Page_248'>248</a> <br />
+<br />
+Ties for banding, <a href='#Page_151'>151</a> <br />
+<br />
+Thrift, <a href='#Page_157'>157</a> <br />
+<br />
+Time saved by accuracy and method, <a href='#Page_290'>290</a> <br />
+<br />
+Time-saving appliances, <a href='#Page_277'>277</a> <br />
+<br />
+Tinning the soldering iron, <a href='#Page_145'>145</a> <br />
+<br />
+Tints, method of choosing, <a href='#Page_210'>210</a> <br />
+<br />
+Titian, <a href='#Page_173'>173</a> , <a href='#Page_203'>203</a> , <a href='#Page_271'>271</a> , <a href='#Page_316'>316</a> <br />
+<br />
+Tradition, <a href='#Page_238'>238</a> , <a href='#Page_242'>242</a> <br />
+<br />
+Troyes, centre for study of glass, <a href='#Page_315'>315</a> <br />
+<br />
+Trying work <i>in situ</i>, <a href='#Page_175'>175</a> <br />
+<br />
+Turgenieff, proverb on accuracy, <a href='#Page_285'>285</a> <br />
+
+<!-- Page 381--><span class='pagenum'><a name="Page_381" id="Page_381">[Pg 381]</a></span>
+
+<br />
+Turpentine (Venice), <a href='#Page_129'>129</a> <br />
+<br />
+Tuscan painters, good work to copy in glass, <a href='#Page_322'>322</a> <br />
+<br />
+<br />
+Upholstery and millinery in glass, to avoid, <a href='#Page_324'>324</a> <br />
+<br />
+<br />
+Venus of Milo, <a href='#Page_260'>260</a> <br />
+<br />
+Veronese, <a href='#Page_203'>203</a> <br />
+<br />
+Village church, untouched, picture of, <a href='#Page_305'>305</a> <br />
+<br />
+Violent action to be avoided, <a href='#Page_173'>173</a> <br />
+<br />
+<br />
+Wage of lead workers, <a href='#Page_159'>159</a> <br />
+<br />
+Waste, proportion of, to finished work, <a href='#Page_162'>162</a> <br />
+<br />
+Wastefulness, English, <a href='#Page_156'>156</a> <br />
+<br />
+Wax, best, <a href='#Page_95'>95</a> <br />
+<br />
+Wax, removing spots of, <a href='#Page_98'>98</a> <br />
+<br />
+Waxing-up, <a href='#Page_95'>95</a> <br />
+<br />
+Waxing-up, tool for, <a href='#Page_188'>188</a> <br />
+<br />
+Wells, centre for study of glass, <a href='#Page_314'>314</a> <br />
+<br />
+Wheel-barrow, comparison with wheel-cutter, <a href='#Page_51'>51</a> <br />
+<br />
+Wheel-cutters, <a href='#Page_34'>34</a> , <a href='#Page_35'>35</a> , <a href='#Page_47'>47</a> , <a href='#Page_53'>53</a> , <a href='#Page_54'>54</a> , <a href='#Page_56'>56</a> <br />
+<br />
+White, pure, value of, <a href='#Page_227'>227</a> <br />
+<br />
+White spaces to be interesting, <a href='#Page_178'>178</a> <br />
+<br />
+Work in the shop, rules for, <a href='#Page_286'>286</a> <br />
+<br />
+<br />
+Yellow and red together, <a href='#Page_218'>218</a> <br />
+<br />
+Yellow, certain tints hard to obtain, <a href='#Page_217'>217</a> <br />
+<br />
+Yellow stain, <a href='#Page_129'>129</a> <br />
+<br />
+York, centre for study of glass, <a href='#Page_314'>314</a><br />
+<br />
+York Minster, glass in, <a href='#Page_230'>230</a>,<a href='#Page_308'>308</a>,<a href='#Page_313'>313</a><br />
+
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_END" id="THE_END"></a>THE END</h2>
+
+<h5>
+Printed by BALLANTYNE, HANSON &amp; CO.<br />
+Edinburgh &amp; London<br />
+</h5>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
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@@ -0,0 +1,7707 @@
+The Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Work
+       A text-book for students and workers in glass
+
+Author: C. W. Whall
+
+Release Date: February 27, 2010 [EBook #31415]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS WORK ***
+
+
+
+
+Produced by Suzanne Shell, ismail user and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+Transcribers Note: The italic text is denoted as _italic_.
+
+
+
+
+    "_. . . And remembering these, trust Pindar for the truth of his
+    saying, that to the cunning workman--(and let me solemnly enforce
+    the words by adding, that to him only)--knowledge comes
+    undeceitful._"
+
+                                   --RUSKIN ("Aratra Pentelici").
+
+    "_'Very cool of Tom,' as East thought but didn't say, 'seeing as
+    how he only came out of Egypt himself last night at bed-time.'_"
+
+                                   --("Tom Brown's Schooldays").
+
+
+
+
+    THE ARTISTIC CRAFTS SERIES
+      OF TECHNICAL HANDBOOKS
+      EDITED BY W. R. LETHABY
+
+        STAINED GLASS WORK
+
+
+
+
+[Illustration: CUTTING AND GLAZING
+
+_Frontispiece_ (_See p. 137_)]
+
+
+
+
+       STAINED GLASS WORK
+    A TEXT-BOOK FOR STUDENTS
+    AND WORKERS IN GLASS. BY
+    C. W. WHALL. WITH DIAGRAMS
+    BY TWO OF HIS APPRENTICES
+    AND OTHER ILLUSTRATIONS
+
+            NEW YORK
+     D. APPLETON AND COMPANY
+             MCMXIV
+
+
+
+
+    Printed by BALLANTYNE, HANSON & CO.
+    at the Ballantyne Press, Edinburgh
+
+
+
+
+    _To his Pupils and Assistants, who, if they
+    have learned as much from him as he has
+    from them, have spent their time profitably;
+    and who, if they have enjoyed learning as
+    much as he has teaching, have spent it happily;
+    this little book is Dedicated by their Affectionate
+    Master and Servant,_
+
+                                   _THE AUTHOR._
+
+
+
+
+EDITOR'S PREFACE
+
+
+In issuing these volumes of a series of Handbooks on the Artistic
+Crafts, it will be well to state what are our general aims.
+
+In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+vain survivals, are prepared to say what is good workmanship, and to set
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter of _appearance_. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish, and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought--that is, from
+design--inevitably decays, and, on the other hand, ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.
+
+In the third place, we would have this series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.
+
+In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour as from the terrible uncertainty of academic art.
+It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.
+
+       *       *       *       *       *
+
+Our last volume dealt with one of the branches of sculpture, the present
+treats of one of the chief forms of painting. Glass-painting has been,
+and is capable of again becoming, one of the most noble forms of Art.
+Because of its subjection to strict conditions, and its special glory of
+illuminated colour, it holds a supreme position in its association with
+architecture, a position higher than any other art, except, perhaps,
+mosaic and sculpture.
+
+The conditions and aptitudes of the Art are most suggestively discussed
+in the present volume by one who is not only an artist, but also a
+master craftsman. The great question of colour has been here opened up
+for the first time in our series, and it is well that it should be so,
+in connection with this, the pre-eminent colour-art.
+
+Windows of coloured glass were used by the Romans. The thick lattices
+found in Arab art, in which brightly-coloured morsels of glass are set,
+and upon which the idea of the jewelled windows in the story of Aladdin
+is doubtless based, are Eastern off-shoots from this root.
+
+Painting in line and shade on glass was probably invented in the West
+not later than the year 1100, and there are in France many examples, at
+Chartres, Le Mans, and other places, which date back to the middle of
+the twelfth century.
+
+Theophilus, the twelfth-century writer on Art, tells us that the French
+glass was the most famous. In England the first notice of stained glass
+is in connection with Bishop Hugh's work at Durham, of which we are told
+that around the altar he placed several glazed windows remarkable for
+the beauty of the figures which they contained; this was about 1175.
+
+In the Fabric Accounts of our national monuments many interesting facts
+as to mediaeval stained glass are preserved. The accounts of the building
+of St. Stephen's Chapel, in the middle of the fourteenth century, make
+known to us the procedure of the mediaeval craftsmen. We find in these
+first a workman preparing white boards, and then the master glazier
+drawing the cartoons on the whitened boards, and many other details as
+to customs, prices, and wages.
+
+There is not much old glass to be studied in London, but in the museum
+at South Kensington there are specimens of some of the principal
+varieties. These are to be found in the Furniture corridor and the
+corridor which leads from it. Close by a fine series of English coats of
+arms of the fourteenth century, which are excellent examples of
+Heraldry, is placed a fragment of a broad border probably of late
+twelfth-century work. The thirteenth century is represented by a
+remarkable collection, mostly from the Ste. Chapelle in Paris and
+executed about 1248. The most striking of these remnants show a series
+of Kings seated amidst bold scrolls of foliage, being parts of a Jesse
+Tree, the narrower strips, in which are Prophets, were placed to the
+right and left of the Kings, and all three made up the width of one
+light in the original window. The deep brilliant colour, the small
+pieces of glass used, and the rich backgrounds are all characteristic of
+mid-thirteenth-century glazing. Of early fifteenth-century workmanship
+are the large single figures standing under canopies, and these are good
+examples of English glass of this time. They were removed from
+Winchester College Chapel about 1825 by the process known as
+restoration.
+
+W. R. LETHABY.
+
+_January 1905._
+
+
+
+
+AUTHOR'S PREFACE
+
+
+The author must be permitted to explain that he undertook his task with
+some reluctance, and to say a word by way of explaining his position.
+
+I have always held that no art can be taught by books, and that an
+artist's best way of teaching is directly and personally to his own
+pupils, and maintained these things stubbornly and for long to those who
+wished this book written. But I have such respect for the good judgment
+of those who have, during the last eight years, worked in the teaching
+side of the art and craft movement, and, in furtherance of its objects,
+have commenced this series of handbooks, and such a belief in the
+movement, of which these persons and circumstances form a part, that I
+felt bound to yield on the condition of saying just what I liked in my
+own way, and addressing myself only to students, speaking as I would
+speak to a class or at the bench, careless of the general reader.
+
+You will find yourself, therefore, reader, addressed as "Dear Student."
+(I know the term occurs further on.) But because this book is written
+for students, it does not therefore mean that it must all be brought
+within the comprehension of the youngest apprentice. For it is becoming
+the fashion, in our days, for artists of merit--painters, perhaps, even
+of distinction--to take up the practice of one or other of the crafts.
+All would be well, for such new workers are needed, if it was indeed the
+_practice_ of the craft that they set themselves to. But too often it is
+what is called the _designing_ for it only in which they engage, and it
+is the duty of every one speaking or writing about the matter to point
+out how fatal is that error.
+
+One must provide a word, then, for such as these also here if one can.
+
+Indeed, to reckon up all the classes to whom such a book as this should
+be addressed, we should have, I think, to name:--
+
+(1) The worker in the ordinary "shop," who is learning there at present,
+to our regret, only a portion of his craft, and who should be given an
+insight into the whole, and into the fairyland of design.
+
+(2) The magnificent and superior artist, mature in imagination and
+composition, fully equipped as a painter of pictures, perhaps even of
+academical distinction, who turns his attention to the craft, and
+without any adequate practical training in it, which alone could teach
+its right principles, makes, and in the nature of things is bound to
+make, great mistakes--mistakes easily avoidable. No such thing can
+possibly be right. Raphael himself designed for tapestry, and the
+cartoons are priceless, but the tapestry a ghastly failure. It could not
+have been otherwise under the conditions. Executant separated from
+designer by all the leagues that lie between Arras and Rome.
+
+(3) The patron, who should know something of the craft, that he may not,
+mistrusting, as so often at present, his own taste, be compelled to
+trust to some one else's Name, and of course looks out for a big one.
+
+(4) The architect and church dignitary who, having such grave
+responsibilities in their hands towards the buildings of which they are
+the guardians, wish, naturally, to understand the details which form a
+part of their charge. And lastly, a new and important class that has
+lately sprung into existence, the well-equipped, picked
+student--brilliant and be-medalled, able draughtsman, able painter;
+young, thoughtful, ambitious, and educated, who, instead of drifting, as
+till recently, into the overcrowded ranks of picture-making, has now the
+opportunity of choosing other weapons in the armoury of the arts.
+
+To all these classes apply those golden words from Ruskin's "Aratra
+Pentelici" which are quoted on the fly-leaf of the present volume, while
+the spirit in which I myself would write in amplifying them is implied
+by my adopting the comment and warning expressed in the other sentence
+there quoted. The face of the arts is in a state of change. The words
+"craft" and "craftsmanship," unheard a decade or two ago, now fill the
+air; we are none of us inheritors of any worthy tradition, and those who
+have chanced to grope about for themselves, and seem to have found some
+safe footing, have very little, it seems to me, to plume or pride
+themselves upon, but only something to be thankful for in their good
+luck. But "to have learnt faithfully" one of the "ingenuous arts" (or
+crafts) _is_ good luck and _is_ firm footing; we may not doubt it who
+feel it strong beneath our feet, and it must be proper to us to help
+towards it the doubtless quite as worthy or worthier, but less
+fortunate, who may yet be in some of the quicksands around.
+
+It also happens that the art of stained glass, though reaching to very
+high and great things, is in its methods and processes a simple, or at
+least a very limited, one. There are but few things to do, while at the
+same time the principles of it touch the whole field of art, and it is
+impossible to treat of it without discussing these great matters and the
+laws which guide decorative art generally. It happens conveniently,
+therefore, as the technical part requires less space, that these things
+should be treated of in this particular book, and it becomes the
+author's delicate and difficult task to do so. He, therefore, wishes to
+make clear at starting the spirit in which the task is undertaken.
+
+It remains only to express his thanks to Mr. Drury and Mr. Noel Heaton
+for help respectively, with the technical and scientific detail; to Mr.
+St. John Hope for permission to use his reproductions from the Windsor
+stall-plates, and to Mr. Selwyn Image for his great kindness in revising
+the proofs.
+
+C. W. WHALL.
+
+_January 1905._
+
+
+
+
+     CONTENTS
+
+                                                                    PAGE
+
+     EDITOR'S PREFACE                                                 xi
+
+     AUTHOR'S PREFACE                                               xvii
+
+
+     PART I
+
+     CHAPTER I
+
+     Introductory, and Concerning the Raw Material                    29
+
+
+     CHAPTER II
+
+     Cutting (elementary)--The Diamond--The Wheel--Sharpening--How
+     to Cut--Amount of Force--The
+     Beginner's Mistake--Tapping--Possible and
+     Impossible Cuts--"Grozeing"--Defects of the
+     Wheel--The Actual Nature of a "Cut" in
+     Glass                                                            33
+
+
+     CHAPTER III
+
+     Painting (elementary)--Pigments--Mixing--How to
+     Fill the Brush--Outline--Examples--Industry--The
+     Needle and Stick--Completing the Outline                         56
+
+     CHAPTER IV
+
+     Matting--Badgering--How to preserve Correctness of
+     Outline--Difficulty of Large Work--Ill-ground
+     Pigment--The Muller--Overground Pigment--Taking
+     out Lights--"Scrubs"--The Need of a
+     Master                                                           72
+
+
+     CHAPTER V
+
+     Cutting (advanced)--The Ideal Cartoon--The Cut-line--Setting
+     the Cartoon--Transferring the Cut-line
+     to the Glass--Another Way--Some Principles
+     of Taste--Countercharging                                        83
+
+
+     CHAPTER VI
+
+     Painting (advanced)--Waxing-up--Cleanliness--Further
+     Methods of Painting--Stipple--Dry
+     Stipple--Film--Effects of Distance--Danger of
+     Over-Painting--Frying                                            94
+
+
+     CHAPTER VII
+
+     Firing--Three Kinds of Kiln--Advantages and Disadvantages--The
+     Gas-Kiln--Quick Firing--Danger--Sufficient
+     Firing--Soft Pigments--Difference in
+     Glasses--"Stale" Work--The Scientific Facts--How
+     to Judge of Firing--Drawing the Kiln                            105
+
+
+     CHAPTER VIII
+
+     The Second Painting--Disappointment with Fired
+     Work--A False Remedy--A Useful Tool--The
+     Needle--A Resource of Desperation--The Middle
+     Course--Use of the Finger--The Second Painting--Procedure       118
+
+
+     CHAPTER IX
+
+     Of Staining and Aciding--Yellow Stain--Aciding--Caution
+     required in Use--Remedy for Burning--Uses
+     of Aciding--Other Resources of Stained
+     Glass Work                                                      129
+
+
+     CHAPTER X
+
+     Leading-Up and Fixing--Setting out the Bench--Relation
+     of Leading to mode of Fixing in the
+     Stone--Process of Fixing--Leading-Up Resumed--Straightening
+     the Lead--The "Lathykin"--The
+     Cutting-Knife--The Nails--The Stopping-Knife--Knocking
+     Up                                                              133
+
+
+     CHAPTER XI
+
+     Soldering--Handling the Leaded Panel--Cementing--Recipe
+     for Cement--The Brush--Division of
+     Long Lights into Sections--How Joined when
+     Fixed--Banding--Fixing--Chipping out the Old
+     Glazing--Inserting the New and Cementing                        144
+
+
+
+
+     PART II
+
+     CHAPTER XII
+
+     Introductory--The Great Questions--Colour--Light--Architectural
+     Fitness--Limitations--Thought--Imagination--Allegory            154
+
+
+     CHAPTER XIII
+
+     Of Economy--The Englishman's Wastefulness--Its
+     Good Side--Its Excess--Difficulties--A Calculation--Remedies    156
+
+
+     CHAPTER XIV
+
+     Of Perfection--In Little Things--Cleanliness--Alertness--But
+     not Hurry--Realising your Conditions--False
+     Lead-Lines--Shutting out Light--Bars--Their
+     Number--Their Importance--Precedence--Observing
+     your Limitations--A Result of
+     Complete Training--The Special Limitations of
+     Stained Glass--Disguising the Lead-Line--No full
+     Realism--No violent Action--Self-Effacement--No
+     Craft-Jugglery--Architectural Fitness founded
+     on Architectural Knowledge--Seeing Work _in
+     Situ_--Sketching in Glass--The Artistic Use of
+     the Lead--Stepping Back--Accepting Bars and
+     Leads--Loving Care--White Spaces to be Interesting--Bringing
+     out the "Quality" of the
+     Glass--Spotting and Dappling--"Builders-Glazing"
+     _versus_ Modern Restoring                                       163
+
+
+     CHAPTER XV
+
+     A Few Little Dodges--A Clumsy Tool--A Substitute--A
+     Glass Rack--An Inconvenient Easel--A
+     Convenient Easel--A Waxing-up Tool--An
+     Easel with Movable Plates--Making the
+     most of a Room--Handling Cartoons--Cleanliness--Dust--The
+     Selvage Edge--Drying a
+     "Badger"--A Comment                                             182
+
+
+     CHAPTER XVI
+
+     Of Colour                                                       198
+
+
+     CHAPTER XVII
+
+     Of Architectural Fitness                                        234
+
+     CHAPTER XVIII
+
+     Of Thought, Imagination, and Allegory                           248
+
+
+     CHAPTER XIX
+
+     Of General Conduct and Procedure--Amount of
+     Legitimate Assistance--The Ordinary Practice--The
+     Great Rule--The Second Great Rule--Four
+     Things to Observe--Art _v._ Routine--The
+     Truth of the Case--The Penalty of Virtue in
+     the Matter--The Compensating Privilege--Practical
+     Applications--An Economy of Time
+     in the Studio--Industry--Work "To Order"--Clients
+     and Patrons--And Requests Reasonable
+     and Unreasonable--The Chief Difficulty the
+     Chief Opportunity--But ascertain all Conditions
+     before starting Work--Business Habits--Order--Accuracy--Setting
+     out Cartoon Forms--An Artist
+     must Dream--But Wake--Three Plain Rules                         264
+
+
+     CHAPTER XX
+
+     A String of Beads                                               290
+
+
+     APPENDIX I
+
+     Some Suggestions as to the Study of Old Glass                   308
+
+
+     APPENDIX II
+
+     On the Restoring of Ancient Windows                             315
+
+     APPENDIX III
+
+     PAGE
+
+     Hints for the Curriculum of a Technical School for
+     Stained Glass--Examples for Painting--Examples
+     of Drapery--Drawing from Nature--Ornamental
+     Design                                                          321
+
+
+     NOTES ON THE COLLOTYPE PLATES                                   327
+
+     THE COLLOTYPE PLATES                                            337
+
+     GLOSSARY                                                        369
+
+     INDEX                                                           373
+
+
+
+
+PART I
+
+
+CHAPTER I
+
+INTRODUCTORY, AND CONCERNING THE RAW MATERIAL
+
+
+You are to know that stained glass means pieces of coloured glasses put
+together with strips of lead into the form of windows; not a picture
+painted on glass with coloured paints.
+
+You know that a beer bottle is blackish, a hock bottle orange-brown, a
+soda-water bottle greenish-white--these are the colours of the whole
+substance of which they are respectively made.
+
+Break such a bottle, each little bit is still a bit of coloured glass.
+So, also, blue is used for poison bottles, deep green and deep red for
+certain wine glasses, and, indeed, almost all colours for one purpose or
+another.
+
+Now these are the same glass, and coloured in the same way as that used
+for church windows.
+
+Such coloured glasses are cut into the shapes of faces, or figures, or
+robes, or canopies, or whatever you want and whatever the subject
+demands; then features are painted on the faces, folds on the robes, and
+so forth--not with colour, merely with brown shading; then, when this
+shading has been burnt into the glass in a kiln, the pieces are put
+together into a picture by means of grooved strips of lead, into which
+they fit.
+
+This book, it is hoped, will set forth plainly how these things are
+done, for the benefit of those who do not know; and, for the benefit of
+those who do know, it will examine and discuss the right principles on
+which windows should be made, and the rules of good taste and of
+imagination, which make such a difference between beautiful and vulgar
+art; for you may know intimately all the processes I have spoken of, and
+be skilful in them, and yet misapply them, so that your window had
+better never have been made.
+
+Skill is good if you use it wisely and for good end; but craft of hand
+employed foolishly is no more use to you than swiftness of foot would be
+upon the broad road leading downwards--the cripple is happier.
+
+A clear and calculating brain may be used for statesmanship or science,
+or merely for gambling. You, we will say, have a true eye and a cunning
+hand; will you use them on the passing fashion of the hour--the morbid,
+the trivial, the insincere--or in illustrating the eternal truths and
+dignities, the heroisms and sanctities of life, and its innocencies and
+gaieties?
+
+This book, then, is divided into two parts, of which the intention of
+one is to promote and produce skilfulness of hand, and of the other to
+direct it to worthy ends.
+
+The making of glass itself--of the raw material--the coloured glasses
+used in stained-glass windows, cannot be treated of here. What are
+called "Antiques" are chiefly used, and there are also special glasses
+representing the ideals and experiments of enthusiasts--Prior's "Early
+English" glass, and the somewhat similar "Norman" glass. These glasses,
+however, are for craftsmen of experience to use: they require mature
+skill and judgment in the using; to the beginner, "Antiques" are enough
+for many a day to come.
+
+_How to know the Right and Wrong Sides of a Piece of "Antique"
+Glass._--Take up a sheet of one of these and look at it. You will notice
+that the two sides look different; one side has certain little
+depressions as if it had been pricked with a pin, sometimes also some
+wavy streaks. Turn it round, and, looking at the other side, you still
+see these things, but blurred, as if seen through water, while the
+surface itself on this side looks smooth; what inequalities there are
+being projections rather than depressions. Now the side you first looked
+at is the side to cut on, and the side to paint on, and it is the side
+placed inwards when the window is put up.
+
+The reason is this. Glass is made into sheets by being blown into
+bubbles, just as a child blows soap-bubbles. If you blow a soap-bubble
+you will see streaks playing about in it, just like the wavy streaks you
+notice in the glass.
+
+The bubble is blown, opened at the ends, and manipulated with tools
+while hot, until it is the shape of a drain-pipe; then cut down one side
+and opened out upon a flattening-stone until the round pipe is a flat
+sheet; and it is this stone which gives the glass the different texture,
+the dimpled surface which you notice.
+
+Some glasses are "flashed"; that is to say, a bubble is blown which is
+mainly composed of white glass; but, before blowing, it is also dipped
+into another coloured glass--red, perhaps, or blue--and the two are then
+blown together, so that the red or blue glass spreads out into a thin
+film closely united to, in fact fused on to, and completely one with,
+the white glass which forms the base; most "Ruby" glasses are made in
+this way.
+
+
+
+
+CHAPTER II
+
+     Cutting (elementary)--The Diamond--The Wheel--Sharpening--How to
+     Cut--Amount of Force--- The Beginner's Mistake--Tapping--Possible
+     and Impossible Cuts--"Grozeing"--Defects of the Wheel--The Actual
+     Nature of a "Cut" in Glass.
+
+
+No written directions can teach the use of the diamond; it is as
+sensitive to the hand as the string of a violin, and a good workman
+feels with a most delicate touch exactly where the cutting edge is, and
+uses his tool accordingly. Every apprentice counts on spoiling a guinea
+diamond in the learning, which will take him from one to two years.
+
+Most cutters now use the wheel, of which illustrations are given (figs.
+1 and 2).
+
+[Illustration: FIGS. 1 AND 2.]
+
+The wheels themselves are good things, and cut as well as the diamond,
+in some respects almost better; but many of the handles are very
+unsatisfactory. From some of them indeed one might suppose, if such a
+thing were conceivable, that the maker knew nothing of the use of the
+tool.
+
+For it is held thus (fig. 5), the pressure of the _forefinger_ both
+guiding the cut and supplying force for it: and they give you an _edge_
+to press on (fig. 1) instead of a surface! In some other patterns,
+indeed, they do give you the desired surface, but the tool is so thin
+that there is nothing to grip. What ought to be done is to reproduce the
+shape of the old wooden handle of the diamond proper (figs. 3 and 4).
+
+[Illustration: FIGS. 3 AND 4.]
+
+The foregoing passage must, however, be amplified and modified, but this
+I will do further on, for you will understand the reasons better if I
+insert it after what I had written further with regard to the cutting of
+glass.
+
+_How to Sharpen the Wheel Cutter._--The right way to do this is
+difficult to describe in writing. You must, first of all, grind down the
+"shoulders" of the tool, through which the pivot of the wheel goes, for
+they are made so large that the wheel cannot reach the stone (fig. 6),
+and must be reduced (fig. 7). Then, after first oiling the pivot so that
+the wheel may run easily, you must hold the tool as shown in fig. 8, and
+rub it swiftly up and down the stone. The angle at which the wheel
+should rest on the stone is shown in fig. 9. You will see that the angle
+at which the wheel meets the stone is a little _blunter_ than the angle
+of the side of the wheel itself. You do not want to make the tool _too
+sharp_, otherwise you will risk breaking down the edge, when the wheel
+will cease to be truly circular, and when that occurs it is absolutely
+useless. The same thing will happen if the wheel is _checked_ in its
+revolution while sharpening, and therefore the pivot must be kept oiled
+both for cutting and sharpening.
+
+[Illustration: FIG. 5.]
+
+[Illustration: FIGS. 6 and 7.]
+
+It is a curious fact to notice that the tool, be it wheel or diamond,
+that is _too sharp_ is not, in practice, found to make so good a cut as
+one that is less sharp; it scratches the glass and throws up a line of
+splinters.
+
+_How to Cut Glass._--Hold the cutter as shown in the illustration (fig.
+5), a little sloping towards you, but perfectly upright laterally; draw
+it towards you, hard enough to make it just _bite_ the glass. If it
+leaves a mark you can hardly see it is a good cut (fig. 10B), but if it
+scratches a white line, throwing up glass-dust as it goes, either the
+tool is faulty, or you are pressing too hard, or you are applying the
+pressure to the wheel unevenly and at an angle to the direction of the
+cut (fig. 10A). Not that you can make the wheel _move_ sideways in the
+cut actually; it will keep itself straight as a ploughshare keeps in its
+furrow, but it will press sideways, and so break down the edges of the
+furrow, while if you exaggerate this enough it will actually leave the
+furrow, and, ceasing to cut, will "skid" aside over the glass. As to
+pressure, all cutters begin by pressing much too hard; the tool having
+started biting, it should be kept only _just biting_ while drawn along.
+The cut should be almost _noiseless_. You think you're not cutting
+because you don't hear it grate, but hold the glass sideways to the
+light and you will see the silver line quite continuous.
+
+Having made your cut, take the glass up; hold it as in fig. 11, press
+downward with the thumbs and upward with the fingers, and the glass will
+come apart.
+
+[Illustration: FIG. 8.]
+
+[Illustration: FIG. 9.]
+
+[Illustration: FIG. 10, A and B]
+
+[Illustration: FIG. 11.]
+
+But you want to cut shaped pieces as well as straight. You cannot break
+these directly the cut is made, but, holding the glass as in fig. 12,
+and pressing it firmly with the left thumb, jerk the tool up by little,
+sharp jerks of the fingers _only_, so as to tap along the underside of
+your cut. You will see a little silver line spring along the cut,
+showing that the glass is dividing; and when that silver line has sprung
+from end to end, a gentle pressure will bring the glass apart.
+
+[Illustration: FIG. 12.]
+
+This upward jerk must be sharp and swift, but must be calculated so as
+only just to _reach_ the glass, being checked just at the right point,
+as one hammers a _nail_ when one does not want to stir the work into
+which the nail is driven. A _pushing_ stroke, a blow that would go much
+further if the glass were not there, is no use; and for this reason
+neither the elbow nor the hand must move; the knuckles are the hinge
+upon which the stroke revolves.
+
+[Illustration: FIG. 13.]
+
+[Illustration: FIG. 14.]
+
+But you can only cut certain shapes--for instance, you cannot cut a
+wedge-shaped gap out of a piece of glass (fig. 13); however tenderly you
+handle it, it will split at point A. The nearest you can go to it is a
+curve; and the deeper the curve the more difficult it is to get the
+piece out. In fig. 14 A is an average easy curve, B a difficult one, C
+impossible, except by "groseing" or "grozeing" as cutters call it; that
+is, after the cut is made, setting to work to patiently bite the piece
+out with pliers (fig. 15).
+
+[Illustration: FIG. 15.]
+
+Now, further, you must understand that you must not cut round all the
+sides of a shaped piece of glass at once; indeed, you must only cut one
+side at a time, and draw your cut right up to the edge of the glass, and
+break away the whole piece which _contains_ the side you are cutting
+before you go on to another.
+
+Thus, in fig. 16, suppose the shaded portion to be the shape that you
+wish to cut out of the piece of glass, A, B, C, D. You must lay your
+gauge _anglewise_ down upon the piece. Do not try to get the sides
+parallel to the shapes of your gauge, for that makes it much more
+difficult; angular pieces break off the easiest.
+
+[Illustration: FIG. 16.]
+
+Now, then, _cut the most difficult piece first_. That marked 1. Perhaps
+you will not cut it quite true; but, if not, then shift the gauge
+slightly on to another part of the curve, and very likely it may fit
+that better and so _come_ true.
+
+Then follow with one of those marked 2 or 3. Probably it would be safest
+to cut the larger and more difficult piece first, and get _both_ the
+curved cuts right by your gauge; then you can be quite sure of getting
+the very easy small bit off quite truly, to fit into its place with both
+of them. Go on with 4, and then with one of those marked 5 or 6.
+Probably it would still be best to cut the curved piece first, unless
+you think that shortening it by cutting off the small corner-piece first
+will make the curved cut easier by making it shorter.
+
+In any case you must only cut one side at a time, and break it away
+before you make the cut for another side.
+
+Take care that you do not go back in your cut. You must try and make it
+quite continuous onwards; for if you go back in the cut, where your tool
+has already thrown up splinters, it will spoil your tool and spoil your
+cut also.
+
+Difficult curves, that it is only just possible to get out by groseing,
+ought never to be resorted to, except for some very sufficient reason. A
+cartoonist who knows the craft will avoid setting such tasks to the
+cutter; but, unfortunately, many cartoonists do _not_ know the craft. If
+people were taught the complete craft as they should be, this book would
+not have been written.
+
+Here let me say that we cannot possibly within the narrow limits of it
+go thoroughly into all the very wide range of subjects connected with
+glass--the chemistry, the permanence, the purity of materials. With the
+exception of the practice of the craft, probably we shall not be able to
+go thoroughly into any one of them; but I shall endeavour to _mention_
+them all, and to do so sufficiently to indicate the directions in which
+work and research and experiment may be made, for they are all three
+much needed in several directions.
+
+It becomes, for instance, now my task, in modifying the passage some
+pages back as I promised, to go into one of these subjects in the light
+of inquiries made since the passage in question was written; and I let
+it for the time being stand just as it was, without the additional
+information, because it gives a picture of how such things crop up and
+of the way in which such investigations may be made, and of how useful
+and pleasant they may be.
+
+Here then let us have--
+
+
+A LITTLE DISSERTATION UPON CUTTING.
+
+Through the agent for the wheel-cutter in England I communicated with
+the maker and inventor in America, and told him of our difficulties and
+perplexities over here, and chiefly with regard to two points. First,
+the awkwardness of the handle, which causes the glaziers here to use the
+tool bound round with wadding, or enclosed in a bit of india-rubber
+pipe; and, secondly, the bluntness of the "jaws" which hold the wheel,
+and which must be ground down (and are in universal practice ground
+down), before the tool can be sharpened.
+
+His reply called attention to a number of different patterns of handle,
+the existence of which, I think, is not generally known, in England at
+any rate, and some of which seem to more or less meet the difficulties
+we experience, most of them also being made with malleable iron handles,
+so that fresh cutting-wheels can be inserted in the same handle. His
+letter also entered into the question of the actual dynamics of
+"cutting," maintaining, I think rightly, that a "cut" is made by the
+edge of the wheel (this not being very sharp) forcing the particles of
+the glass down into the mass of it by pressure.
+
+With regard to the old-fashioned pattern of tool which we chiefly use in
+this country, the very sufficient explanation is that they continue to
+make it because we continue to demand it, a circumstance which, as he
+declares, is a mystery to the inventor himself! Nevertheless, as we do
+so, and, in spite of the variety of newer tools on the market, still go
+on grinding down the jaws of our favourite, and wrapping round the
+handle with cotton-wool, let us try and put this matter straight, and
+compare our requirements with the advantages offered us.
+
+There are three chief points to be cleared up. (1) The actual nature of
+a "cut" in glass; (2) the question of sharpening the tool and grinding
+down of the jaws to do so; and (3) the "mystery" of our preference for a
+particular tool, although we all confess its awkwardness by the means we
+take to modify it.
+
+(1) With regard, then, to the nature of a "cut" in glass I am disposed
+entirely to agree with the theory put forward by the inventor of the
+wheel, which an examination of the cuts under the microscope, or even a
+6 diameter lens, certainly also tends to confirm.
+
+What happens appears to my non-scientific eyes to be this.
+
+Glass is one of the most fissile or "splittable" of all materials; but
+it is so just in the same way that ice is, and just in the opposite way
+to that in which slate or talc is.
+
+Slate or talc splits easily into thin layers or laminae, _because it
+already lies in such layers_, and these will come apart when the force
+is applied between them: but _it will only split into the laminae of
+which it already is composed, and along the line of the fissures which
+already exist between them_.
+
+Glass, on the contrary (and the same is true of ice, or for that matter
+of currant-jelly and such like things), appears to be a substance which
+is the same in all directions, or nearly so, and therefore as liable to
+split in one direction as in another, and is so loosely held together
+that, once a splitting force is applied, the crack spreads very rapidly
+and easily, and therefore smoothly and in straight lines and in even
+planes.
+
+The diamond, or the wheel-cutter, is such a force. Being pressed on to
+the surface, it forces down the particles, and these start a series of
+small vertical splits, sometimes nearly through the whole thickness of
+the glass, though invisibly so until the glass is separated. And mark,
+that it is the _starting_ of the splits that is the important thing;
+there is no object in making them _deep_, it is only wasted force; they
+will continue to split of themselves if encouraged in the proper way
+(see Plates IX. and X.). Try this as follows.
+
+Take a bit of glass, say 3 inches by 2, and make the very smallest dint
+you can in it, in the middle of the narrowest dimension. You cannot make
+one so small that the glass will hold together if you try to break it
+across. It will break across in a straight line, springing from each end
+of the tiny cut. The cut may be only 1/8 of an inch long; less--it may
+be only 1/16, 1/32--as small as you will, the glass will break across
+just the same.
+
+Why?
+
+Because the cut has _started_ it splitting at each end; and the material
+being the same all through, the split will go straight on in the
+direction in which it has started; there is nothing to turn it aside.
+
+So also the pressure of the wheel starts a continuous split, or series
+of splits, _downwards_, into the thickness of the glass. No matter how
+small a distance these go in, the glass will come asunder directly
+pressure is applied.
+
+Now, if you press too hard in cutting, another thing takes place.
+
+Imagine a quantity of roofing-slates piled flat one on top of another,
+all the piles being of equal height and arranged in two rows, side by
+side, so close that the edges of the slates in one row touch the edges
+of those in the other row, along a central line.
+
+Wheel a wheelbarrow along that line over the edges of both.
+
+What would happen?
+
+The top layer of slates would all come cocking their outer edges up as
+the barrow passed over their inner ones, would they not?
+
+Now, just so, if you press hard on your glass-cutting wheel, it will
+press down the edges of the groove, and though there are no layers
+_already made_ in the glass, the pressure will _split off_ a thin layer
+from the top surface of the glass on each side in flakes as it goes
+along (Plate X., D, E).
+
+This is what gives the _noise_ of the cut, c-r-r-r-r-r-; and as the
+thing is no use the noise is no use; like a good many other things in
+life, the less noise the better work, much cry generally meaning little
+wool, as the man found out who shaved the pig.
+
+But the wheel or the diamond is not quite the same as the wheel of the
+wheelbarrow, for it has a _wedge-shaped_ edge. Imagine a barrow with
+such a wheel; what _then_ would happen to your slates? besides being
+cocked up by the wheel, they would also be _pushed out_, surely?
+
+This happens in glass. You must not imagine that glass is a rigid thing;
+it is very elastic, and the wedge-like pressure of the wheel pushes it
+out just as the keel of a boat pushes the water aside in ripples (Plate
+X., D, E).
+
+All these observations seem to me to bear out the theory of the
+inventor, and perhaps to some extent to explain it. I am much tempted to
+carry them further, and ask the questions, why a penknife as well as a
+wheel will not make a cut in glass, but will make a perfectly definite
+scratch on it if the glass is placed under water? and why this line so
+made will yet not serve for separating the glass? and why a piece of
+glass can be cut in two (roughly, to be sure, but still cut in two) with
+a pair of scissors under water, a thing otherwise quite impossible?
+
+But I do not think that the knowledge of these questions will help the
+reader to do better stained-glass windows, and therefore I will not
+pursue them.
+
+(2) The question of sharpening the tool is soon disposed of.
+
+If the tool is to be sharpened, the jaws must be ground down, whether
+the maker grinds them down originally or whether we do it. Is sharpening
+worth while, since the tool only costs a few pence?
+
+Well, it's a question each must decide for himself; but I will just
+answer two small difficulties which affect the matter.
+
+If grinding the jaws loosens the pivot, it can be hammered tight again
+with a punch. If sharpening wears out the oil-stone (as it undoubtedly
+does, and oil-stones are expensive things), a piece of fine polished
+Westmoreland slate will do as well, and there is no need to be chary of
+it. Even a piece of ground-glass with oil will do.
+
+(3) But now as to the handle. I am first to explain the amusing
+"mystery" why the old pattern shown in fig. 1 still sells.
+
+It is because the British working-man _is convinced that the wheels in
+this handle are better quality than any others_.
+
+Is he right, or is it only an instance of his love for and faith in the
+thing he has got used to?
+
+Or can it be that all workmen do not know of the existence of the other
+types of handle? In case this is so, I figure some (fig. 17). Or is it
+that the wheel for some reason runs less truly in the malleable iron
+than in the cast iron?
+
+[Illustration: FIG. 17.]
+
+Certain it is that the whole trade here prefers these wheels, and I am
+bound to say that as far as my experience goes they seem to me to work
+better than those in other handles.
+
+But as to all the handles themselves, I must now voice our general
+complaint.
+
+(1) They are too light.
+
+For tapping our heavy antique and slab-glasses we wish we had a heavier
+tool.
+
+(2) They are too thin in the handle for comfort, at least it seems so to
+me.
+
+(3) The three gashes cut out of the head of the tool decrease the
+weight, and if these were omitted the tool would gain. Their only use
+that I can conceive of is that of a very poor substitute for pliers as a
+"groseing" tool, if one has forgotten one's pliers. But (as Serjeant
+Buzfuz might say) "who _does_ forget his pliers?"
+
+The whole question of the handle is complicated by the fact that some
+cutters rest the tool on the forefinger and some on the middle finger in
+tapping, and that a handle the sections of which are calculated for the
+one will not do equally well for the other.
+
+But the whole thing resolves itself into this, that if we could get a
+tool, the handle of which corresponded in all its curves, dimensions,
+and sections with the old-established diamond, I think we should all be
+glad; and if the head, wheel, and pivot were all made of the quality and
+material of which fig. 1 is now made, but with the handle as I describe,
+many of us, I think, would be still more glad; and if these remarks lead
+in any degree to such results, they at least of all the book will have
+been worth the writing, and will probably be its best claim to a white
+stone in Israel, as removing one more solecism from "this so-called
+twentieth century."
+
+I shall now leave this subject of cutting for the present, and describe,
+up to about the same point, the processes of painting, taking both on to
+a higher stage later--as if, in fact, I were teaching a pupil; for as
+soon as you can cut glass well enough to cut a piece to paint on, you
+should learn to paint on it, and carry the two things on step by step,
+side by side.
+
+
+
+
+CHAPTER III
+
+     Painting (elementary)--Pigments--Mixing--How to Fill the
+     Brush--Outline--Examples--Industry--The Needle and
+     Stick--Completing the Outline.
+
+
+The pigments for painting on glass are powders, being the oxides of
+various minerals, chiefly iron. There are others; but take it thus--that
+the iron oxide is a red pigment, and the others are introduced, mainly,
+to modify this. The red pigment is the best to use, and goes off less in
+the firing; but, alas! it is a detestably ugly _colour_, like red lead;
+and, do what you will, you cannot use it on white glass. Against clear
+sky it looks pretty well in some lights, but get it in a sidelight, or
+at an angle, and the whole window looks like red brick; while, seen
+against any background except clear sky, it always looks so from all
+points of view. There are various makers of these pigments. Some
+glass-painters make their own, and a beginner with any knowledge of
+chemistry would be wise to work in that direction.
+
+I need not discuss the various kinds of pigment; what follows is a
+description of my own practice in the matter.
+
+_To Mix the Pigment for Painting._--Take a teaspoonful of red
+tracing-colour, and a rather smaller spoonful of intense black, put them
+on a slab of thick ground-glass about 9 inches square, and drop clean
+water upon them till you can work them up into a paste with the
+palette-knife (fig. 18); work them up for a minute or so, till the paste
+is smooth and the lumps broken up, and then add about three drops of
+strong gum made from the purest white gum-arabic dissolved in cold
+water. Any good chemist will sell this, but its purity is a matter of
+great importance, for you want the maximum of adhesiveness with the
+minimum of the material.
+
+Mix the colour well up with the knife; then take one of those
+long-haired sable brushes, which are called "riggers" (fig. 19), and
+which all artists'-colourmen sell, and fill it with the colour, diluting
+it with enough water to make it quite thin. Do not dilute all the
+pigment; keep most of it in a tidy lump, merely moist, as you ground it
+and not further wetted, at the corner of your slab; but always keep a
+portion diluted in a small "pond" in the middle of your palette.
+
+[Illustration: Fig. 18.]
+
+_How to Fill the Brush with Pigment._--Now you must note that this is a
+heavy powder floating free in water, therefore it quickly sinks to the
+bottom of your little "pond." _Each time you fill your_ _brush you must
+"stir up the mud_," for the "mud" is what you want to get in your brush,
+and not only so, but you want to get your brush _evenly full_ of it from
+tip to base, therefore you must splay out the hairs flat against the
+glass, till all are wet, and then in taking it off the palette,
+"twiddle" it to a point quickly. This takes long to describe, but it
+does not take a couple of seconds to do. You must have the patience to
+spend so much pains on it, and even to fill the brush very often, nearly
+for each touch; then you will get a clear, smooth, manageable stroke for
+your outline, and save time in the end.
+
+[Illustration: FIG. 19.]
+
+_How to Paint in Outline._--Make some strokes (fig. 20) on a piece of
+glass and let them dry; some people like them to stick very tight to the
+glass, some so that a touch of the finger removes them; you must find
+which suits you by-and-by, and vary the amount of gum accordingly; but
+to begin, I would advise that they should be just removable by a
+moderately hard rub with the finger, rather less hard a rub than you
+close a gummed envelope with.
+
+Practise now for a time the making of strokes, large and small, dark and
+light, broad and fine; and when you have got command of your tools, set
+yourself the task of doing the same thing, _copying an example placed
+underneath your bit of glass_. You will find a hand-rest (fig. 21) an
+assistance in this.
+
+[Illustration: FIG. 20.]
+
+It is difficult to give any list of examples suitable for this stage of
+glass, but the kind of line employed on the best _heraldry_ is always
+good for the purpose. The splendid illustrations of this in Mr. St.
+John-Hope's book of the stall-plates of the Knights of the Garter at
+Windsor, examples of which by the author's courtesy I am allowed to
+reproduce (figs. 22-22A), are ideal for bold outline-work, and
+fascinatingly interesting for their own sake. In most of these there is
+not only excellent practice in _outline_, and a great deal of it, but,
+mixed with it, practice also in flat washes, which it is a good thing to
+be learning side by side with the other.
+
+[Illustration: FIG. 21.]
+
+And here let me note that there are throughout the practice of
+glass-painting _many_ methods in use at every stage. Each person, each
+firm of glass-stainers, has his own methods and traditions. I shall not
+trouble to notice all these as we come to them, but describe what seems
+to me to be the best practice in each case; but I shall here and there
+give a word about others.
+
+For instance: if you use sugar or treacle instead of gum, you get a
+rather smoother-working pigment, and after it is dry you can moisten it
+as often as you will for further work by merely breathing on the
+surface; and perhaps if your aim is _outline only_, it may be well to
+try it; but if you wish to pass shading-colour over it you must use gum,
+for you cannot do so over treacle colour; nor do I think treacle serves
+so well for the next process I am to describe, which here follows.
+
+[Illustration: FIG. 22.]
+
+[Illustration: FIG. 22A.]
+
+
+_How to complete the Outline better than you possibly can by One
+Tracing._--When you take up a bit of glass from the table, after having
+done all you can to make a correct tracing, you will be disappointed
+with the result. It will have looked pretty well on the table with the
+copy showing behind it and hiding its defects, but it is a different
+thing when held up to the searching daylight. This must not, however,
+discourage you. No one, not the most skilful, could expect to make a
+perfect copy of an original (if that original had any fineness of line
+or sensitiveness of touch about it) by merely tracing it downwards on
+the bench. You must put it upright against the daylight, and mend your
+drawing, freehand, faithfully by the copy.
+
+These remarks do not, in a great degree, apply to the case of hard
+outlines specially prepared for literal translation. I am speaking of
+those where the outline is, in the artistic sense, sensitive and
+refined, as in a Botticelli painting or a Holbein drawing, and to copy
+these well you want an easel.
+
+For this small work any kind of frame with a sheet of glass in it, and a
+ledge to rest your bit of glass on and a leg to stand out behind, will
+do, and by all means get it made (fig. 23); but do not spend too much on
+it, for later on you will want a bigger and more complicated thing,
+which will be described in its proper place--that is to say, when we
+come to it; and we shall come to it when we come to deal with work made
+up of a number of pieces of glass, as all windows must be.
+
+[Illustration: FIG. 23.]
+
+This that you have now, not being a window but a bit of glass to
+practise on, what I have described above will do for it.
+
+_A note to be always industrious and to work with all your might._--I
+advise you to put this work on an easel; but this is not the way such
+work is usually done;--where the work is done as a task (alas, that it
+could ever be so!) it is held listlessly in the left hand while touched
+with the right; but no artist can afford to be at this disadvantage, or
+at any disadvantage.
+
+Fancy a surgeon having to hold the limb with one hand while he uses the
+lancet with the other, or an astronomer, while he makes his measurement,
+bunglingly moving his telescope by hand while he pursues his star,
+instead of having it driven by the clock!
+
+You cannot afford to be less keen or less in earnest, and you want both
+hands free--ay! more than this--your whole body free: you must not be
+lazy and sit glued to your stool; you must get up and walk backwards and
+forwards to look at your work. Do you think art is so easy that you can
+afford to saunter over it?
+
+Do, I beg you, dear reader, pay attention to these words; for it is true
+(though strange) that the hardest thing I have found in teaching has
+been to get the pupil to take the most reasonable care not to hamper and
+handicap himself by omitting to have his work comfortably and
+conveniently placed and his tools and materials in good order. You shall
+find a man going on painting all day, working in a messing, muddling
+way--wasting time and money--because his pigment has not been covered up
+when he left off work yesterday, and has got dusty and full of "hairs";
+another will waste hour after hour, cricking his neck and squinting at
+his work from a corner, when thirty seconds and a little wit would move
+his work where he would get a good light and be comfortable; or he will
+work with bad tools and grumble, when five minutes would mend his tools
+and make him happy.
+
+An artist's work--any artist's, but especially a glass-painter's--should
+be just as finished, precise, clean, and alert as a surgeon's or a
+dentist's. Have you not in the case of these (when the affair has not
+been too serious) admired the way in which the cool, white hands move
+about, the precision with which the finger-tips take up this or that,
+and when taken up use it "just _so_," neither more nor less: the
+spotlessness and order and perfect finish of every tool and material,
+from those fearsome things which (though you prefer not to dwell on
+their uses) you cannot help admiring, down to the snowy cotton-wool
+daintily poked ready through the holes in a little silver beehive? Just
+such skill, handling, and precision, and just such perfection of
+instruments, I urge as proper to painting.
+
+_What Tools are wanted to complete the Outline._--I will now describe
+those tools which you want at this stage, that is, _to mend your outline
+with_.
+
+[Illustration: FIG. 24.]
+
+You want the brush which you used in the first instance to paint it
+with, and that has already been described; but you also want points of
+various fineness to etch it away with where it is too thick; these are
+the needle and the stick (fig. 24); any needle set in a handle will do,
+but if you want it for fine work, take care that it be sharp. "How
+foolish," you say; "as if you need tell us that." On the contrary,--nine
+people out of ten need telling, because they go upon the assumption that
+a needle _must_ be sharp, "as sharp as a needle," and cannot need
+sharpening,--and they will go on for 365 days in a year wondering why a
+needle (which _must_ be sharp) should take out so much coarser a light
+than they want.
+
+Now as to "sticks"; if you make a point of soft wood it lasts for three
+or four touches and then gets "furred" at the point, and if of very hard
+wood it slips on the glass. Bamboo is good; but the best of all--that is
+to say for broad stick-lights--is an old, sable oil-colour brush,
+clogged with oil and varnish till it is as hard as horn and then cut to
+a point; this "clings" a little as it goes over the glass, and is most
+comfortable to use.
+
+I have no doubt that other materials may be equally good, celluloid or
+horn, for example; the student must use his own ingenuity on such a
+simple matter.
+
+_How to Complete the Outline._--With the tools above described complete
+the outline--by adding colour with the brush where the lines are too
+fine, and by taking it away with needle or stick where they are too
+coarse; make it by these means exactly like the copy, and this is all
+you need do. But as an example of the degree of correctness attainable
+(and therefore to be demanded) are here inserted two illustrations
+(figs. 25 and 26), one of the example used, and the other of a copy made
+from it by a young apprentice.
+
+[Illustration: FIG. 25.]
+
+[Illustration: FIG. 26.]
+
+
+
+
+CHAPTER IV
+
+     Matting--Badgering--How to preserve Correctness of
+     Outline--Difficulty of Large Work--Ill-ground Pigment--The
+     Muller--Overground Pigment--Taking out Lights--"Scrubs"--The Need
+     of a Master.
+
+
+Take your camel hair matting-brush (fig. 27 or 28); fill it with the
+pigment, try it on the slab of the easel till it seems just so full that
+the wash you put on will not run down till you have plenty of time to
+brush it flat with the badger (fig. 29).
+
+Have your badger ready at hand and _very clean_, for if there is any
+pigment on it from former using, that will spoil the very delicate
+operation you are now to perform.
+
+Now rapidly, but with a very light hand, lay an even wash over the whole
+piece of glass on which the outline is painted; use vertical strokes,
+and try to get the touches to just meet each other without overlapping;
+but there is a very important thing to observe in holding the brush. If
+you hold it so (fig. 30) you cannot properly regulate the pressure, and
+also the pigment runs away downwards, and the brush gets dry at the
+point; you must hold it so (fig. 31), then the curve of the hair makes
+the brush go lightly over the surface, while also, the body of the brush
+being pointed downwards, the point you are using is always being
+refilled.
+
+[Illustration: FIG. 27.]
+
+[Illustration: FIG. 28.]
+
+[Illustration: FIG. 29.]
+
+It takes a very skilful workman indeed to put the strokes so evenly side
+by side that the result looks flat and not stripy; indeed you can hardly
+hope to do so, but you can get rid of what "stripes" there are by taking
+your badger and "stabbing" the surface of the painting with it very
+rapidly, moving it from side to side so as never to stab twice in the
+same spot; this by degrees makes the colour even, by taking a little off
+the dark part and putting it on the light; but the result will look
+mottled, not flat and smooth. Sometimes this may be agreeable, it
+depends on what you are painting; but if you wish it to be smooth, just
+give a last stroke or two over the whole glass sideways, that is to say,
+holding the badger so that it stands quite perpendicular to the glass,
+move it, _always still perpendicular_, across the whole surface. You
+must not sway it from side to side, or kick it up at the end of each
+stroke like a man white-washing; it must move along so that the points
+of the hairs are all just lightly touching the glass all the time.
+
+[Illustration: FIG. 30.]
+
+_How to Ensure the Drawing of a Face being kept Correct while
+Painting._--If you adopt the plan of doing the first painting over an
+unfired outline, you must be very careful that the outline is not
+brushed out of drawing in the process. If you have sufficient skill it
+need not be so, for it is quite possible--if all the conditions as to
+adhesiveness are right--and if you are light-handed enough--to so lay
+and badger the "matt" that the outline beneath shall only be gently
+softened, and not blurred or moved from its place. But in any case the
+best plan is at the same time that you trace the outline of a head on to
+the glass to trace it also with equal care on to a piece of tracing
+paper, and arrange three or four well-marked points, such as the corner
+of the mouth, the pupil of the eye, and some point on the back of the
+head or neck, so that these cannot possibly shift, and that you may be
+able at any time to get the tracing back into its proper place, both on
+the cartoon and on the piece of glass on which you are to paint the
+head. On which piece of glass also your first care should be that these
+three or four points should be clearly marked and unmovable; then during
+the whole progress of the painting you will always be able to verify the
+correctness of the drawing by placing your piece of tracing paper over
+the glass, and so seeing that nothing has shifted its place.
+
+[Illustration: FIG. 31.]
+
+It requires a good deal of patience and practice to lay matt
+successfully over unfired outline. It is a question of the amount and
+quality of the gum, the condition of your brush, even the dryness or
+dampness of the air. You must try what degree of gum suits you best,
+both in the outline and in the matt which you are to pass over it. Try
+it a good many times on a slab of plain glass or on the plate of your
+easel first, before you try on your painting. Of course it's a much
+easier thing to matt successfully over a small piece than over a large.
+A head as big as the palm of your hand is not a very severe test of your
+powers; but in one as large as the _whole_ of your hand, say a head
+seven inches from crown to chin, the problem is increased quite
+immeasurably in difficulty. The real test is being able to produce in
+glass a real facsimile of a head by Botticelli or Holbein, and when you
+can do that satisfactorily you can do anything in glass-painting.
+
+Do not aim to get _too much_ in the first painting, at any rate not till
+you have had long practice. Be content if you get enough modelling on a
+head to turn the outline into a more sensitive and artistic drawing than
+it could be if planted down, raw and hard, upon the bare, cold glass.
+After all it is a common practice to fire the outline separately, and
+anything beyond this that you get upon the glass for first fire is so
+much to the good.
+
+But besides the quality of the _gum_ you will find sometimes differences
+in the quality or condition of the _pigment_. It may be insufficiently
+ground; in which case the matt, in passing over, will rasp away every
+vestige of the outline, so delicate a matter it is.
+
+You can tell when colour is not ground sufficiently by the way it acts
+when laid as a vertical wash. Lay a wash, moist enough to "run," on a
+bit of your easel-slab; it will run down, making a sort of
+seaweed-looking pattern--clear lanes of light on the glass with a black
+grain at the lower end. Those are the bits of unground material: under a
+100-diameter microscope they look like chunks of ironstone or road
+metal, or of rusty iron, and you'll soon understand why they have
+scratched away your tender outline.
+
+You must grind such colour till it is smooth, and an old-fashioned
+_granite_ muller is the thing, not a glass one.
+
+Now, after all this, how am I to excuse the paradox that it is possible
+to have the colour ground _too_ fine! All one can say is that you "find
+it so." It can be so fine that it seems to slip about in a thin, oily
+kind of way.
+
+It's all as you find it; the differences of a craft are endless; there
+is no forecasting of everything, and you must buy your experience, like
+everybody else, and find what suits you, learning your skill and your
+materials side by side.
+
+Now these are the chief processes of painting, as far as laying on
+colour goes; but you still have much of your work before you, for the
+way in which light and shade is got on glass is almost more in "taking
+off" than in "putting on." You have laid your dark "matt" all over the
+glass evenly; now the next thing is to remove it wherever you want light
+or half-tone.
+
+[Illustration: FIG. 32.]
+
+_How to Finish a Shaded Painting out of the Even Matt._--This is done in
+many ways, but chiefly with those tools which painters call "scrubs,"
+which are oil-colour hog-hair brushes, either worn down by use, or
+rubbed down on fine sandpaper till they are as stiff as you like them
+to be. You want them different in this: some harder, some softer; some
+round, some square, and of various sizes (figs. 32 and 33), and with
+these you brush the matt away gently and by degrees, and so make a light
+and shade drawing of it. It is exactly like the process of mezzotint,
+where, after a surface like that of a file has been laboriously produced
+over the whole copper-plate, the engraver removes it in various degrees,
+leaving the original to stand entirely only for the darkest of all
+shadows, and removing it all entirely only in the highest lights.
+
+[Illustration: FIG. 33.]
+
+There is nothing for this but practice; there is nothing more to _tell_
+about it; as the conjurers say, "That's how it's done." You will find
+difficulties, and as these occur you will think this a most defective
+book. "Why on earth," you will say, "didn't he tell us about this, about
+that, about the other?"
+
+Ah, yes! it is a most defective book; if it were not, I would have taken
+good care not to write it. For the worst thing that could happen to you
+would be to suppose that any book can possibly teach you any craft, and
+take the place of a master on the one hand, and of years of practice on
+the other.
+
+This book is not intended to do so; it is written to give as much
+information and to arouse as much interest as a book can; with the hope
+that if any are in a position to wish to learn this craft, and have not
+been brought up to it, they may learn, in general, what its conditions
+are, and then be able to decide whether to carry it further by seeking
+good teaching, and by laying themselves out for a patient course of
+study and practice and many failures and experiments. While, with regard
+to those already engaged in glass-painting, it is of course intended to
+arouse their interest in, and to give them information upon, those other
+branches of their craft which are not generally taught to those brought
+up as glass-painters.
+
+
+
+
+CHAPTER V
+
+     Cutting (advanced)--The Ideal Cartoon--The Cut-line--Setting the
+     Cartoon--Transferring the Cut-line to the Glass--Another Way--Some
+     Principles of Taste--Countercharging.
+
+
+We have only as yet spoken of the processes of cutting and painting in
+themselves, and as they can be practised on a single bit of glass; but
+now we must consider them as applied to a subject in glass where many
+pieces must be used. This is a different matter indeed, and brings in
+all the questions of taste and judgment which make the difference
+between a good window and an inferior one. Now, first, you must know
+that every differently coloured piece must be cut out by itself, and
+therefore must have a strip of lead round it to join it to the others.
+
+Draw a cartoon of a figure, _bearing this well in mind_: you must draw
+it in such a simple and severe way that you do not set impossible or
+needlessly difficult tasks to the cutter. Look now, for example, at the
+picture in Plate V. by Mr. Selwyn Image--how simple the cutting!
+
+You think it, perhaps, too "severe"? You do not like to see the leads so
+plainly. You would like better something more after the "Munich" school,
+where the lead line is disguised or circumvented. If so, my lesson has
+gone wrong; but we must try and get it right.
+
+You would like it better because it is "more of a picture"; exactly, but
+you ought to like the other better because it is "more of a window."
+Yes, even if all else were equal, you ought to like it better, _because_
+the lead lines cut it up. Keep your pictures for the walls and your
+windows for the holes in them.
+
+But all else is _not_ equal: and, supposing you now standing before a
+window of the kind I speak of, I will tell you what has been sacrificed
+to get this "picture-window" "like a picture." _Stained-glass_ has been
+sacrificed; for this is _not_ stained-glass, it is painted glass--that
+is to say, it is coloured glass ground up into powders and painted on to
+white sheets of glass: a poor, miserable substitute for the glorious
+colour of the deep amethyst and ruby-coloured glasses which it pretends
+to ape. You will not be in much danger of using it when you have handled
+your stained glass samples for a while and learned to love them. You will
+love them so much that you will even get to like the severe lead line
+which announces them for what they are.
+
+But you must get to reasonably love it as a craft limitation, a
+necessity, a thing which places bounds and limits to what you can do in
+this art, and prevents tempting and specious tricks.
+
+_How to Make a "Cut-line."_--But now, all this being granted, how are we
+to set about getting the pieces cut? First of all, I would say that it
+is always well to draw most, if not all, of the necessary lead lines on
+the cartoon itself. By the necessary lead lines I mean those which
+separate different colours; for you know that there _must_ be a
+lead line between these. Then, when these are drawn, it is a question of
+convenience whether to draw in also the more or less optional lead lines
+which break up each space of uniform colour into convenient-sized
+pieces. If you do not want your cartoon afterwards for any other purpose
+you may as well do so: that is, first "set" the cartoon if it is in
+charcoal or chalk, and then try the places for these lead lines lightly
+in charcoal over the drawing: working thus, you can dust them away time
+after time till they seem right to you, and then either set them also or
+not as you choose.
+
+A good, useful setting-mixture for large quantities is composed by
+mixing equal parts of "white polish" and methylated spirit; allowing it
+to settle for a week, and pouring off all that is clear. It is used in
+the ordinary way with a spray diffuser, and will keep for any length of
+time.
+
+The next step is to make what is called the cut-line. To do this, pin a
+piece of tracing-cloth over the whole cartoon; this can be got from any
+artist's-colourman or large stationer. Pin it over the cartoon with the
+dull surface outwards, and with a soft piece of charcoal draw lines 1/16
+to 1/8 of an inch wide down the centre of all the lead lines: remove the
+cloth from the cartoon, and if any of the lines look awkward or ugly,
+now that you see them by themselves undisguised by the drawing below,
+alter them, and then, finally, with a long, thin brush paint them in,
+over the charcoal, with water-colour lamp-black, this time a true
+sixteenth of an inch wide. Don't dust the charcoal off first, it makes
+the paint cling much better to the shiny cloth.
+
+When this is done, there is a choice of three ways for cutting the
+glass. One is to make shaped pieces of cartridge-paper as patterns to
+cut each bit of glass by; another is to place the bits of glass, one by
+one, over the cut-line and cut freehand by the line you see through the
+glass. This latter process needs no description, but you cannot employ
+it for dark glasses because you cannot see the line through: for this
+you must employ one of the other methods.
+
+_How to Transfer the Cutting-line on to the Glass._--Take a bit of glass
+large enough to cut the piece you want; place it, face upwards, on the
+table; place the cut-line over it in its proper place, and then slip
+between them, without moving either, a piece of black "transfer paper":
+then, with a style or hard pencil, trace the cutting-line down on to the
+glass. This will not make a black mark visible on the glass, it will
+only make a _grease_ mark, and that hardly visible, not enough to cut
+by; but take a soft dabber--a lump of cotton-wool tied up in a bit of
+old handkerchief--and with this, dipped in dry whitening or powdered
+white chalk, dab the glass all over; then blow the surface and you will
+see a clear white line where the whitening has stuck to the greasy line
+made by the transfer paper; and by this you can cut very comfortably.
+
+But a third way is to cut the shape of each piece of glass out in
+cartridge-paper; and to do this you put the cut-line down over a sheet
+of "continuous-cartridge" or "cartoon" paper, as it is called, and press
+along all the lines with a style or hard pencil, so as to make a furrow
+on the paper beneath; then, after removing the cut-line, you place a
+sheet of ordinary window-glass below the paper and cut out each piece,
+between the "furrows" leaving a _full_ 1/16 of an inch. This sixteenth
+of an inch represents the "heart" or core of the future _lead_; it is
+the distance which the actual bits of glass lie one from the other in
+the window. You must use a very sharp penknife, and you will find that,
+cutting against _glass_, each shape will have quite a smooth edge; and
+round this you can cut with your diamond.
+
+This method, which is far the most accurate and craftsmanly way of
+cutting glass, is best used with the actual diamond: in that case you
+feel the edge of the paper all the time with the diamond-spark; but in
+cutting with the wheel you must not rest against the edge of the paper;
+otherwise you will be sure to cut into it. Now, whichever of all these
+processes you employ, remember that there must be a _full_ 1/16 of an
+inch left between each piece of glass and all its neighbours.
+
+The reason why you leave this space between the pieces is that the core
+of the lead is about that or a little less in thickness: the closer the
+glass fits to this the better, but no part of the glass must go _nearer_
+to its neighbour than this, otherwise the work will be pressed outwards,
+and you will not be able to get the whole of the panel within its proper
+limits.
+
+[Illustration: FIG. 34]
+
+Fig. 34 is an illustration of various kinds and sizes of lead; showing
+some with the glass inserted in its place. By all means make your leads
+yourself, for many of those ready made are not lead at all, or not pure
+lead. Get the parings of sheet lead from a source you can trust, and
+cast them roughly in moulds as at fig. 35. Fig. 36 is the shears by
+which the strips may be cut; fig. 37 is the lead-mill or "vice" by which
+they are milled and run into their final shape; fig. 38 the "cheeks" or
+blocks through which the lead passes. The working of such an instrument
+is a thing that is understood in a few minutes with the instrument
+itself at hand, but it is cumbrous to explain in writing, and not worth
+while; since if you purchase such a thing, obviously the seller will be
+there to explain its use. Briefly,--the handle turns two wheels with
+milled edges 1/16 of an inch apart; which, at one motion, draw the lead
+between them, mill it, and force it between the two "cheeks" (fig. 38),
+which mould the outside of the lead in its passage. These combined
+movements, by a continuous pressure, squeeze out the strip of lead into
+about twice its length; correspondingly decreasing its thickness and
+finishing it as it goes.
+
+[Illustration: FIG. 35.]
+
+[Illustration: FIG. 36.]
+
+[Illustration: FIG. 37.]
+
+_Some principles of good taste and common sense with regard to the
+cutting up of a Window; according to which the Cartoon and Design must
+be modified._--Never disguise the lead line. Cut the necessary parts
+first, as I said before; cut the optional parts _simply_; thinking most
+of craft-convenience, and not much of realism.
+
+[Illustration: FIG. 38.]
+
+Do not, however, go to the extent of making two lead lines cross each
+other. Fig. 39 shows the two kinds of joint, A being the wrong one
+(as I hold), and B the right one; but, after all, this is partly a
+question of taste.
+
+Do not cut borders and other minor details into measured spaces; cut
+them hap-hazard.
+
+[Illustration: FIG. 39.]
+
+Do not cut leafage too much by the outlines of the groups of leaves--or
+wings by the outlines of the groups of feathers.
+
+Do not outline with lead lines any forms of minor importance.
+
+Do not allow the whole of any figure to cut out dark against light, or
+light against dark; but if the figure is ever so bright, let an inch or
+two of its outline tell out as a dark against a spot of still brighter
+light; and if it is ever so dark, be it red or blue as strong as may be,
+let an inch or two of its outline tell out against a still stronger dark
+in the background, if you have to paint it pitch-black to do so.
+
+By this "countercharging" (as heralds say), your composition will melt
+together with a pleasing mystery; for you must always remember that a
+window is, after all, only a window, it is not the church, and nothing
+in it should stare out at you so that you cannot get away from it;
+windows should "dream," and should be so treated as to look like what
+they are, the apertures to admit the light; subjects painted on a thin
+and brittle film, hung in mid-air between the light and the dark.
+
+
+
+
+CHAPTER VI
+
+     Painting (advanced)--Waxing-up--Cleanliness--Further Methods of
+     Painting--Stipple--Dry Stipple--Film--Effects of Distance--Danger
+     of Over-Painting--Frying.
+
+
+I have mentioned all these points of judgment and good taste we have
+just finished speaking of, because they are matters that must
+necessarily come before you at the time you are making the cartoon, the
+preliminary drawing of the window, and before you come to handle the
+glass at all.
+
+But it is now necessary to tell you how the whole of the glass, when it
+is cut, must be fixed together, so that you can both see it and paint
+upon it as a whole picture. This is done as follows:--
+
+First place the cut-line (for the making of which you have already had
+instructions) face upwards on the bench, and over it place a sheet of
+glass, as large at least as the piece you mean to paint. Thick
+window-glass, what glass-makers call "thirty-two ounce sheet"--that is,
+glass that weighs about thirty-two ounces to the square foot--will do
+well enough for very small subjects, but for anything over a few square
+feet, it is better to use thin plate-glass. This is expensive, but you
+do not want the best; what is called "patent plate" does quite well, and
+cheap plate-glass can often be got to suit you at the salvage stores,
+whither it is brought from fires.
+
+Having laid your sheet of glass down upon the cut-line, place upon it
+all the bits of glass in their proper places; then take beeswax (and by
+all means let it be the best and purest you can get; get it at a
+chemist's, not at the oil-shop), and heat a few ounces of it in a
+saucepan, and _when all of it is melted_--not before, and as little
+after as may be--take any convenient tool, a penknife or a strip of
+glass, and, dipping it rapidly into the melted wax, convey it in little
+drops to the points where the various bits of glass meet each other,
+dropping a single drop of wax at each joint. It is no advantage to have
+any extra drops along the _sides_ of the bits; if each _corner_ is
+properly secured, that is all that is needed (fig. 40).
+
+Some people use a little resin or tar with the wax to make it more
+brittle, so that when the painting is finished and the work is to be
+taken down again off the plate, the spots of wax will chip off more
+easily. I do not advise it. Boys in the shop who are just entering their
+apprenticeship get very skilful, and quite properly so, in doing this
+work; waxing up yard after yard of glass, and never dropping a spot of
+wax on the surface.
+
+It is much to be commended: all things done in the arts should be done
+as well as they can be done, if only for the sake of character and
+training; but in this case it is a positive advantage that the work
+should be done thus cleanly, because if a spot of wax is dropped on the
+surface of the glass that is to be painted on, the spot must be
+carefully scraped off and every vestige of it removed with a wet duster
+dipped in a little grit of some kind--pigment does well--otherwise the
+glass is greasy and the painting will not adhere.
+
+[Illustration: FIG. 40.]
+
+For the same reason the wax-saucepan should be kept very clean, and the
+wax frequently poured off, and all sediment thrown away. A bit of
+cotton-fluff off the duster is enough to drag a "lump" out on the end of
+the waxing-tool, which, before you have time to notice it, will be
+dribbling over the glass and perhaps spoiling it; for you must note that
+sometimes it is necessary to re-wax down _unfired_ work, which a drop of
+wax the size of a pinhole, flirted off from the end of the tool, will
+utterly ruin. How important, then, to be cleanly.
+
+And in this matter of removing such spots from _fired_ work, do please
+note that you should _use the knife and the duster alternately_ for
+_each spot_. Do not scrape a batch of the spots off first and then go
+over the ground again with the duster--this can only save a second or
+two of time, and the merest fraction of trouble; and these are ill saved
+indeed at the cost of doing the work ill. And you are sure to do it so,
+for when the spot is scraped off it is very difficult to see where it
+was; you are sure to miss some, in going over the glass with a duster,
+and you will discover them again, to your cost and annoyance, when you
+matt over them for the second painting: and, just when you cannot afford
+to spare a single moment--in some critical process--they will come out
+like round o's in the middle of your shading, compelling you to break
+off your work and do now what should have been done before you began to
+paint.
+
+But the best plan of all is to avoid the whole thing by doing the work
+cleanly from the first. And it is quite easy; for all you have to do is
+to carry the tool horizontally till it is over the spot where you want
+the wax, and then, by a tilt of the hand, slide the drop into its place.
+
+_Further Methods of Painting._--There are two chief methods of treating
+the matt--one is the "stipple," and the other the "film" or badgered
+matt.
+
+_The Stipple._--When you have put on your matt with the camel-hair
+brush, take a stippling brush (fig. 41) and stab the matt all over with
+it while it is wet. A great variety of texture can be got in this way,
+for you may leave off the process at any moment; if you leave it off
+soon, the work will be soft and blurred, for, not being dry, the pigment
+will spread again as soon as you leave off: but, if you choose, you can
+go on stippling till the whole is dry, when the pigment will gather up
+into little sharp spots like pepper, and the glass between them will be
+almost clear. You must bear in mind that you cannot use scrubs over work
+like the last described, and cannot use them to much advantage over
+stipple at all. You can draw a needle through; but as a rule you do not
+want to take lights out of stipple, since you can complete the shading
+in the single process by stippling more or less according to the light
+and shade you want.
+
+[Illustration: FIG. 41.]
+
+A very coarse form of the process is "dry" stippling, where you stipple
+straight on to the surface of the clear glass, with pigment taken up off
+the palette by the stippling brush itself: for coarse distant work this
+may be sometimes useful.
+
+Now as to film. We have spoken of laying on an even matt and badgering
+it smooth; and you can use this with a certain amount of stipple also
+with very good effect; but you are to notice one great rule about these
+two processes, namely, that the same amount of pigment _obscures much
+more light used in film than used in stipple_.
+
+Light _spreads_ as it comes through openings; and a very little light
+let, in pinholes, through a very dark matt, will, at a distance, so
+assert itself as to prevail over the darkness of the matt.
+
+It is really very little use going on to describe the way the colour
+acts in these various processes; for its behaviour varies with every
+degree of all of them. One may gradually acquire the skill to combine
+all the processes, in all their degrees, upon a single painting; and the
+only way in which you can test their relative value, either as texture
+or as light and shade, is to constantly practise each process in all its
+degrees, and see what results each has, both when seen near at hand and
+also when seen from a distance. It is useless to try and learn these
+things from written directions; you must make them your own, as precious
+secrets, by much practice and much experiment, though it will save you
+years of both to learn under a good master.
+
+But this question of distance is a most important thing, and we must
+enlarge upon it a little and try to make it quite clear.
+
+Glass-painting is not like any other painting in this respect.
+
+Let us say that you see an oil-painting--a portrait--at the end of the
+large room in some big Exhibition. You stand near it and say, "Yes, that
+is the King" (or the Commander-in-Chief), "a good likeness; however do
+they do those patent-leather boots?" But after you have been down one
+side of the room and turn round at the other end to yawn, you catch
+sight of it again; and still you say, "Yes, it's a good likeness," and
+"really those boots are very clever!" But if it had been your own
+painting on _glass_, and sitting at your easel you had at last said,
+"Yes,--_now_ it's like the drawing--_that's_ the expression," you could
+by no means safely count on being able to say the same at all distances.
+You may say it at ten feet off, at twenty, and yet at thirty the shades
+may all gather together into black patches; the drawing of the eyelids
+and eyes may vanish in one general black blot, the half-tones on the
+cheeks may all go to nothing. These actual things, for instance, _will_
+be the result if the cheeks are stippled or scrubbed, and the shade
+round the eyes left as a _film_--ever so slight a film will do it. Seen
+near, you _see the drawing through the film_; but as you go away the
+light will come pouring stronger and stronger through the brush or
+stipple marks on the cheeks, until all films will cut out against it
+like black spots, altering the whole expression past recognition.
+
+Try this on simple terms:--
+
+Do a face on white glass in strong outline only: step back, and the face
+goes to nothing; strengthen the outline till the forms are quite
+monstrous--the outline of the nose as broad as the bridge of it--still,
+at a given distance, it goes to nothing; the expression varies every
+step back you take. But now, take a matting brush, with a film so thin
+that it is hardly more than dirty water; put it on the back of the glass
+(so as not to wash up your outline); badger it flat, so as just to dim
+the glass less than "ground glass" is dimmed;--and you will find your
+outline look almost the same at each distance. It is the pure light that
+plays tricks, and it will play them through a pinhole.
+
+And now, finally, let us say that you may do anything you _can_ do in
+the painting of glass, so long as you do not lay the colour on too
+thick. The outline-touches should be flat upon the glass, and above all
+things should not be laid on so wet, or laid on so thick, that the
+pigment forms into a "drop" at the end of the touch; for this drop, and
+all pigment that is thick upon the glass like that, will "fry" when it
+is put into the kiln: that is to say, being so thick, and standing so
+far from the surface of the glass, it will fire separately from the
+glass itself and stand as a separate crust above it, and this will
+perish.
+
+Plate IX. shows the appearance of the bubbles or blisters in a bit of
+work that has fried, as seen under a microscope of 20 diameters; and if
+you are inclined to disregard the danger of this defect as seen of its
+natural size, when it is a mere roughness on the glass, what do you
+think of it _now_? You can remove it at once by scraping it with a
+knife; and indeed, if through accident a touch here and there does fry,
+it is your only plan to so remove it. All you can scrape off should be
+scraped off and repainted every time the glass comes from the kiln; and
+that brings us to the important question of _firing_.
+
+
+
+
+CHAPTER VII
+
+     Firing--Three Kinds of Kiln--Advantages and Disadvantages--The
+     Gas-Kiln--Quick Firing--Danger--Sufficient Firing--Soft
+     Pigments--Difference in Glasses--"Stale" Work--The Scientific
+     Facts--How to Judge of Firing--Drawing the Kiln.
+
+
+The way in which the painting is attached to the glass and made
+permanent is by firing it in a kiln at great heat, and thus fusing the
+two together.
+
+Simple enough to say, but who is to describe in writing this process in
+all its forms? For there is, perhaps, nothing in the art of
+stained-glass on which there is greater diversity of opinion and
+diversity of practice than this matter of firing. But let us make a
+beginning by saying that there are, it may be said, three chief
+modifications of the process.
+
+First, the use of the old, closed, coke or turf kiln.
+
+Second, of the closed gas-kiln.
+
+And third, of the open gas-kiln.
+
+The first consists of a chamber of brick or terra-cotta, in which the
+glass is placed on a bed of powdered whitening, on iron plates, one
+above another like shelves, and the whole enclosed in a chamber where
+the heat is raised by a fire of coke or peat.
+
+This, be it understood, is a slow method. The heat increases gradually,
+and applies to the glass what the kiln-man calls a "good, soaking heat."
+The meaning of this expression, of course, is that the gradual heat
+gives time for the glass and the pigment to fuse together in a natural
+way, more likely to be good and permanent in its results than a process
+which takes a twentieth part of the time and which therefore (it is
+assumed) must wrench the materials more harshly from their nature and
+state.
+
+There are, it must be admitted, one or two things to be said for this
+view which require answering.
+
+First, that this form of kiln has the virtue of being old; for in such a
+thing as this, beyond all manner of doubt, was fired all the splendid
+stained-glass of the Middle Ages.
+
+Second, that by its use one is entirely preserved from the dangers
+attached to the _misuse_ of the gas-kiln.
+
+But the answers to these two things are--
+
+First, that the method employed in the Middle Ages did not invariably
+ensure permanence. Any one who has studied stained-glass must be
+familiar with cases in which ancient work has faded or perished.
+
+The second claim is answered by the fact, I think beyond dispute, that
+all objections to the use of the gas-kiln would be removed if it were
+used properly; it is not the use of it as a process which is in itself
+dangerous, but merely the misuse of it. People must be content with what
+is reasonable in the matter; and, knowing that the gas-kiln is spoken of
+as the "quick-firing" kiln, they must not insist on trying to fire _too_
+quick.
+
+Now I have the highest authority (that of the makers of both kiln and
+pigment) to support my own conviction, founded on my own experience, in
+what I am here going to say.
+
+Observe, then, that up to the point at which actual fusion
+commences--that is, when pigment and glass begin to get soft--there is
+no advantage in slowness, and therefore none in the use of fuel as
+against gas--no possible _disadvantage_ as far as the work goes: only it
+is time wasted. But where people go wrong is in not observing the vital
+importance of proceeding gently when fusion _does_ commence. For in the
+actual process of firing, when fusion is about to commence, it is indeed
+all-important to proceed gently; otherwise the work will "fry," and, in
+fact, it is in danger from a variety of causes. Make it, then, your
+practice to aim at twenty to twenty-five minutes, instead of ten or
+twelve, as the period during which the pigment is to be fired, and
+regulate the amount of heat you apply by that standard. The longer
+period of moderate heat means safety. The shorter period of great heat
+means danger, and rather more than danger.
+
+Fig. 42 is the closed gas-kiln, where the glass is placed in an enclosed
+chamber; fig. 43 is the open gas-kiln, where the gas plays on the roof
+of the chamber in which the glass lies; fig. 44 shows this latter. But
+no written description or picture is really sufficient to make it safe
+for you to use these gas-kilns. You would be sure to have some serious
+accident, probably an explosion; and as it is absolutely necessary for
+you to have instruction, either from the maker or the experienced user
+of them, it is useless for me to tell lamely what they could show
+thoroughly. I shall therefore leave this essentially technical part of
+the subject, and, omitting these details, speak of the few _principles_
+which regulate the firing of glass.
+
+[Illustration: FIG. 42.]
+
+[Illustration: FIG. 43.]
+
+[Illustration: FIG. 44.]
+
+And the first is to _fire it enough_. Whatever pigment you use, and with
+whatever flux, none will be permanent if the work is under-fired; indeed
+I believe that under-firing is far more the cause of stained-glass
+perishing than the use of untrustworthy pigment or flux; although it
+must always be borne in mind that the use of a soft pigment, which will
+"fire beautifully" at a low heat, with a fine gloss on the surface, is
+always to be avoided. The pigment is fused, no doubt; but is it united
+to the glass? What one would like to have would be a pigment whose own
+fusing-point was the same, or about the same, as that of the glass
+itself, so that the surface, at least, of the piece of glass softens to
+receive it and lets it right down into itself. You should never be
+satisfied with the firing of your glass unless it presents two
+qualifications: first, that the surface of the glass has melted and
+begun to run together; and second, that the fused pigment is quite
+glossy and shiny, not the least dull or rusty looking, when the glass is
+cool.
+
+"What one would like to have."
+
+And can you not get it?
+
+Well, yes! but you want experience and constant watchfulness--in short,
+"rule of thumb." For every different glass differs in hardness, and you
+never know, except by memory and constant handling of the stuff, exactly
+what your materials are going to do in the kiln; for as to
+standardising, so as to get the glass into any known relation with the
+pigment in the matter of fusing, the thing has never, as far as I know,
+been attempted. It probably could not be done with regard to all, or
+even many, glasses--nor need it; though perhaps it might be well if a
+nearer approach to it could be achieved with regard to the manufacture
+of the lighter tinted glasses, the "whites" especially, on which the
+heads and hands are painted, and where consequently it is of such vital
+importance that the painting should have careful justice done to it, and
+not lose in the firing through uncertainty with regard to conditions.
+
+Nevertheless, if you observe the rule to fire sufficiently, the worst
+that can happen is a disappointment to yourself from the painting having
+to an unnecessary extent "fired away" in the kiln. You must be patient,
+and give it a second painting; and as to the "rule of thumb," it is
+surprising how one gets to know, by constant handling the stuff, how the
+various glasses are going to behave in the fire. It was the method of
+the Middle Ages which we are so apt to praise, and there is much to be
+said for practical, craftsmanly experience, especially in the arts, as
+against a system of formulas based on scientific knowledge. It would be
+a pity indeed to get rid of the accidental and all the delight which it
+brings, and we must take it with its good and bad.
+
+The second rule with regard to the question of firing is to take care
+that the work is not "stale" when it goes into the kiln. Every one will
+tell you a different tale about many points connected with glass, just
+as doctors disagree in every affair of life. In talking over this matter
+of keeping the colour fresh--even talking it over with one's practical
+and experienced friends generally--one will sometimes hear the remark
+that "they don't see that delay can do it much harm;" and when one asks,
+"Can it do it any good?" the reply will be, "Well, probably it would be
+as well to fire it soon;" or in the case of mixing, "To use it fresh."
+Now, if it would be "as well"--which really means "on the safe
+side"--then that seems a sufficient reason for any reasonable man.
+
+But indeed I have always found it one of the chiefest difficulties with
+pupils to get them to take the most reasonable precautions to _make
+quite sure_ of _anything_. It is just the same with matters of
+measurement, although upon these such vital issues depend. How weary one
+gets of the phrase "it's not far out"--the obvious comment of a
+reasonable man upon such a remark, of course, being that if it is out
+_at all_ it's, at any rate, _too_ far out. A French assistant that I had
+once used always to complain of my demanding (as he expressed it) such
+"rigorous accuracy." But there are only two ways--to be accurate or
+inaccurate; and if the former is possible, there is no excuse for the
+latter.
+
+But as to this question of freshness of colour, which is of such
+paramount importance, I may quote the same authority I used before--that
+of the _maker of the colour_--to back my own experience and previous
+conviction on the point, which certainly is that fresh colour, used the
+same day it is ground and fired the same day it is used, fires better
+and fires away less than any other.
+
+The facts of the case, scientifically, I am assured, are as follows. The
+pigment contains a large amount of soft glass in a very fine state of
+division, and the carbonic acid, which all air contains (especially that
+of workshops), will immediately begin to enter into combination with the
+alkalis of the glass, throw out the silica, and thus disintegrate what
+was brought together in the first instance when the glass was made. The
+result of this is that this intruder (the carbonic acid) has to be
+driven out again by the heat of the kiln, and is quite likely to disturb
+the pigment in every possible way in the process of its escape. I have
+myself sometimes noticed, when some painted work has been laid aside
+unusually long before firing, some white efflorescence or
+crystallisation taking place and coming out as a white dust on the
+painted surface.
+
+Now it is not necessary to know here, in a scientific or chemical sense,
+what has actually taken place. Two things are evident to common sense.
+One, that the change is organic, and the other that it is
+unpremeditated; and therefore, on both grounds, it is a thing to avoid,
+which indeed my friend's scientific explanation sufficiently confirms.
+It is well, therefore, on all accounts to paint swiftly and
+continuously, and to fire as soon as you can; and above all things not
+to let the colour lie about getting stale on the palette. Mix no more
+for the day than you mean to use; clean your palette every day or nearly
+so; work up all the colour each time you set your palette, and do not
+give way to that slovenly and idle practice that is sometimes seen, of
+leaving a crust of dry colour to collect, perhaps for days or weeks,
+round the edge of the mass on your palette, and then some day, when the
+spirit moves you, working this in with the rest, to imperil the safety
+of your painting.
+
+_How to Know when the Glass is Fired Sufficiently._--This is told by the
+colour as it lies in the kiln--that is, in such a kiln that you can see
+the glass; but who can describe a colour? You have nothing for this but
+to buy your experience. But in kilns that are constructed with a
+peephole, you can also tell by putting in a bright iron rod or other
+shining object and holding it over the glass so as to see if the glass
+reflects it. If the pigment is raw it will (if there is enough of it on
+the glass to cover the surface) prevent the piece of glass from
+reflecting the rod; but directly it is fired the pigment itself becomes
+glossy, and then the surface will reflect.
+
+This is all a matter of practice; nothing can describe the "look" of a
+piece of glass that is fired. You must either watch batch after batch
+for yourself and learn by experience, or get a good kiln-man to point
+out fired and unfired, and call your attention to the slight shades of
+colour and glow which distinguish one from the other.
+
+_On Taking the Glass out of the Fire._--And so you take the glass out of
+the fire. In the old kilns you take the fire away from the glass, and
+leave the glass to cool all night or so; in the new, you remove it and
+leave it in moderate heat at the side of the kiln till it is cool enough
+to handle, or nearly cold. And then you hold it up and look at it.
+
+
+
+
+CHAPTER VIII
+
+     The Second Painting--Disappointment with Fired Work--A False
+     Remedy--A Useful Tool--The Needle--A Resource of Desperation--The
+     Middle Course--Use of the Finger--The Second Painting--Procedure.
+
+
+And when you have looked at it, as I said just now you should do, your
+first thought will be a wish that you had never been born. For no one, I
+suppose, ever took his first batch of painted glass out of the kiln
+without disappointment and without wondering what use there is in such
+an art. For the painting when it went in was grey, and silvery, and
+sharp, and crisp, and firm, and brilliant. Now all is altered; all the
+relations of light and shade are altered; the sharpness of every
+brush-mark is gone, and everything is not only "washed out" to half its
+depth, but blurred at that. Even if you could get it, by a second
+painting, to look exactly as it was at first, you think: "What a waste
+of life! I thought I had done! It was _right_ as it was; I was pleased
+so far; but now I am tired of the thing; I don't want to be doing it all
+over again."
+
+Well, my dear reader, I cannot tell you a remedy for this state of
+things--it is one of the conditions of the craft; you must find by
+experience what pigment, and what glass, and what style of using them,
+and what amount of fire give the least of these disappointing results,
+and then make the best of it; and make up your mind to do without
+certain effects in glass, which you find are unattainable.
+
+There is, however, one remedy which I suppose all glass-painters try,
+but eventually discard. I suppose we have all passed through the stage
+of working very dark, to allow for the firing-off; and I want to say a
+word of warning which may prevent many heartaches in this matter. I
+having passed through them all, there is no reason why others should.
+Now mark very carefully what follows, for it is difficult to explain,
+and you cannot afford to let the sense slip by you.
+
+I told you that a film left untouched would always come out as a black
+patch against work that was pierced with the scrub, however slightly.
+
+Now, herein lies the difficulty of working with a very thick matt; for
+if it is thick enough on the cheek and brow of a face to give strong
+modelling when fired, _then whenever it has passed over the previous
+outline-painting, for example, in the eyes, mouth, nostrils, &c., you
+will find that the two together have become too thick for the scrub to
+move._
+
+Now you do not need, as an artist, to be told that it is fatal to allow
+_any_ part of your painting to be thus beyond your control; to be
+obliged to say, "It's too dark, but unfortunately I have no tools that
+will lighten it--it will not yield to the scrub."
+
+However, a certain amount can be done in this direction by using, on the
+shadows that are _just_ too strong for the scrub, a tool made by
+grinding down on sandpaper a large hog-hair brush, and, of these, what
+are called stencil-brushes are as good as any (fig. 45).
+
+You do not use this by dragging it over the glass as you drag a scrub,
+but by _pricking_ the whole of the surface which you wish to lighten.
+This will make little pinholes all over it, which will be sufficient to
+let the patch of shadow gently down to the level of the surrounding
+lighter modelling, and will prevent your dark shadows looking like
+actual "patches," as we described them doing a little way back.
+
+[Illustration: FIG. 45.]
+
+Further than this you cannot go: for I cannot at all see how the next
+process I am to describe can be a good one, though I once thought, as I
+suppose most do, that it would really solve the difficulty. What I
+allude to is the use of the needle.
+
+_Of Work Etched out with a Needle._--The needle is a very good and
+useful tool for stained glass, in certain operations, but I am now to
+speak of it as being used over whole areas _as a substitute for the
+scrub, in order to deal with a matt too dense for the scrub to
+penetrate._
+
+The needle will, to be sure, remove such a matt; that is to say, will
+remove lines out of it, quite clear and sharp, and this, too, out of a
+matt so dense, that what remains does not fire away much in the kiln.
+Here is a tempting thing then! to have one's work unchanged by the fire!
+And if you could achieve this without changing the character of the work
+for the worse, no doubt this method would be a very fine thing. But let
+me trace it step by step and try to describe what happens.
+
+You have painted your outline and you put a very heavy matt over it.
+
+Peril No. 1.--If your matt is so dense that it will not _fire off_, it
+must very nearly approach the point of density at which it will _fry_.
+How then about the portions of it which have been painted on, as I have
+said, over _another_ layer of pigment in the shape of the _outline_?
+Here is a _danger_. But even supposing that all is safe, and that you
+have just stopped short of the danger point. You have now your dense,
+rich, brown matt, with the outline just showing through it. Proceed to
+model it with the needle. The first stroke will really frighten you; for
+a flash of silver light will spring along after the point of the needle,
+so dazzling in contrast to the extreme dark of the matt that it looks as
+if the plate had been cut in two, while the matt beside it becomes
+pitch-black by contrast. Well, you go on, and by putting more strokes,
+and reducing the surrounding darkness generally, you get the drawing to
+look grey--but you get it to look like a grey _pen-drawing_ or
+_etching_, not like a painting at all. We will suppose that this seems
+to you no disadvantage (though I must say, at once, that I think it a
+very great one); but now you come to the deep shadows; and these, I need
+hardly say, cut themselves out, more than ever, like dark patches or
+blots, in the manner already spoken of. You try pricking it with the
+brush I have described for that operation, and it will not do it; then
+you resort to the needle itself, and you are startled at the little,
+hard, glittering specks that come jumping out of the black shadow at
+each touch. You get a finer needle, and then you sharpen even that on
+the hone; and perhaps then, by pricking gingerly round the edges of the
+shadows, you may get the drawing and modelling to melt together fairly
+well. But beware! for if there is one dot of light too many, the
+expression of the head goes to the winds. Let us say that such a thing
+occurs; you have pricked one pinhole too many round the corner of the
+mouth.
+
+What can you do?
+
+You take your tracing-brush and try to mend it with a touch of pigment;
+and so on, and so on; till you timidly say (feeling as if you had been
+walking among egg-shells for the last hour), "Well, I _think_ it will
+_do_, and I daren't touch it any more." And supposing by these means you
+get a head that looks really what you wanted; the work is all what
+glass-painters call "rotten"; liable to flake off at the least touch;
+isolated bits of thick crust, cut sheer out from each other, with clear
+glass between.
+
+In short, the thing is a niggling and botching sort of process to my
+mind, and I hope that the above description is sufficiently life-like to
+show that I have really given it a good trial myself--with, as a result,
+the conclusion certainly strongly borne home to me, that the delight of
+having one's work unchanged by the fire is too dearly purchased at the
+cost of it.
+
+_How to get the greatest degree of Strength into your Painting without
+Danger._--Short of using a needle then, and a matt that will only yield
+to that instrument, I would advise, if you want the work strong, that
+you should paint the matt so that it will just yield, and only just, and
+that with difficulty, to the scrub; and, before you use this tool, just
+pass the finger, lightly, backwards and forwards over the matted
+surface. This will take out a shimmer of light here and there, according
+to the inequalities of the texture in the glass itself; the first
+touches of the scrub will not then look so startling and hard as if
+taken out of the dead, even matt; and also this rubbing of the finger
+across the surface seems to make the matt yield more easily to the tool.
+The dust remaining on the surface perhaps helps this; anyhow, this is as
+far as you can go on the side of strength in the work. You can of course
+"back" the work, that is, paint on the back as well as the front--a mere
+film at the back; but this is a method of a rather doubtful nature. The
+pigment on the back does not fire equally well with that on the front,
+and when the window is in its place, that side will be, you must bear in
+mind, exposed to the weather.
+
+I have spoken incidentally of rubbing the glass with the finger as a
+part of painting; but the practice can be carried further and used more
+generally than I have yet said: the little "pits" and markings on the
+surface of the glass, which I mentioned when I spoke of the "right and
+wrong sides" of the material, can be drawn into the service of the
+window sometimes with very happy effect. Being treated with matt and
+then rubbed with the finger, they often produce very charming varieties
+of texture on the glass, which the painter will find many ways of making
+useful.
+
+_Of the Second Painting of Glass after it has been Fired._--So far we
+have only spoken of the appearance of work after its first fire, and its
+influence upon choice of method for _first painting_; but there is of
+course the resource which is the proper subject of this chapter, namely,
+the second painting.
+
+Very small work can be done with one fire; but only very skilful
+painters can get work, on any large scale, strong enough for one fire to
+serve, and that only with the use of backing. Of course if very faint
+tones of shadow satisfy you, the work can be done with one fire; but if
+it is well fired it must almost of necessity be pale. Some people like
+it so--it is a matter of taste, and there can be no pronouncement made
+about it; but if you wish your work to look strong in light and
+shade--stronger than one painting will make it--I advise you, when the
+work comes back from the fire and is waxed up for the second time
+(which, in any case, it assuredly should be, if only for your judgment
+upon it), to proceed as follows.
+
+First, with a tracing-brush, go over all the lines and outlined shadows
+that seem too weak, and then, when these touches are quite dry, pass a
+thin matt over the whole, and with stippling-brushes of various sizes,
+stipple it nearly all away while wet. You will only have about five
+minutes in which to deal with any one piece of glass in this way, and in
+the case of a head, for example, it needs a skilful hand to complete it
+in that short space of time. The best plan is to make several "shots" at
+it; if you do not hit the mark the first time, you may the second or the
+third. I said "stipple it nearly all away"; but the amount left must be
+a matter of taste; nevertheless, you must note that if you do not remove
+enough to make the work look "silvery," it is in danger of looking
+"muddy." All the ordinary resources of the painter's art may be brought
+in here: retouching into the half-dry second matt, dabbing with the
+finger--in short, all that might be done if the thing were a
+water-colour or an oil-painting; but it is quite useless to attempt to
+describe these deftnesses of hand in words: you may use any and every
+method of modifying the light and shade that occurs to you.
+
+
+
+
+CHAPTER IX
+
+     Of Staining and Aciding--Yellow Stain--Aciding--Caution required in
+     Use--Remedy for Burning--Uses of Aciding--Other Resources of
+     Stained-Glass Work.
+
+
+Yellow stain, or silver stain as some call it, is made in various ways
+from silver--chloride, sulphate, and nitrate, I understand, are all
+used. The stain is laid on exactly like the pigment, but at the back of
+the glass. It does not work very smoothly, and some painters like to mix
+it with Venice turpentine instead of water to get rid of this defect;
+whichever you use, keep a separate set of tools and a separate palette
+for it, and always keep them clean and the stain fresh mixed. Also you
+should not fire it with so strong a heat, and therefore, of course, you
+should never fire pigment and stain in the same batch in the kiln;
+otherwise the stain will probably go much hotter in colour than you
+wish, or will get muddy, or will "metal" as painters call it--that is,
+get a horny, burnt-sienna look instead of a clear yellow.
+
+_How to Etch the Flash off a Flashed Glass with Acid._--There is only
+one more process, having to do with painting, which I shall describe,
+and that is "aciding." By this process you can etch the flash off the
+flashed glasses where you like. The process is the same as etching--you
+"stop-out" the parts that you wish to remain, just as in etching; but
+instead of putting the stopping material over the whole bit of glass and
+then scratching it off, as you do in copper-plate etching, it is better
+for the most part to paint the stopping on where you want it, and this
+is conveniently done with Brunswick black, thinned down with turpentine;
+if you add a little red lead to it, it does no harm. You then treat it
+to a bath of fluoric acid diluted with water and placed in a leaden pan;
+or, if it is only a touch you want, you can get it off with a mop of
+cotton-wool on a stick, dipped in the undiluted acid; but be careful of
+the fumes, for they are very acrid and disagreeable to the eyes and
+nose; take care also not to get the acid on your finger-ends or nails,
+especially into cuts or sore places. For protection, india-rubber
+finger-stalls for finger and thumb are very good, and you can get these
+at any shop where photographic materials are sold. If you do get any of
+the acid on to your hands or into a cut, wash them with diluted
+carbonate of soda or diluted ammonia. The acid must be kept in a
+gutta-percha bottle.
+
+When the aciding is done, as far as you want it, the glass must be
+thoroughly rinsed in several waters; do not leave any acid remaining, or
+it will continue to act upon the glass. You must also be careful not to
+use this process in the neighbourhood of any painted work, or, in short,
+in the neighbourhood of any glass that is of consequence, the fumes from
+the acid acting very strongly and very rapidly. This process, of course,
+may be used in many ways: you can, by it, acid out a diaper pattern, red
+upon white, white upon red; and blue may be treated in the same fashion;
+the white lights upon steel armour, for instance, may be obtained in
+this way with very telling effect, getting indeed the beautiful
+combination of steely blue with warm brown which we admire so in
+Burne-Jones cartoons; for the brown of the pigment will not show warm on
+the blue, but will do so directly it passes on to the white of the
+acided parts. This is the last process I need describe; the many little
+special refinements to be got by playing games with the lead lines; by
+thickening and thinning them; by _doubling_ glass, to get depth and
+intensity, or to blend new tints;--these and such like are the things
+that any artist _who does his own work and practises his own craft_ can
+find out, and ought to find out, and is bound to find out, for
+himself--they are the legitimate reward of the hand and heart labour
+spent, as a craftsman spends them, upon the material. Suffice it to say
+that in spite of the great skill which has been employed upon
+stained-glass, ancient and modern, and employed in enormous amount; and
+in spite of the great and beautiful results achieved; we may yet look
+upon stained-glass as an art in which there are still new provinces to
+explore--walking upon the old paths, guided by the old landmarks, but
+gathering new flowers by the way.
+
+We must now, then, turn our attention to the mechanical processes by
+which the stained-glass window is finished off.
+
+
+
+
+CHAPTER X
+
+     Leading-Up and Fixing--Setting out the Bench--Relation of Leading
+     to mode of Fixing in the Stone--Process of Fixing--Leading-Up
+     Resumed--Straightening the Lead--The "Lathykin"--The
+     Cutting-Knife--The Nails--The Stopping-Knife--Knocking Up.
+
+
+You first place your cut-line, face upward, upon the bench, and pin it
+down there. You next cut two "straight-edges" of wood, one to go along
+the base line of the section you mean to lead up, and the other along
+the side that lies next to you on the bench as you stand at work; for
+you always work _from one side_, as you will soon see. And it is
+important that you should get these straight-edges at a true right
+angle, testing them carefully with the set-square. Fig. 46 represents a
+bench set out for leading-up.
+
+You must now build the glass together, as a child puts together his
+puzzle-map, one bit at a time, working from the base corner that is
+opposite your left hand.
+
+But first of all you must place a strip of extra wide and flat lead
+close against each of your straight-edges, so that the core of the lead
+corresponds with the outside line of your work.
+
+[Illustration: FIG. 46.]
+
+It will be right here to explain what relation the extreme outside
+measurement of your work should bear to the daylight sizes of the
+openings that it has to fill. I think we may say that, whatever the
+"mouldings" may be on the stone, there is always a flat piece at exact
+right angles to the face of the wall in which the window stands, and it is
+in this flat piece that the groove is cut to receive the glass (fig. 47).
+
+[Illustration: FIG. 47.]
+
+Now, as the glazed light has to _fill_ the daylight opening, there must
+obviously be a piece beyond the "daylight" size to go into the stone. By
+slipping the glazed light in _sideways_, and even, in large lights, by
+_bending_ it slightly into a bow, you can just get into the stone a
+light an inch, or nearly so, wider than the opening; but the best way is
+to use an extra wide lead on the outside of your light, and bend back
+the outside leaf of it both front and back so that they stand at right
+angles to the surface of the glass (fig. 48). By this means you can
+reduce the size of the panel by almost 1/4 of an inch on each side; you
+can push the panel then, without either bending or slanting it much, up
+to its groove; and, putting one side as far as it will go _into_ the
+groove, you can bend back again into their former place the two leaves
+of the lead on the opposite side; and when you have done that slide
+_them_ as far as they will go into _their_ groove, and do the same by
+the opposite pair. You will then have the panel in its groove, with
+about 1/4 of an inch to hold by and 1/4 of an inch of lead showing. Some
+people fancy an objection to this; perhaps in very small windows it
+might look better to have the glass "flush" with the stone; but for
+myself I like to see a little _showing_ of that outside lead, on to
+which so many of the leads that cross the glass are fastened. Anyway you
+must bear the circumstance in mind in fixing down your straight-edges to
+start glazing the work; and that is why I have made this digression by
+mentioning now something that properly belongs to fixing.
+
+[Illustration: FIG. 48.]
+
+Now before beginning to glaze you must stretch and straighten the lead;
+and this is done as follows (fig. 49--_Frontispiece_).
+
+Hold the "calm" of lead in your left hand, and run the finger and thumb
+of your right hand down the lead so as to get the core all one way and
+not at all twisted: then, holding one end firmly under your right foot,
+take tight hold of the other end with your pliers, and pull with nearly
+all your force in the direction of your right shoulder. Take care not to
+pull in the direction of your face; for if you do, and the lead breaks,
+you will break some of your features also. It is very important to be
+careful that the lead is truly straight and not askew, otherwise, when
+you use it in leading, the glass will never keep flat. The next
+operation is to open the lead with a piece of hard wood, such as boxwood
+or _lignum-vitae_ (fig. 50), made to your fancy for the purpose, but
+something like the diagram, which glaziers call a "lathykin" (as I
+understand it). For cutting the lead you must have a thin knife of good
+steel. Some use an old dinner-knife, some a palette-knife cut
+down--either square across the blade or at an angle--it is a matter of
+taste (fig. 51).
+
+[Illustration: FIG. 50.]
+
+[Illustration: FIG. 51.]
+
+Having laid down your leads A and B (fig. 52), put in the corner piece
+of glass (No. 1); two of its sides will then be covered, leaving one
+uncovered. Take a strip of lead and bend it round the uncovered edge,
+and cut it off at D, so that the end fits close and true against the
+_core_ of lead A. And you must take notice to cut with a perfectly
+_vertical_ cut, otherwise one side will fit close and the other will
+leave a gap.
+
+[Illustration: FIG. 52.]
+
+In fig. 53 A represents a good joint, B a bad one. Bend it round and cut
+it off similarly at E. Common sense will tell you that you must get the
+angle correct by marking it with a slight incision of the knife in its
+place before you take it on to the bench for the final cut.
+
+Slip it in, and push it in nice and tight, and put in piece No. 2.
+
+[Illustration: FIG. 53]
+
+But now look at your cut-line. Do you see that the inner edges of pieces
+2, 3, and 4 all run in a fairly smooth curve, along which a _continuous_
+piece of lead will bend quite easily? Leave, then, that edge, and put
+in, first, the leads which divide No. 2 from No. 3, and No. 3 from No.
+4. Now don't forget! the long lead has to come along the inside edges of
+all three; so the leaf of it will overlap those three edges nearly 1/8
+of an inch (supposing you are using lead of 1/4 inch dimension). You
+must therefore cut the two little bits we are now busy upon _1/8 of an
+inch short of the top edge of the glass_ (fig. 54), for the inside leads
+only _meet_ each other; it is only the _outside_ lead that overlaps.
+
+[Illustration: FIG. 54.]
+
+_How the Loose Glass is held in its place while Leading._--This is done
+with nails driven into the glazing table, close up against the edge of
+the lead; and the best of all for the purpose are bootmakers' "lasting
+nails"; therefore no more need be said about the matter; "use no other"
+(fig. 55).
+
+[Illustration: FIG. 55.]
+
+And you tap them in with two or three sharp taps; not of a hammer, for
+you do not want to waste time taking up a fresh tool, but with the end
+of your leading-knife which is called a "stopping-knife" (fig. 56), and
+which lead workers generally make for themselves out of an oyster-knife,
+by bending the blade to a convenient working angle for manipulating the
+lead, and graving out lines in the lower part of the handle, into which
+they run solder, terminating it in a solid lump at the butt-end which
+forms an excellent substitute for a hammer.
+
+[Illustration: FIG. 56.]
+
+Now as soon as you have got the bits 1, 2, 3, 4 in their places, with
+the leads F, G and H, I between them, you can take out the nails along
+the line K, F, H, M, one by one as you come to them, starting from K;
+and put along that line one lead enclosing the whole lot, replacing the
+nails outside it to keep all firm as you work; and you must note that
+you should look out for opportunities to do this always, whenever there
+is a long line of the cut-line without any abrupt corners in it. You
+will thus save yourself the cutting (and afterwards the soldering) of
+unnecessary joints; for it is always good to save labour where you can
+without harm to the work; and in this case the work is all the better
+for it.
+
+Now, when you have thus continued the leading all the way across the
+panel, put on the other outside lead, and so work on to a finish.
+
+When the opposite, outside lead is put on, remove the nails and take
+another straight-edge and put it against the lead, and "knock it up" by
+hitting the straight-edge until you get it to the exact size; at the
+same time taking your set-square and testing the corners to see that all
+is at right angles.
+
+Leave now the panel in its place, with the straight-edges still
+enclosing it, and solder off the joints.
+
+
+
+
+CHAPTER XI
+
+     Soldering--Handling the Leaded Panel--Cementing--Recipe for
+     Cement--The Brush--Division of Long Lights into Sections--How
+     Joined when Fixed--Banding--Fixing--Chipping out the Old
+     Glazing--Inserting the New and Cementing.
+
+
+If the leads have got _tarnished_ you may brush them over with the wire
+brush (fig. 57), which glaziers call a "scratch-card"; but this is a
+wretched business and need never be resorted to if you work with good
+lead and work "fresh and fresh," and finish as you go, not letting the
+work lie about and get stale. Take an old-fashioned tallow "dip" candle,
+and put a little patch of the grease over each joint, either by rubbing
+the candle itself on it, or by melting some of it in a saucepan and
+applying it with a brush. Then take your soldering-iron (fig. 58) and
+get it to the proper heat, which you must learn by practice, and proceed
+to "tin" it by rubbing it on a sheet of tin with a little solder on it,
+and also some resin and a little glass-dust, until the "bit" (which is
+of copper) has a bright tin face. Then, holding the stick of solder in
+the left hand, put the end of it down close to the joint you wish to
+solder, and put the end of the iron against it, "biting off" as it were,
+but really _melting_ off, a little bit, which will form a liquid drop
+upon the joint. Spread this drop so as to seal up the joint nice and
+smooth and even, and the thing is done. Repeat with all the joints; then
+turn the panel over and do the opposite side.
+
+[Illustration: FIG. 57.]
+
+[Illustration: FIG. 58.]
+
+_How to Handle Leaded Lights._--I said "turn the panel over." But that
+brings to mind a caution that you need about the handling of leaded
+lights. You must not--as I once saw a man do--start to hold them as a
+waiter does a tray. You must note that thin glass in the sheet and also
+leaded lights, especially before cementing, are not rigid, and cannot be
+handled as if they were panels of wood; you must take care, when
+carrying them, or when they lean against the wall, to keep them as
+nearly upright as they will safely stand, and the inside one leaning
+against a board, and not bearing its own weight. And in laying them on
+the bench or in lifting them off it, you must first place them so that
+the middle line of them corresponds with the edge of the bench, or
+table, and then turn them on that as an axis, quickly, so that they do
+not bear their own weight longer than necessary (figs. 59 and 60).
+
+_How to Cement a Leaded Light._--The next process is the cementing of
+the light so as to fill up the grooves of the lead and make all
+weather-proof. This is done with a mixture composed as follows:--
+Whitening, 2/3 to plaster of Paris 1/3; add a mixture of equal
+quantities of boiled linseed-oil and spirit of turpentine to make a
+paste about as thick as treacle. Add a little red lead to help to harden
+it, some patent dryer to cause it to dry, and lamp-black to colour.
+
+This must be put in plenty on to the surface of the panel and well
+scrubbed into the joints with a hard fibre brush; an ordinary coarse
+"grass brush" or "bass brush," with wooden back, as sold for scrubbing
+brushes at the oil shops, used in all directions so as to rub the stuff
+into every joint.
+
+But you must note that if you have "plated" (_i.e._ doubled) any of the
+glass you must, before cementing, _putty_ those places. Otherwise the
+cement may probably run in between the two, producing blotches which you
+have no means of reaching in order to remove them.
+
+[Illustration: FIG. 59.]
+
+You can, if you like, clean away all the cement along the edges of the
+leads; but it is quite easy to be too precise and neat in the matter and
+make the work look hard. If you do it, a blunted awl will serve your
+turn.
+
+[Illustration: FIG. 60.]
+
+One had better mention everything, and therefore I will here say that,
+of course, a large light must be made in sections; and these should not
+exceed four feet in height, and less is better. In fixing these in their
+place when the window is put up (an extra wide flat lead being used at
+the top and bottom of each section), they are made to overlap; and if
+you wish the whole drainage of the window to pass into the building, of
+course you will put your section thus--(fig. 61 A); while if you wish
+the work to be weather-tight you will place it thus--(fig. 61 B). It is
+just as well to make every question clear if one can, and therefore I
+mention this. Most people like their windows weather-tight, and, of
+course, will make the overlapping lead the top one; but it's a free
+country, and I don't pretend to dictate, content if I make the situation
+clear to you, leaving you to deal with it according to your own fancy.
+All is now done except the banding.
+
+[Illustration: FIG. 61 A.]
+
+[Illustration: FIG. 61 B.]
+
+_How to Band a Leaded Light._--Banding means the putting on of the
+little ties of copper wire by which the window has to be held to the
+iron crossbars that keep it in its place. These ties are simply short
+lengths of copper wire, generally about four inches long, but varying,
+of course, with the size of the bar that you mean to use; and these are
+to be soldered vertically (fig. 62) on to the face of the light at any
+convenient places along the line where the bar will cross. In fixing the
+window, these wires are to be pulled tight round the bar and twisted up
+with pliers, and the twisted end knocked down flat and neat against the
+bar.
+
+And this is the very last operation in the making of a stained-glass
+window. It now only remains to instruct you as to what relates to the
+fixing of it in its place.
+
+_How to Fix a Window in its Place._--There is, almost always, a groove
+in the stonework to receive the glass; and, except in the case of an
+unfinished building, this is, of course, occupied by some form of plain
+glazing. You must remove this by chipping out with a small mason's
+chisel the cement with which it is fixed in the groove, and common sense
+will tell you to begin at the bottom and work upwards. This done,
+untwist the copper bands from the bars and put your own glass in its
+place, re-fixing the bars (or new ones) in the places you have
+determined on to suit your design and to support the glass, and fixing
+your glass to them in the way described, and pointing the whole with
+good cement. The method of inserting the new glass is described at p.
+135.
+
+[Illustration: FIG. 62.]
+
+But that it is good for a man to feel the satisfaction of knowing his
+craft thoroughly there would be no need to go into this, which, after
+all, is partly masons' work. But I, for my part, cannot understand the
+spirit of an artist who applies his art to a craft purpose and has not,
+at least, a strong _wish_ to know all that pertains to it.
+
+
+
+
+PART II
+
+
+CHAPTER XII
+
+     Introductory--The Great Questions--Colour--Light--Architectural
+     Fitness--Limitations--Thought--Imagination--Allegory.
+
+
+The foregoing has been written as a handbook to use at the bench, and
+therefore I have tried to keep myself strictly to describing the actual
+processes and the ordinary practice and routine of stained-glass work.
+
+But can we leave the subject here?
+
+If we were speaking of even the smallest of the minor arts and crafts,
+we should wish to say something of why they are practised and how they
+should be practised, of the principles that guide them, of the spirit in
+which they should be undertaken, of the place they occupy in human
+affairs and in our life on earth. How much more then in an Art like
+this, which soars to the highest themes, which dares to treat, which is
+required to treat, of things Heavenly and Earthly, of the laws of God,
+and of the nature, duty, and destinies of man; and not only so, but must
+treat of these things in connection with, and in subservience to, the
+great and dominant Art of Architecture?
+
+We must not shrink, then, from saying all that is in our mind: we must
+ask ourselves the great questions of all art. We must investigate the
+How of them, and even face the Why.
+
+Therefore here (however hard it be to do it) something must be said of
+such great general principles as those of colour, of light, of
+architectural fitness, of limitations, of thought and imagination and
+allegory; for all these things belong to stained-glass work, and it is
+the right or wrong use of these high things that makes windows to be
+good or to be bad.
+
+Let us, dear student, take the simplest things first, not because they
+are the easiest (though they perhaps are so), but because they will
+gradually, I hope, warm up our wits to the point of considering these
+matters, and so prepare the way for what is hardest of all.
+
+And I think a good subject to begin with is that of Economy generally,
+taking into consideration both time and materials.
+
+
+
+
+CHAPTER XIII
+
+     Of Economy--The Englishman's Wastefulness--Its Good Side--Its
+     Excess--Difficulties--A Calculation--Remedies.
+
+
+Those who know work in various countries must surely have arrived at the
+conclusion that the Englishman is the most wasteful being on the face of
+the globe! He only thinks of getting through the work, or whatever it
+may be, that he has purposed to himself, attaining the end immediately
+in view in the speediest manner possible without regard to anything
+else, lavish of himself and of the stuff he works with. The picture
+drawn by Robert Louis Stevenson in "Treasure Island" of John Silver and
+his pirates, when about to start on their expedition, throwing the
+remainder of their breakfast on the bivouac fire, careless whence fresh
+supplies might come, is "English all over." This is the character of the
+race. It has its good side, this grand disdain--it wins Battles,
+Victoria Crosses, Humane Society's medals, and other things well worth
+the winning; brings into port many a ship that would else be lost or
+abandoned, and, year in, year out, sends to sea the lifeboats on our
+restless line of coast. It would be something precious indeed that would
+be worth the loss of it; but there is a medium in all things, and when a
+master sees--as one now at rest once told me he often had seen--a cutter
+draw his diamond down a bit of the margin out of which he had just cut
+his piece, in order to make it small enough to throw away, without being
+ashamed, under the bench, he must sometimes, I should think, wish the
+man were employed on some warlike or adventurous trade, and that he had
+a Hollander or Italian in his place, who would make a whole window out
+of what the other casts away.
+
+At the same time, it must be confessed that this is a very difficult
+matter to arrange; and it is only fair to the workman to admit that
+under existing conditions of work and demand, and even in many cases of
+the buildings in which the work is done, the way does not seem clear to
+have the whole of what might be wished in this matter. I will point out
+the difficulties against it.
+
+First, unless some system could be invented by which the amount of glass
+issued to any workman could be compared easily and simply with the area
+of glazed work cut from it, the workman has no inducement to economise;
+for, no record being kept of the glass saved, he knows that he will get
+no credit by saving, while the extra time that he spends on economy will
+make him seem a slower workman, and so he would be blamed.
+
+Then, again, it is impossible to see the colour of glass as it lies on
+the bench; he has little choice but to cut each piece out of the large
+sheet; for if he got a clutter of small bits round him till he happened
+to want a small bit, he would never be able to get on.
+
+There is no use, observe, in niggling and cheese-paring. There should be
+a just balance made between the respective values of the man's time and
+the material on which it is spent; and to this end I now give some
+calculations to show these--calculations rather startling, considered in
+the light of what one knows of the ordinary practices and methods.
+
+The antique glasses used in stained-glass work vary in price from 1s. a
+foot to 5s., the weight per foot being about 32 oz.
+
+The wage of the workmen who have to deal with this costly material
+varies from 8d. to 1s. per hour.
+
+The price of the same glass thrown under the bench, and known as
+"cullet," is L1 per TON.
+
+Let us now do a little simple arithmetic, which, besides its lesson to
+the workers, may, I think, come as a revelation even to some employers
+who, content with getting work done quickly, may have hardly realised
+the price paid for that privilege.
+
+                     1 ton = 20 cwt.
+                           x  4
+                             --
+                             80 qrs.
+                           x 28
+                            ---
+                            640
+  32 oz. = 2 lb.,          160
+                         -----
+           therefore /  2) 2240 lbs.
+                          -----
+                           1120 = number of square feet in a ton.
+
+The worth of this at 1s. a foot (whites) is:--
+
+                     / 20) 1120 ( L56 PER TON.
+                           100
+                          ----
+                            120
+                            120
+
+At 2s. 6d. per foot (the best of pot-metal blues, and rubies
+generally):--
+
+                               56
+                               56
+                               28
+                              ---
+             2-1/2 times 56 = 140        L140 PER TON.
+
+At 5s. a foot (gold-pink, and pale pink, venetian, and choice glasses
+generally):--
+
+                               56
+                          x     5
+                              ---
+                             L280 PER TON.
+
+Therefore these glasses are worth respectively--56 times, 140 times, and
+280 times as much upon the bench as they are when thrown below it! And
+yet I ask you--employer or employed--is it not the case that,
+often--shall we not say "generally"?--in any given job as much goes
+below as remains above if the work is in fairly small pieces? Is not the
+accompanying diagram a fair illustration (fig. 63) of about the average
+relation of the shape cut to its margin of waste?
+
+[Illustration: FIG. 63.]
+
+Employers estimate this waste variously. I have heard it placed as high
+as two-thirds; that is to say, that the glass, when leaded up, only
+measured one-third of the material used, or, in other words, that the
+workman had wasted twice as much as he used. This, I admit, was told me
+in my character as _customer_, and by way of explaining what I
+considered a high charge for work; but I suppose that no one with
+experience of stained-glass work would be disposed to place the amount
+of waste lower than one-half.
+
+Now a good cutter will take between two and three hours to cut a square
+foot of average stained-glass work, fairly simple and large in scale;
+that is to say, supposing his pay one shilling an hour--which is about
+the top price--the material he deals with is about the same value as his
+time if he is using the cheapest glasses only. If this then is the case
+when the highest-priced labour is dealing only with the lowest-priced
+material, we may assume it as the general rule for stained-glass
+cutting, _on the average_, that "_labour is less costly than the
+material on which it is spent_," and I would even say much less costly.
+
+But it is not to be supposed that the little more care in avoiding waste
+which I am advocating would reduce his speed of work more than would be
+represented by two pence or three pence an hour.
+
+But I fear that all suggestions as to mitigating this state of things
+are of little use. The remedy is to play into each other's hands by
+becoming, all of us, complete, all-round craftsmen; breaking down all
+the unnatural and harmful barriers that exist between "artists" and
+"workmen," and so fitting ourselves to take an intelligent interest in
+both the artistic and economic side of our work.
+
+The possibility of this all depends on the personal relations and
+personal influence in any particular shop--and employers and employed
+must worry the question out between them. I am content with pointing out
+the facts.
+
+
+
+
+CHAPTER XIV
+
+     Of Perfection--In Little Things--Cleanliness--Alertness--But not
+     Hurry--Realising your Conditions--False Lead-Lines--Shutting out
+     Light--Bars--Their Number--Their Importance--Precedence--Observing
+     your Limitations--A Result of Complete Training--The Special
+     Limitations of Stained-Glass--Disguising the Lead-Line--No full
+     Realism--No violent Action--Self-Effacement--No
+     Craft-Jugglery--Architectural Fitness founded on Architectural
+     Knowledge--Seeing Work _in Situ_--Sketching in Glass--The Artistic
+     Use of the Lead--Stepping Back--Accepting Bars and Leads--Loving
+     Care--White Spaces to be Interesting--Bringing out the "Quality" of
+     the Glass--Spotting and Dappling--"Builders-Glazing" _versus_
+     Modern Restoring.
+
+The second question of principle that I would dwell upon is that of
+_perfection_.
+
+Every operation in the arts should be perfect. It has to be so in most
+arts, from violin-playing to circus-riding, before the artist dare make
+his bow to the public.
+
+Placing on one side the question of the higher grades of art which
+depend upon special talent or genius--the great qualities of
+imagination, composition, form and colour, which belong to mastership--I
+would now, in this book, intended for students, dwell upon those minor
+things, the doing of which well or ill depends only upon good-will,
+patience, and industry.
+
+Anyone can wash a brush clean; any one can keep the colour on his
+palette neat; can grind it all up each time it is used; can cover it
+over with a basin or saucer when his work is over; and yet these things
+are often neglected, though so easy to do. The painter will _neglect_ to
+wash out his brush; and it will be clogged with pigment and gum, get
+dry, and stick to the palette, and the points of the hair will tear and
+break when it is removed again by the same careless hand that left it
+there.
+
+Another will leave portions of his colour, caked and dry, at the edges
+of his palette for weeks, till all is stale; and then, when the spirit
+moves him, will some day work this in, full of dirt and dust, with the
+fresher colour. Everything, everything should be done well! From the
+highest forms of painting to tying up a parcel or washing out a
+brush;--all tools should be clean at all times, the handles as well as
+the hair--there is _no excuse_ for the reverse; and if your tools are
+dirty, it is by the same defect of your character that will make you
+slovenly in your work. Painting does not demand the same actual
+_swiftness_ as some other arts; nevertheless each touch that you place
+upon the glass, though it may be deliberate, should be deft, athletic,
+perfect in itself; the nerves braced, the attention keen, and the powers
+of soul and body as much on the alert as they would need to be in
+violin-playing, fencing, or dissecting.
+
+This is not to advocate _hurry_. That is another matter altogether, for
+which also there is no excuse. Never hurry, or ask an assistant to
+hurry. Windows are delayed, even promises broken (though that can scarce
+be defended), there may be "ire in celestial minds"; but that is all
+forgotten when we are dead; and we soon shall be, but not the window.
+
+Another thing to note, which applies generally throughout all practice,
+is the wisdom, of getting as near as you can to your conditions. For
+instance, the bits of glass in a window are separated by lead lines;
+pitch-black, therefore, against the light of day outside. Now, when
+waxed up on the plate in the shop for painting, these will be separated
+by thin cracks of light, and in this condition they are usually painted.
+Can't you do better than that? Don't you think it's worth while spending
+half-an-hour to paint false lead lines on the back of the plate? A
+ha'p'orth of lamp-black from the oil-shop, with a little water and
+treacle and a long-haired brush, like a coach-painter's, will do it for
+you (see Plate XIII.).
+
+Another thing: when the window is in its place, each _light_ will be
+surrounded with stone or brick, which, although not so black as the
+lead lines, will tell as a strong dark against the glass. See therefore
+that while you are painting, your glass is surrounded by dark, or at any
+rate not by clear, glittering light. Strips of brown paper, pinned down
+the sides of the light you are painting, will get the thing quite near
+to its future conditions.
+
+As you have been told, the work is fixed in its place by bars of iron,
+and these ought by no means to be despised or ignored or disguised, as
+if they were a troublesome necessity: you must accept fully and
+willingly the conditions of your craft; you must pride yourself upon so
+accepting them, knowing that they are the wholesome checks upon your
+liberty and the proper boundaries of the field in which you have your
+appointed work. There should, in any light more than a foot wide, be
+bars at every foot throughout the length of the light; and these bars
+should be 1/2 inch, 3/4 inch, or 1 inch in section, according to the
+weight of the work. The question then arises: Should the bars be set out
+in their places on the paper, before you begin to draw the cartoon, or
+should you be perfectly free and unfettered in the drawing and then
+_make_ the bars fit in afterwards, by moving them up and down as may be
+needed to avoid cutting across the faces, hands, &c.
+
+I find more difficulty in answering this than any other _technical_
+question in this book. I do not think it can be answered with a hard and
+fast "Yes" or "No." It depends on the circumstances of the case. But I
+incline towards the side of making it the rule to put the bars in first,
+and adapt the composition to them. You may think this a surprising view
+for an artist to take. "Surely," you will say, "that is putting the cart
+before the horse, and making the more important thing give way to the
+less!" But my feeling is that reasonable limitations of any kind ought
+never to be considered as hindrances in a work of art. They are part of
+the problem, and it is only a spirit of dangerous license which will
+consider them as bonds, or will find them irksome, or wish to break them
+through. Stained-glass is not an independent art. It is an accessory to
+architecture, and any limitations imposed by structure and architectural
+propriety or necessity are most gravely to be considered and not lightly
+laid on one side. And in this connection it must be remembered that the
+bars cannot be made to go _anywhere_ to fit a freely designed
+composition: they must be approximately at certain distances on account
+of use; and they must be arranged with regard to each other in the whole
+of the window on account of appearance.
+
+You might indeed find that, in any single light, it is quite easy to
+arrange them at proper and serviceable distances, without cutting across
+the heads or hands of the figures; but it is ten chances to one that you
+can get them to do so, and still be level with each other, throughout a
+number of lights side by side.
+
+The best plan, I think, is to set them out on the side of the
+cartoon-paper before you begin, but not so as to notice them; then first
+roughly strike out the position your most important groups or figures
+are to occupy, and, before you go on with the serious work of drawing,
+see if the bars cut awkwardly, and, if they do, whether a slight
+shifting of them will clear all the important parts; it often will, and
+then all is well; but I do not shrink from slightly altering even the
+position of a head or hand, rather than give a laboured look to what
+ought to be simple and straightforward by "coaxing" the bars up and down
+all over the window to fit in with the numerous heads and hands.
+
+If, by the way, I see fit in any case to adopt the other plan, and make
+my composition first, placing the bars afterwards to suit it, I never
+allow myself to shift them from the level that is convenient and
+reasonable for anything _except_ a head; I prefer even that they should
+cut across a hand, for instance, rather than that they should be placed
+at inconvenient intervals to avoid it.
+
+The principle of observing your limitations is, I do not hesitate to
+say, the most important, and far the most important, of all principles
+guiding the worker in the right practising of any craft.
+
+The next in importance to it is the right exercise of all legitimate
+freedom _within_ those limitations. I place them in this order, because
+it is better to stop short, by nine-tenths, of right liberty, than to
+take one-tenth of wrong license. But by rights the two things should go
+together, and, with the requisite skill and training to use them,
+constitute indeed the whole of the practice of a craft.
+
+Modern division of labour is much against both of these things, the
+observance of which charms us so in the ancient Gothic Art of the Middle
+Ages.
+
+For, since those days, the craft has never been taught as a whole.
+Reader! this book cannot teach it you--no book, can; but it can make
+you--and it was written with the sole object of making you--_wish_ to be
+taught it, and determine to be taught it, if you intend to practise
+stained-glass work at all.
+
+Modern stained-glass work is done by numerous hands, each trained in a
+special skill--to design, or to paint, or to cut, or to glaze, or to
+fire, or to cement--but none are taught to do all; very few are taught
+to do more than one or two. How, then, can any either use rightful
+liberty or observe rightful limitations? They do not know their craft,
+upon which these things depend. And observe how completely also these
+two things depend upon each other. You may be rightly free, _because_
+you have rightly learnt obedience; you know your limitations, and,
+_therefore_, you may be trusted to think, and feel, and act for
+yourself.
+
+This is what makes old glass, and indeed all old art, so full of life,
+so full of interest, so full of enjoyment--in places, and right places,
+so full even of "fun." Do you think the charming grotesques that fill up
+every nook and corner sometimes in the minor detail of mediaeval glass or
+carving could ever be done by the method of a "superior person" making a
+drawing of them, and an inferior person laboriously translating them in
+_facsimile_ into the material? They are what they are because they were
+the spontaneous and allowed license and play of a craftsman who knew his
+craft, and could be trusted to use it wisely, at any rate in all minor
+matters.
+
+
+THE LIMITATIONS OF STAINED-GLASS.
+
+The limitations of stained-glass can only be learnt at the bench, and by
+years of patient practice and docile service; but it may be well to
+mention some of them.
+
+_You must not disguise your lead line._ You must accept it willingly, as
+a limitation of your craft, and make it contribute to the beauty of the
+whole.
+
+"But I have a light to do of the 'Good Shepherd,' and I want a landscape
+and sky, and how ugly lead lines look in a pale-blue sky! I get them
+like shapes of cloud, and still it cuts the sky up till it looks like
+'random-rubble' masonry." Therefore large spaces of pale sky are
+"taboo," they will not do for glass, and you must modify your whole
+outlook, your whole composition, to suit what _will_ do. If you must
+have sky, it must be like a Titian sky--deep blue, with well-defined
+masses of cloud--and you must throw to the winds resolutely all idea of
+attempting to imitate the softness of an English sky; and even then it
+must not be in a large mass: you can always break it up with
+branched-work of trees, or with buildings.
+
+_There should be no full realism of any kind._
+
+_No violent action must assert itself in a window._
+
+I do not say that there must not, in any circumstances, be any violent
+action--the subject may demand it; but, if so, it must be so disguised
+by the craftsmanship of the work, or treated so decoratively, or so
+mixed up with the background or surroundings, that you do not see a
+figure in violent action starting prominently out from the window as you
+stand in the church. But, after all, this is a thing of artistic sense
+and discretion, and no rules can be formulated. The Parthenon frieze is
+of figures in rapid movement. Yet what repose! And in stained-glass you
+must aim at repose. Remember,--it is an accessory to architecture; and
+who is there that does not want repose in architecture? Name me a great
+building which does not possess it? How the architects must turn in
+their graves, or, if living, shake in their shoes, when they see the
+stained-glass man turned into their buildings, to display himself and
+spread himself abroad and blow his trumpet!
+
+Efface yourself, my friend; sink yourself; illustrate the building;
+consider its lines and lights and shades; enrich it, complete it, make
+people happier to be in it.
+
+_There must be no craft-jugglery in stained-glass._
+
+The art must set the craft simple problems; it must not set tasks that
+can only be accomplished by trickery or by great effort, disproportioned
+to the importance of the result. But, indeed, you will naturally get the
+habit of working according to this rule, and other reasonable rules, if
+you yourself work at the bench--all lies in that.
+
+_There must be nothing out of harmony with the architecture._
+
+And, therefore, you must know something of architecture, not in order to
+imitate the work of the past and try to get your own mistaken for it,
+but to learn the love and reverence and joy of heart of the old
+builders, so that your spirit may harmonise with theirs.
+
+_Do not shrink from the trouble and expense of seeing the work_ in situ,
+_and then, if necessary, removing it for correction and amendment._
+
+If you have a large window, or a series of windows, to do, it is often
+not a very great matter to take a portion of one light at least down and
+try it in its place. I have done it very often, and I can assure you it
+is well worth while.
+
+
+OF MAKING A SKETCH IN GLASS.
+
+But there is another thing that may help you in this matter, and that is
+to sketch out the colour of your window in small pieces of glass--in
+fact, to make a scale-sketch of it in glass. A scale of one inch to a
+foot will do generally, but all difficult or doubtful combinations of
+colour should be sketched larger--full size even--before you venture to
+cut.
+
+_Work should be kept flat by leading._
+
+One of the main _artistic_ uses of the leadwork in a window is that, if
+properly used, it keeps the work flat and in one plane, and allows far
+more freedom in the conduct of your picture, permitting you to use a
+degree of realism and fulness of treatment greater than you could do
+without it. Work may be done, where this limitation is properly accepted
+and used, which would look vulgar without it; and on the other hand, the
+most Byzantine rigidity may be made to look vulgar if the lead line is
+misused. I have seen glass of this kind where the work was all on one
+plane, and where the artist had so far grasped proper principles as to
+use thick leads, but had _curved these leads in and out across the folds
+of the drapery as if they followed its ridges and hollows_--the thing
+becoming, with all its good-will to accept limitations, almost more
+vulgar than the discredited "Munich-glass" of a few years ago, which
+hated and disguised the lead lines.
+
+_You must step back to look at your work as often and as far as you
+can._
+
+_Respect your bars and lead lines, and let them be strong and many._
+
+_Every bit of glass in a window should look "cared for."_
+
+If there is a lot of blank space that you "don't know how to fill," be
+sure your design has been too narrowly and frugally conceived. I do not
+mean to say that there may not be spaces, and even large spaces, of
+plain quarry-glazing, upon which your subject with its surrounding
+ornament may be planted down, as a rich thing upon a plain thing. I am
+thinking rather of a case where you meet with some sudden lapse or gap
+in the subject itself or in its ornamental surroundings. This is apt
+specially to occur where it is one which leads rather to pictorial
+treatment, and where, unless you have "canopy" or "tabernacle" work, as
+it is called, surrounding and framing everything, you find yourself at a
+loss how to fill the space above or below.
+
+Very little can be said by way of general rule about this; each case
+must be decided on its merits, and we cannot speak without knowing them.
+But two things may be said: First, that it is well to be perfectly bold
+(as long as you are perfectly sincere), and not be afraid, merely
+because they are unusual, of things that you really would like to do if
+the window were for yourself. There are no hard and fast rules as to
+what may or may not be done, and if you are a craftsman and designer
+also--as the whole purpose of this book is to tell you you must be--many
+methods will suggest themselves of making your glass look interesting.
+The golden rule is to handle every bit of it yourself, and then you will
+_be_ interested in the ingenuity of its arrangement; the cutting of it
+into little and big bits; the lacework of the leads; thickening and
+thinning these also to get bold contrasts of strong and slender, of
+plain and intricate; catching your pearly glass like fish, in a net of
+larger or smaller mesh; for, bear in mind always that this question
+relates almost entirely to the _whiter_ glasses. Colour has its own
+reason for being there, and carries its own interest; but the most
+valuable piece of advice that I can think of in regard to stained-glass
+_treatment_ (apart from the question of subject and meaning) is to _make
+your white spaces interesting_.
+
+The old painters felt this when they diapered their quarry-glazing and
+did such grisaille work as the "Five Sisters" window at York. Every bit
+of this last must have been put together and painted by a real craftsman
+delighting in his work. The drawing is free and beautiful; the whole work
+is like jewellery, the colour scheme delightfully varied and irregular.
+The work was loved: each bit of glass was treated on its merits as it
+passed through hand. Working in this way all things are lawful; you may
+even put a thin film of "matt" over any piece to lower it in tone and give
+it richness, or to bring out with emphasis some quality of its texture.
+Some bits will have lovely streaks and swirling lines and bands in
+them--"reamy," as glass-cutters call it--or groups of bubbles and spots,
+making the glass like agate or pebble; and a gentle hand will rub a little
+matt or film over these, and then finger it partly away to bring out its
+quality, just as a jeweller foils a stone. This is quite a different thing
+from smearing a window all over with dirt to make it a sham-antique; and
+where it is desirable to lower the tone of any white for the sake of the
+window, and where no special beauties of texture exist, it is better, I
+think, to matt it and then take out simple _patterns_ from the matt: not
+_outlined_ at all, but spotted and streaked in the matt itself,
+chequered and petalled and thumb-marked, just as nature spots and
+stripes and dapples, scatters daisies on the grass and snowflakes in the
+air, and powders over with chessboard chequers and lacings and "oes and
+eyes of light," the wings of butterflies and birds.
+
+So man has always loved to work when he has been let to choose, and when
+nature has had her way. Such is the delightful art of the basket and
+grass-cloth weaver of the Southern seas; of the ancient Cyprian potter,
+the Scandinavian and the Celt. It never dies; and in some quiet,
+merciful time of academical neglect it crops up again. Such is the,
+often delightful, "builders-glazing" of the "carpenters-Gothic" period,
+or earlier, when the south transept window at Canterbury, and the east
+and west windows at Cirencester, and many such like, were rearranged
+with old materials and new by rule of thumb and just as the glazier
+"thought he would." Heaven send us nothing worse done through too much
+learning! I daresay he shouldn't have done it; but as it came to him to
+do, as, probably, he was ordered to do it, we may be glad he did it just
+so. In the Canterbury window, for instance, no doubt much of the old
+glass never belonged to that particular window; it may have been,
+sinfully, brought there from windows where it did belong. At Cirencester
+there are numbers of bits of canopy and so forth, delightful
+fifteenth-century work, exquisitely beautiful, put in as best they could
+be; no doubt from some mutilated window where the figures had been
+destroyed--for, if my memory serves me, most of them have no figures
+beneath--and surrounded by little chequered work, and stripes and
+banding of the glaziers' own fancy. A modern restorer would have
+delighted to supply sham-antique saints for them, imitating
+fifteenth-century work (and deceiving nobody), and to complete the
+mutilated canopies by careful matching, making the window entirely
+correct and uninteresting and lifeless and accomplished and forbidding.
+The very blue-bottles would be afraid to buzz against it; whereas here,
+in the old church, with the flavour of sincerity and simplicity around
+them, at one with the old carving and the spirit of the old time, they
+glitter with fresh feeling, and hang there, new and old together,
+breaking sunlight; irresponsible, absurd, and delightful.
+
+
+
+
+CHAPTER XV
+
+     A Few Little Dodges--A Clumsy Tool--A Substitute--A Glass Rack--An
+     Inconvenient Easel--A Convenient Easel--A Waxing-up Tool--An Easel
+     with Movable Plates--Making the most of a Room--Handling
+     Cartoons--Cleanliness--Dust--The Selvage Edge--Drying a "Badger"--A
+     Comment.
+
+
+Here, now, follow some little practical hints upon work in general; mere
+receipts; description of time-saving methods and apparatus which I have
+separated from the former part of the book; partly because they are
+mostly exceptions to the ordinary practice, and partly because they are
+of general application, the common-sense of procedure, and will, I hope,
+after you have learnt from the former parts of the book the individual
+processes and operations, help you to marshal these, in order and
+proportion, so as to use them to the greatest advantage and with the
+best results. And truly our stained-glass methods are most wasteful and
+bungling. The ancient Egyptians, they say, made glass, and I am sure
+some of our present tools and apparatus date from the time of the
+Pyramids.
+
+
+A CLUMSY KILN-FEEDER.
+
+What shall we say, for instance, of this instrument (fig. 64), used for
+loading some forms of kiln?
+
+[Illustration: FIG. 64.]
+
+The workman takes the ring-handle in his right hand, rests the shaft in
+the crook of his left elbow, puts the fork under an iron plate loaded
+with glass and weighing about forty pounds, and then, with tug and
+strain, lifts it, ready to slip off and smash at any moment, and,
+grunting, transfers it to the kiln. A little mechanical appliance would
+save nine-tenths of the labour, a stage on wheels raised or lowered at
+will (a thing which surely should not be hard to invent) would bring it
+from the bench to the kiln, and _then_, if needs be, and no better
+method could be found, the fork might be used to put it in.
+
+Meanwhile, as a temporary step in the right direction, I illustrate a
+little apparatus invented by Mr. Heaton, which, with the tray made of
+some lighter substance than iron, of which he has the secret, decreases
+the labour by certainly one-third, and I think a half (fig. 65).
+
+[Illustration: FIG. 65.]
+
+It is indeed only a sort of half-way house to the right thing, but,
+tested one against the other with equal batches of plates, its use is
+certainly less laborious than that of the fork. And that is a great
+gain; for the consequence of these rough ways is that the kiln-man, whom
+we want to be a quiet, observant man, with plenty of leisure and with
+all his strength and attention free to watch the progress of a process
+or experiment, like a chemist in his laboratory, has often two-thirds of
+it distracted by the stress of needless work which is only fit for a
+navvy, and the only tendency of which can be towards turning him into
+one.
+
+[Illustration: FIG. 66.]
+
+
+A GLASS-RACK FOR WASTE PIECES.
+
+Then the cutter, who throws away half the stuff under his bench! How
+easy it would be, if things were thought of from the beginning and the
+place built for the work, to have such width of bench and space of
+window that, along the latter, easily and comfortably within reach,
+should run stages, tier above tier, of strong sheet or thin plate glass,
+sloping at such an angle that the cuttings might lie along them against
+the light, with a fillet to stop them from falling off. Then it would be
+a pleasure, as all handy things are, for the workman to put his bits of
+glass there, and when he wanted a piece of similar colour, to raise his
+head and choose one, instead of wastefully cutting a fresh piece out of
+the unbroken sheet, or wasting his time rummaging amongst the bits on
+the bench. A stage on the same principle for _choosing_ glass is
+illustrated in fig. 67.
+
+But it is in easels that improvement seems most wanted and would be most
+easy, and here I really must tell you a story.
+
+
+AN INCONVENIENT EASEL.
+
+Having once some very large lights to paint, against time, the friends
+in whose shop I was to work (wishing to give me every advantage and to
+_save time_), had had special easels made to take in the main part of
+each light at once. But an "Easel," in stained-glass work, meaning
+always the single slab of plate-glass in a wooden frame, these were of
+that type. I forget their exact size and could hazard no guess at their
+weight, but it took four men to get one from the ground on to the bench.
+Why, I wanted it done a dozen times an hour! and should have wished to
+be able to do it at any moment. Instead of that it was, "Now then, Bill;
+ease her over!" "Steady!" "Now lift!" "All together, boys!" and so
+forth. I wonder there wasn't a strike! But did no one, then, ever see in
+a club or hotel a plate-glass window about as big as a billiard-table,
+and a slim waiter come up to it, and, with a polite "Would you like the
+window open, sir?" quietly lift it with one hand?
+
+[Illustration: FIG. 67.]
+
+
+A CONVENIENT EASEL.
+
+Fig. 68 is a diagram of the kind of easel I would suggest. It can either
+stand on the bench or on the floor, and with the touch of a hand can be
+lifted, weighing often well over a hundredweight, to any height the
+painter pleases, till it touches the roof, enabling him to see at any
+moment the whole of his work at a distance and against the sky, which
+one would rather call an absolute necessity than a mere convenience or
+advantage.
+
+Some of these things were thought out roughly by myself, and have been
+added to and improved from time to time by my painters and apprentices,
+a matter which I shall say a word on by-and-by, when we consider the
+relations which should exist between these and the master.
+
+
+AN IMPROVED TOOL FOR WAXING-UP.
+
+Meanwhile here is another little tool (fig. 69), the invention of one of
+my youngest "hands" (and heads), and really a praiseworthy invention,
+though indeed a simple and self-evident matter enough. The usual tool
+for waxing-up is (1) a strip of glass, (2) a penknife, (3) a stick of
+wood. The thing most to be wished for in whatever is used being, of
+course, that it _should retain the heat_. This youth argued: "If they
+use copper for soldering-bits because it retains heat so well, why not
+use copper for the waxing-up tool? besides, it can be made into a pen
+which will hold more wax."
+
+[Illustration: FIG. 68.]
+
+[Illustration: FIG. 69.]
+
+So said, so done; nothing indeed to make a fuss about, but part of a
+very wholesome spirit of wishing to work with handy tools economically,
+instead of blundering and wasting.
+
+
+AN EASEL WITH MOVABLE PLATES.
+
+But to return for a moment to the easel. I find it very convenient not
+to have it made all of one plate of glass, but to divide it so that
+about four plates make the whole easel of five feet high. These plates
+slip in grooves, and can be let in either at the top or bottom, the
+latter being then stopped by a batten and thumbscrews. By this means a
+light of any length can be painted in sections without a break. For
+supposing you work from below upwards, and have done the first five feet
+of the window, take out all the glass except the top plate, _shift this
+down to the bottom_, and place three empty plates above it, and you can
+join the upper work to the lower by the sample of the latter left in its
+place to start you.
+
+
+HOW TO MAKE THE MOST OF A ROOM.
+
+The great point is to be able to get away as far as you can from your
+work. And I advise you, if your room is small, to have a fair-sized
+mirror (a cheval-glass) and place it at the far end of your room
+opposite the easel where you are painting, and then, standing close by
+the side of your easel, look at your work in the mirror. This will
+double the distance at which you see it, and at the same time present it
+to you reversed; which is no disadvantage, for you then see everything
+under a fresh aspect and so with a fresh eye. Of course, by the use of
+two mirrors, if they be large enough, you can put your work away to any
+distance. You must have seen this in a restaurant where there were
+mirrors, and where you have had presented to you an endless procession
+of your own head, first front then back, going away into the far
+distance.
+
+
+HOW TO HANDLE CARTOONS.
+
+Well, it's really like insulting your intelligence! And if I hadn't seen
+fellows down on their hands and knees rolling and unrolling cartoons
+along the dirty floor, and sprawling all over the studio so that
+everybody had to get out of the way into corners, I wouldn't spend paper
+and ink to tell you that by standing the roll _upright_ and spinning it
+gently round with your hands, freeing first one edge and then another,
+you can easily and quietly unroll and sort out a bundle of a dozen
+cartoons, each twenty feet long, on the space of a small hearth-rug; but
+so it is (fig. 70), and in just the same way you can roll them up again.
+
+
+NEATNESS AND CLEANLINESS.
+
+You should have drawers in the tables, and put the palettes away in
+these with the colour neatly covered over with a basin when you leave
+work. Dust is a great enemy in a stained-glass shop, and it must be kept
+at arm's length.
+
+
+YOU MUST TEAR OFF THE SELVAGE EDGE OF YOUR TRACING CLOTH,
+otherwise the tracing cloth being all cockled at the edge, which,
+however, is not very noticeable, will not lie flat, and you will be
+puzzled to know why it is that you cannot get your cut-line straight;
+tear off the edge, and it lies perfectly flat, without a wrinkle.
+
+
+HOW TO DRY A BIG BRUSH OR BADGER AFTER IT IS WASHED.
+
+I expect you'd try to dry it in front of the fire, and there'd be a
+pretty eight-shilling frizzle! But the way is this: First sweep the wet
+brush downwards with all your force, just as you shake the worst of the
+wet off a dripping umbrella, then take the handle of the brush _between
+the palms of your hands_, with the hair pointing downwards, and rub your
+hands smartly together, with the handle between them, just as an Italian
+waiter whisks up the chocolate. This sends the hair all out like a
+Catherine-wheel, and dries the brush with quite astonishing rapidity.
+Come now! you'd never have thought of that?
+
+[Illustration: FIG. 70.]
+
+       *       *       *       *       *
+
+And why have I reserved these hints till now? surely these are things of
+the work-bench, practical matters, and would have come more conveniently
+in their own place? Why have I--do you ask--after arousing your
+attention to the "great principles of art," gone back again all at once
+to these little matters?
+
+Dear reader, I have done so deliberately to emphasise the _First_ of
+principles, that the right learning of any craft is the learning it
+under a master, and that all else is makeshift; to drive home the lesson
+insisted on in the former volumes of this series of handbooks, and
+gathered into the sentence quoted as a motto on the fly-leaf of one of
+them, that "An art can only be learned in the workshop of those who are
+winning their bread by it."
+
+These little things we have just been speaking of occurred to me after
+the practical part was all written; and I determined, since it happened
+so, to put them by themselves, to point this very lesson. They are just
+typical instances of hundreds of little matters which belong to the
+bench and the workshop, and which cannot all be told in any book; and
+even if told can never be so fully grasped as they would be if shown by
+master to pupil. Years--centuries of practice have made them the
+commonplaces of the shops; things told in a word and learnt in an
+instant, yet which one might go on for a whole lifetime without thinking
+of, and for lack of which our lifetime's work would suffer.
+
+Man's work upon earth is all like that. The things are there under his
+very nose, but he never discovers them till some accident shows them;
+how many centuries of sailing, think you, passed by before men knew that
+the tides went with the moon?
+
+Why then write a book at all, since it is not the best way?
+
+Speaking for myself only, the reasons appear to be: First, because none
+of these crafts is at present taught in its fulness in any ordinary
+shop, and I would wish to give you at least a longing to learn yours in
+that fulness; and, second, because it seems also very advisable to
+interest the general reader in this question of the complete teaching of
+the crafts to apprentices. To insist on the value and necessity of the
+daily and hourly lessons that come from the constant presence, handling,
+and use of all the tools and materials, all the apparatus and all the
+conditions of the craft, and from the interchange of ideas amongst those
+who are working, side by side, making fresh discoveries day by day as to
+what materials will do under the changes that occur in conditions that
+are ever changing.
+
+However, one must not linger further over these little matters, and it
+now becomes my task to return to the great leading principles and try to
+deal with them, and the first cardinal principle of stained-glass work
+surely is that of COLOUR.
+
+
+
+
+CHAPTER XVI
+
+OF COLOUR
+
+
+But how hopeless to deal with it by way of words in a book where actual
+colour cannot be shown!
+
+Nevertheless, let us try.
+
+       *       *       *       *       *
+
+... One thinks of morning and evening; ... of clouds passing over the
+sun; of the dappled glow and glitter, and of faint flushes cast from the
+windows on the cathedral pavement; of pearly white, like the lining of a
+shell; of purple bloom and azure haze, and grass-green and golden spots,
+like the budding of the spring; of all the gaiety, the sparkle, and the
+charm.
+
+And then, as if the evening were drawing on, comes over the memory the
+picture of those graver harmonies, in the full glow of red and blue,
+which go with the deep notes of the great organ, playing requiem or
+evening hymn.
+
+Of what use is it to speak of these things? The words fall upon the ear,
+but the eye is not filled.
+
+All stained-glass gathers itself up into this one subject; the glory of
+the heavens is in it and the fulness of the earth, and we know that the
+showing forth of it cannot be in words.
+
+Is it any use, for instance, to speak of these primroses along the
+railway bank, and those silver buds of the alder in the hollow of the
+copse?
+
+One thinks of a hint here and a hint there; the very sentences come in
+fragments. Yet one thing we may say securely: that the practice of
+stained-glass is a very good way to _learn_ colour, or as much of it as
+can come by learning.
+
+For, consider:--
+
+A painter has his colour-box and palette;
+
+And if he has a good master he may learn by degrees how to mix his
+colour into harmonies;
+
+Doing a little first, cautiously;
+
+Trying the problem in one or two simple tints; learning the combinations
+of these in their various degrees of lighter or darker:
+
+Exhausting, as much as he can, the possibilities of one or two pigments,
+and then adding another and another;
+
+But always with a very limited number of actual separate ones to draw
+upon;
+
+All the infinity of the whole world of colour being in his own hands,
+and the difficulty of dealing with it laid as a burden upon his own
+shoulders, as he combines, modifies, mixes, and dilutes them.
+
+He perhaps has eight or ten spots of pure colour, ranged round his
+palette; and all the rest depends upon himself.
+
+This gives him, indeed, one side of the practice of his art; and if he
+walks warily, yet daringly, step by step, learning day by day something
+more of the powers that lie in each single kind of paint, and as he
+learns it applying his knowledge, bravely and industriously, to add
+strength to strength, brightness to brightness, richness to richness,
+depth to depth, in ever clearer, fuller, and more gorgeous harmony, he
+may indeed become a great painter.
+
+But a more timid or indolent man gets tired or afraid of putting the
+clear, sharp tints side by side to make new combinations of pure and
+vivid colour.
+
+And even a man industrious, alert, and determined may lose his way and
+get confused amongst the infinity of choice, through being badly taught,
+and especially through being allowed at first too great a range, too
+wide a choice, too lavish riches.
+
+A man so trained, so situated, so tempted, stands in danger of being
+contented to repeat old receipts and formulas over and over, as soon as
+he has acquired the knowledge of a few.
+
+Or, bewildered with the lavishness of his means and confused in his
+choice, tends to fall into indecision, and to smear and dilute and
+weaken.
+
+I cannot help thinking that it is to this want of a system of gradual
+teaching of the elementary stages of colour in painting that we owe, on
+the one side, the fashion of calling irresolute and undecided tints
+"art" colours; and, on the other hand, the garishness of our modern
+exhibitions compared with galleries of old paintings. For Titian's
+burning scarlet and crimson and palpitating blue; and Veronese's gold
+and green and white and rose are certainly not "art colours"; and I
+think we must feel the justice and truth of Ruskin's words spoken
+regarding a picture of Linnell's:--
+
+"And what a relief it is for any wholesome human sight, after sickening
+itself among the blank horror of dirt, ditchwater, and malaria, which
+the imitators of the French schools have begrimed our various Exhibition
+walls with, to find once more a bit of blue in the sky and a glow of
+brown in the coppice, and to see that Hoppers in Kent can enjoy their
+scarlet and purple--like Empresses and Emperors." (Ruskin, "Royal
+Academy Notes," 1875.)
+
+From this irresolution and indecision and the dull-colour school
+begotten of it on the one hand, and from garishness on the other,
+stained-glass is a great means of salvation; for in practising this art
+the absolute judgment must, day by day, be exercised between this and
+that colour, there present before it; and the will is braced by the
+necessity of constant choice and decision. In short, by many of the
+modern, academical methods of teaching painting, and especially by the
+unfortunate arrangement, where it exists, of a pupil passing under a
+succession of different masters, I fear the colour-sense is perplexed
+and blunted; while by stained-glass, taught, as all art should be, from
+master to apprentice, while both make their bread by it, the
+colour-sense would be gradually and steadily cultivated and would have
+time to grow.
+
+This at least seems certain: that all painters who have also done
+stained-glass, or indeed any other decorative work in colour, get
+stronger and braver in painting from its practice. So worked Titian,
+Giorgione, Veronese; and so in our days worked Burne-Jones, Rossetti,
+Madox-Brown, Morris; and if I were to advise and prate about what is,
+perhaps, not my proper business, I would say, even to the student of
+oil-painting, "Begin with burnt-umber, trying it in every degree with
+white; transparent over opaque and opaque over transparent; trying how
+near you can get to purple and orange by contrast (and you will get
+nearer than you think); then add sienna at one end and black at the
+other to enlarge the range;--and then get a set of glass samples."
+
+I have said that stained-glass is "a great means of salvation," from
+irresolution and indecision on the one hand and from garishness on the
+other; but it is only a means--the fact of salvation lies always in
+one's own hands--for we must, I fear, admit that "garishness" and
+"irresolution" are not unknown in stained-glass itself, in spite of the
+resources and safeguardings we have attributed to the material.
+Speaking, therefore, now to stained-glass painters themselves, we might
+say that these faults in their own art, as too often practised in our
+days, arise, strange as it may seem, from ignorance of their own
+material, that very material the _knowledge_ of which we have just been
+recommending as a safeguard against these very faults to the students of
+another art.
+
+And this brings us back to our subject.
+
+For the foregoing discussion of painters' methods has all been written
+to draw a comparison and emphasise a contrast.
+
+A contrast from which you, student of stained-glass, I hope may learn
+much.
+
+For as we have tried to describe the methods of the painter in oil or
+water colours, and so point out his advantages and disadvantages, so we
+would now draw a picture of the glass-painter at work; if he works as he
+should do.
+
+For the painter of pictures (we said) has his colour-box of a few
+pigments, from which all his harmonies must come by mixing them and
+diluting them in various proportions, dealing with infinity out of a
+very limited range of materials, and required to supply all the rest by
+his own skill and memory.
+
+Coming each day to his work with his palette clean and his colours in
+their tubes;
+
+Beginning, as it were, all over again each time; and perhaps with his
+heart cold and his memory dull.
+
+But the glass-painter has his specimens of glass round him; some
+hundreds, perhaps, of all possible tints.
+
+He has, with these, to compose a subject in colour;
+
+There is no getting out of it or shirking it;
+
+He places the bits side by side, with no possibility (which the palette
+gives) of slurring or diluting or dulling them; he must choose from the
+clear hard tints;
+
+And he has the whole problem before him;
+
+He removes one and substitutes another;
+
+"This looks better;" "That is a pleasant harmony;" "Ah! but this makes
+it sing!"
+
+He gets them into groups, and combines them into harmonies, tint with
+tint, group with group:
+
+If he is wise he has them always by him;
+
+Always ready to arrange in a movable frame against the window;
+
+He cuts little bits of each; he waxes them, or gums them, into groups on
+sheets of glass;
+
+He tries all his effects in the glass itself; he sketches in glass.
+
+If he is wise he does this side by side with his water-colour sketch,
+making each help the other, and thinking in glass; even perhaps making
+his water-colour sketch afterwards from the glass.
+
+Is it not reasonable?
+
+Is it not far more easy, less dangerous?
+
+He has not to rake in his cold and meagre memory to fish out some poor
+handful of all the possible harmonies;
+
+To repeat himself over and over again.
+
+He has all the colours burning round him; singing to him to use them;
+sounding all their chords.
+
+Is it not the way? Is it not common sense?
+
+Tints! pure tints! What great things they are.
+
+I remember an old joke of the pleasant Du Maurier, a drawing
+representing two fashionable ladies discussing the afternoon's
+occupation. One says: "It's quite too dull to see colours at Madame St.
+Aldegonde's; suppose we go to the Old Masters' Exhibition!"
+
+Rather too bad! but the ladies were not so altogether frivolous as might
+at first appear. I am afraid _Punch_ meant that they were triflers who
+looked upon colour in dress as important, and colour in pictures as a
+thing which would do for a dull day. But they were not quite so far
+astray as this! There are other things in pictures besides colour which
+can be seen with indifferent light. But to match clear tint against
+clear tint, and put together harmonies, there is no getting away from
+the problem! It is all sheer, hard exercise; you want all your light for
+it; there is no slurring or diluting, no "glazing" or "scumbling," and
+it should form a part of the teaching, and yet it never does so, in our
+academies and schools of art. A curious matter this is, that a painter's
+training leaves this great resource of knowledge neglected, leaves the
+whole thing to memory. Out of all the infinite possible harmonies only
+getting what rise in the mind at the moment from the unseen. While
+ladies who want to dress beautifully look at the things themselves, and
+compare one with another. And how nicely they dress. If only painters
+painted half as well. If the pictures in our galleries only looked half
+as harmonious as the crowd of spectators below them! I would have it
+part of every painter's training to practise some craft, or at least
+that branch of some craft, which compels the choosing and arranging, in
+due proportions for harmony, of clear, sharp glowing colours in some
+definite material, from a full and lavish range of existing samples. It
+is true that here and there a painter will arise who has by nature that
+kind of instinct or memory, or whatever it is, that seems to feel
+harmonies beforehand, note by note, and add them to one another with
+infallible accuracy; but very few possess this, and for those who lack I
+am urging this training. For it is a case of
+
+         "the little more and how much it is,
+     And the little less and what worlds away."
+
+Millais hung a daring crimson sash over the creamy-white bed-quilt, in
+the glow of the subdued night-lamp, in his picture of "Asleep," and we
+all thought what a fine thing it was. But we have not thought it so fine
+for the whole art world to burst into the subsequent imitative paroxysm
+of crashing discords in chalk, lip-salve, and skim-milk, which has
+lasted almost to this day.
+
+At any rate, I throw out this hint for pupils and students, that if they
+will get a set of glass samples and try combinations of colour in them,
+they will have a bracing and guiding influence, the strength of which
+they little dream of, regarding one of the hardest problems of their
+art.
+
+This for the student of painting in general: but for the glass-painter
+it is absolutely essential--the central point, the breath-of-life of his
+art.
+
+To live in it daily and all day.
+
+To be ever dealing with it thus.
+
+To handle with the hands constantly.
+
+To try this piece, and that piece, the little more and the little less.
+
+This is the be-all and end-all, the beginning and the end of the whole
+matter, and here therefore follow a few hints with regard to it.
+
+And there is one rule of such dominating importance that all other hints
+group themselves round it; and yet, strangely enough, I cannot remember
+seeing it anywhere written down.
+
+Take three tints of glass--a purple, let us say, a crimson, and a green.
+
+Let it be supposed that, for some reason, you desire that this should
+form a scheme of colour for a window, or part of a window, with, of
+course, in addition, pure white, and probably some tints more neutral,
+greenish-whites and olives or greys, for background.
+
+You choose your purple (and, by-the-bye, almost the only way to get a
+satisfactory one, except by a happy accident now and then, is to double
+gold-pink with blue; this is the only way to get a purple that will
+vibrate, palpitating against the eye like the petal of a pansy in the
+sun). Well, you get your purple, and you get your green--not a
+sage-green, or an "art-green," but a cold, sharp green, like a leaf of
+parsley, an aquamarine, the tree in the "Eve" window at Fairford, grass
+in an orchard about sunset, or a railway-signal lamp at night.
+
+Your crimson like a peony, your white like white silk; and now you are
+started.
+
+You put slabs of these--equal-sized samples, we will suppose--side by
+side, and see "if they will do."
+
+And they don't "do" at all.
+
+Take away the red.
+
+The green and the purple do well enough, and the white.
+
+But you _want_ the red, you say.
+
+Well, _put back a tenth part of it_.
+
+And how now?
+
+Add a still smaller bit of pale pink.
+
+And how now?
+
+Do you see what it all means? It means the rule we spoke of, and which
+we may as well, therefore, now announce:
+
+"HARMONY IN COLOUR DEPENDS NOT ONLY UPON THE ARRANGING OF RIGHT COLOURS
+TOGETHER, BUT THE ARRANGING OF THE RIGHT QUANTITIES AND THE RIGHT
+DEGREES OF THEM TOGETHER."
+
+To which may be added another, _a propos_ of our bit of "pale pink."
+
+THE HARSHEST CONTRASTS, EVEN DISCORDS, MAY OFTEN BE BROUGHT INTO HARMONY
+BY ADDED NOTES.
+
+I believe that these are the two, and I would even almost say the only
+two, great leading principles of the science of colour, as used in the
+service of Art; and we might learn them, in all their fulness, in a
+country walk, if we were simple enough to like things because we like
+them, and let the kind nurse, Nature, take us by the hand. This very
+problem, to wit: Did you never see a purple anemone? against its green
+leaves? with a white centre? and with a thin ring of crimson shaded off
+into pink? And did you never wonder at its beauty, and wonder how so
+simple a thing could strike you almost breathless with pure physical
+delight and pleasure? No doubt you did; but you probably may not have
+asked yourself whether you would have been equally pleased if the
+purple, green, and red had all been equal in quantity, and the pale pink
+omitted.
+
+I remember especially in one particular window where this colour scheme
+was adopted--an "Anemone-coloured" window--the modification of the one
+splash of red by the introduction of a lighter pink which suggested
+itself in the course of work as it went along, and was the pet fancy of
+an assistant--readily accepted.
+
+The window in question is small and in nowise remarkable, but it was in
+the course of a ride taken to see it in its place, on one of those
+glorious mornings when Spring puts on all the pageantry of Summer, that
+the thoughts with which we are now dealing, and especially the thoughts
+of the infinite suggestion which Nature gives in untouched country and
+of the need we have to drink often at that fountain, were borne in upon
+the writer with more than usual force.
+
+To take in fully and often the glowing life and strength and renewal
+direct from Nature is part of every man's proper manhood, still more
+then of every artist's artistry and student's studentship.
+
+And truly 'tis no great hardship to go out to meet the salutary
+discipline when the country is beautiful in mid-April, and the road good
+and the sun pleasant. The Spring air sets the blood racing as you ride,
+and when you stop and stand for a moment to enjoy these things,
+ankle-deep in roadside grass, you can seem to hear the healthy pulses
+beating and see the wavy line of hills beating with them, as you look at
+the sun-warmed world.
+
+It is good sometimes to think where we are in the scheme of things, to
+realise that we are under the bell-glass of this balmy air, which shuts
+us in, safe from the pitch-dark spaces of infinite cold, through which
+the world is sweeping at eighteen miles a second; while we, with all our
+little problems to solve and work to do, are riding warm by this
+fireside, and the orange-tip butterflies with that curious pertinacity
+of flight which is speed without haste are keeping up their incessant,
+rippling patrol, to and fro along the length of every sunny lane, above
+the ditch-side border of white-blossomed keck!
+
+What has all this to do with stained-glass?
+
+Everything, my boy! Be a human! For you have got to choose your place in
+things, and to choose on which side you will work.
+
+A choice which, in these days, more than ever perhaps before, is one
+between such things as these and the money-getting which cares so little
+for them. I have tried to show you one side by speaking of a little part
+of what may be seen and felt on a spring morning, along a ridge of
+untouched hills in "pleasant Hertfordshire:"[1] if you want to see the
+other side of things ride across to Buntingford, and take the train back
+up the Lea Valley. Look at Stratford (and smell it) and imagine it
+spreading, as no doubt it will, where its outposts of oil-mill and
+factory have already led the way, and think of the valley full up with
+slums, from Lea Bridge to Ponders End! For the present writer can
+remember--and that not half a lifetime back--Edmonton and Tottenham,
+Brondesbury and Upton Park, sweet country villages where quiet people
+lived and farmed and gardened amidst the orchards, fields, and hawthorn
+lanes.
+
+Here now live, in mile after mile of jerry-building, the "hands" who,
+never taught any craft or work worthy of a man, spend their lives in
+some little single operation that, as it happens, no machine has yet
+been invented to perform; month after month, year after year, painting,
+let us say, endless repeats of one pattern to use as they are required for
+the borders of pious windows in the churches of this land.
+
+This is the "other side of things," much commended by what is looked on
+as "robust common sense"; and with this you have--nothing to do. Your
+place is elsewhere, and if it needs be that it seems an isolated one,
+you must bear it and accept it. Nature and your craft will solve all;
+live in them, bathe in them to the lips; and let nothing tempt you away
+from them to measure things by the standard of the mart.
+
+Let us go back to our sunny hillside. "It is good for us to be here,"
+for this also is Holy Ground; and you must indeed be much amongst such
+things if you would do stained-glass, for you will never learn all the
+joy of it in a dusty shop.
+
+"So hard to get out of London?"
+
+But get a bicycle then;--only sit upright on it and go slow--and get
+away from these bricks and mortar, to where we can see things like
+these! those dandelions and daisies against the deep, green grass; the
+blazing candles of the sycamore buds against the purple haze of the oak
+copse; and those willows like puffs of grey smoke where the stream
+winds. Did you ever? No, you never! Well--do it then!
+
+But indeed, having stated our _principles_ of colour, the practice of
+those principles and the influence of nature and of nature's hints upon
+that practice are infinite, both in number and variety. The flowers of
+the field and garden; butterflies, birds, and shells; the pebbles of the
+shore; above all, the dry seaweeds, lying there, with the evening sun
+slanting through them. These last are exceedingly like both in colour
+and texture, or rather in colour and the amount of translucency, to fine
+old stained-glass; so also are dead leaves. But, in short, the thing is
+endless. The "wine when it is red" (or amber, as the case may be), even
+the whisky and water, and whisky _without_ water, side by side, make
+just those straw and ripe-corn coloured golden-yellows that are so hard
+to attain in stained-glass (impossible indeed by means of yellow-stain),
+and yet so much to be desired and sought after.
+
+Will you have more hints still? Well, there are many tropical
+butterflies, chiefly among the _Pierinf_, with broad spaces of yellow
+dashed with one small spot or flush of vivid orange or red. Now you know
+how terrible yellow and red may be made to look in a window; for you
+have seen "ruby" robes in conjunction with "yellow-stain," or the still
+more horrible combination where ruby has been acided off from a yellow
+base. But it is a question of the actual quality of the two tints and
+also of their quantity. What I have spoken of looks horrible because the
+yellow is of a brassy tone, as stain so often is, especially on
+green-white glasses, and the red inclining to puce--jam-colour. It is no
+use talking, therefore, of "red and yellow"--we must say _what_ red and
+_what_ yellow, and how much of each. A magenta-coloured dahlia and a
+lemon put together would set, I should think, any teeth on edge; yet
+ripe corn goes well with poppies, but not too many poppies--while if one
+wing of our butterfly were of its present yellow and the other wing of
+the same scarlet as the spot, it would be an ugly object instead of one
+of the delights of God. It is interesting, it is fascinating to take the
+hint from such things--to splash the golden wings of your Resurrection
+Angel as he rolls away the stone with scarlet beads of sunrise, not seen
+but _felt_ from where you stand on the pavement below. I want the reader
+to fully grasp this question of _quantity_, so I will instance the
+flower of the mullein which contains almost the very tints of the
+"lemon," and the "dahlia" I quoted, and yet is beautiful by virtue of
+its _quantities_: which may be said to be of a "lemon" yellow and yet
+can bear (ay! can it _not_?) the little crimson stamens in the heart of
+it and its sage-green leaves around.
+
+And there is even something besides "tint" and "quantity." The way you
+_distribute_ your colour matters very much. Some in washes, some in
+splashes, some in spots, some in stripes. What will "not do" in one way
+will often be just right in the other: yes, and the very way you treat
+your glass when all is chosen and placed together--matt in one place,
+film in another, chequering, cross-hatching, clothing the raw glass with
+texture and bringing out its nature and its life.
+
+Do not be afraid; for the things that yet remain to do are numberless.
+Do you like the look of deep vivid vermilion-red, upon dark cold green?
+Look at the hip-loaded rose-briar burning in the last rays of a red
+October sunset! You get physical pleasure from the sight; the eye seems
+to vibrate to the harmony as the ear enjoys a chord struck upon the
+strings. Therefore do not fear. But mind, it must be in nature's actual
+colour, not merely "green" and "red": for I once saw the head of a
+celebrated tragic actress painted by a Dutch artist who, to make it as
+deathly as he could, had placed the ashen face upon a background of
+emerald-green with spots of actual red sealing-wax. The eye was so
+affected that the colours swung to and fro, producing in a short time a
+nausea like sea-sickness. That is not pleasure.
+
+The training of the colour-sense, like all else, should be gradual;
+springing as it were from small seed. Be reticent, try small things
+first. You are not likely to be asked to do a great window all at once,
+even if you have the misfortune to be an independent artist approaching
+this new art without a gradual training under the service of others. Try
+some simple scheme from the things of Nature. Hyacinths look well with
+their leaves: therefore _that_ green and _that_ blue, with the white of
+April clouds and the black of the tree-stems in the wood are colours that
+can be used together.
+
+You must be prepared to find almost a sort of penalty in this habit of
+looking at everything with the eye of a stained-glass artist. One seems
+after a time to see natural objects with numbers attached to them
+corresponding with the numbers of one's glasses in the racks:
+butterflies flying about labelled "No. 50, deep," or "75_a_, pale," or a
+bit of "123, special streaky" in the sunset. But if one does not obtrude
+this so as to bore one's friends, the little personal discomfort, if it
+exists, is a very small price to pay for the delight of living in this
+glorious fairyland of colour.
+
+Do not think it beneath your dignity or as if you were shirking some
+vital artistic obligation, to take hints from these natural objects, or
+from ancient or modern glass, in a perfectly frank and simple manner;
+nay, even to match your whole colour scheme, tint for tint, by them if
+it seems well to you. You may get help anywhere and from anything, and
+as much as you like; it will only be so much more chance for you; so
+much richer a store to choose from, so much stronger resource to guide
+to good end; for after all, with all the helps you can get, much lies in
+the doing. Do what you like then--as a child: but be sure you _do_ like
+it: and if the window wants a bit of any particular tint, put it there,
+meaning or no meaning. If there is no robe or other feature to excuse
+and account for it in the spot which seems to crave for it,--put the
+colour in, anywhere and anyhow--in the background if need be--a sudden
+orange or ruby "quarry" or bit of a quarry, as if the thing were done in
+purest waywardness. "You would like a bit there if there were an excuse
+for it?" Then there _is_ an excuse--the best of all--that the eye
+demands it. Do it fearlessly.
+
+But to work in this way (it hardly need be said) you must watch and work
+at your glass yourself; for these hints come late on in the work, when
+colour, light and shade, and design are all fusing together into a
+harmony. You can no more forecast these final accidents, which are the
+flower and crown and finish of the whole, than you could forecast the
+lost "Chord";--
+
+     "Which came from the soul of the organ,
+     And entered into mine."
+
+It "comes from the soul" of the window.
+
+We all know the feeling--the climaxes, exceptions, surprises,
+suspensions, in which harmony delights; the change from the last bar of
+the overture to the first of the opening recitative in the "Messiah,"
+the chord upon which the victor is crowned in "The Meistersingers," the
+59th and 60th bars in Handel's "Every Valley." (I hope some of us are
+"old-fashioned" enough to be unashamed of still believing in Handel!)
+
+Or if it may be said that these are hardly examples of the kind of
+accidental things I have spoken of, being rather, indeed, the
+deliberately arranged climax to which the whole construction has been
+leading, I would instance the 12th (complete) bar in the overture to
+"Tannhduser," the 20th and 22nd bar in Chopin's Funeral March, the
+change from the minor to major in Schubert's Romance from "Rosamunde,"
+and the 24th bar in his Serenade (_Staendchen_), the 13th and following
+bars of the Crescendo in the Largo Appassionato of Beethoven's Op. 2. Or
+if you wish to have an example where _all_ is exception, like one of the
+south nave windows in York Minster, the opening of the "Sonata
+Appassionata," Op. 57.
+
+Now how can you forecast such things as these!
+
+Let me draw another instance from actual practice. I was once painting a
+figure of a bishop in what I meant to be a dark green robe, the kind of
+black, and yet vivid, green of the summer leafage of the oak; for it was
+St. Boniface who cut down the heathen oak of Frisia. But the orphreys of
+his cope were to be embroidered in gold upon this green, and therefore
+the pattern had first to be added out in white upon a blue-flashed
+glass, which yellow stain over all would afterwards turn into green and
+gold. And when all was prepared and the staining should have followed,
+my head man sent for me to come to the shop, and there hung the figure
+with its dark green robe with orphreys of _deep blue_ and _silver_.
+
+"I thought you'd like to look at it before we stained it," said he.
+
+"STAIN IT!" I said. "I wouldn't touch it; not for sixpence
+three-farthings!"
+
+There was a sigh of relief all round the shop, and the reply was, "Well,
+so we all thought!"
+
+Just so; therefore the figure remained, and so was erected in its place.
+Now suppose I had had men who did what they were told, instead of being
+encouraged to think and feel and suggest?
+
+A serious word to you about this question of staining. It is a resource
+very easily open to abuse--to excess. Be careful of the danger, and
+never stain without first trying the effect on the back of the
+easel-plate with pure gamboge, and if you wish for a very clear
+orange-stain, mix with the gamboge a little ordinary red ink. It is too
+much the custom to "pick out" every bit of silver "canopy" work with
+dottings and stripings of yellow. A _little_ sometimes warms up
+pleasantly what would be too cold--and the old men used it with effect:
+but the modern tendency, as is the case in all things merely imitative,
+is to overdo it. For the old men used it very differently from those who
+copy them in the way I am speaking of, and, to begin with, used it
+chiefly on _pure white glass_. Much modern canopy work is done on
+greenish-white, upon which the stain immediately becomes that
+greenish-yellow that I have called "brassy." A little of this can be
+borne, when side by side with it is placed stain upon pure white. The
+reader will easily find, if he looks for them, plenty of examples in old
+glass, where the stain upon the white glass has taken even a _rosy_
+tinge exactly like that of a yellow crocus seen through its white
+sheath. It is perhaps owing partly to patina on the old glass, which
+"scumbles" it; but I have myself sometimes succeeded in getting the same
+effect by using yellow-stain on pure white glass. A whole window, where
+the highest light is a greenish white, is to me very unpleasant, and
+when in addition yellow-stain is used, unbearable. This became a fashion
+in stained-glass when red-lead-coloured pigments, started by Barff's
+formula, came into general use. They could not be used on pure white
+glass, and therefore pure white glass was discarded and greenish-white
+used instead. I can only say that if the practice of stained-glass were
+presented to me with this condition--of abstaining from the use of pure
+white--I would try to learn some useful trade.
+
+There is another question of ideals in the treatment of colour in
+stained-glass about which a word must be said.
+
+Those who are enthusiastic about the material of stained-glass and its
+improvement are apt to condemn the degree of heaviness with which
+windows are ordinarily painted, and this to some extent is a just
+criticism. But I cannot go the length of thinking that all matt-painting
+should be avoided, and outline only used; or that stained-glass material
+can, except under very unusual conditions and in exceptional situations,
+be independent of this resource. As to the
+slab-glasses--"Early-English," "Norman," or "stamped-circles"--which are
+chiefly affected by this question, the texture and surface upon which
+their special character depends is sometimes a very useful resource in
+work seen against, or partly against, background of trees or buildings;
+while against an entirely "borrowed" light perhaps, sometimes, it can
+almost dispense with any painting. The grey shadows that come from the
+background play about in the glass and modify its tones, doing the work
+of painting, and doing it much more beautifully. But this advantage
+cannot always be had, for it vanishes against clear sky. It is all,
+therefore, a question of situation and of aspect, and I believe the
+right rule to be to do in all cases what seems best for every individual
+bit of glass--that each piece should be "cared for" on its merits and
+"nursed," so to speak, and its qualities brought out and its beauty
+heightened by any and every means, just as if it were a jewel to be cut
+(or left uncut) or foiled (or left unfoiled)--as Benvenuto Cellini would
+treat, as he tells you he _did_ treat, precious stones. There is a
+fashion now of thinking that gems should be uncut. Well, gems are hardly
+a fair comparison in discussing stained-glass; for in glass what we aim
+at is the effect of a composition and combination of a multitude of
+things, while gems are individual things, for the most part, to be
+looked at separately. But I would not lay down a rule even about gems.
+Certainly the universal, awkward, faceting of all precious stones--which
+is a relic of the mid-Victorian period--is a vulgarity that one is glad
+to be rid of; but if one _wants_ for any reason the special sparkle,
+here or there, which comes from it, why not use it? I would use it in
+_stained-glass_--have done so. If I have got my window already brilliant
+and the whites pure white, and still want, over and above all this, my
+"Star of the Nativity," let us say, to sparkle out with a light that
+cannot be its own, shall I not use a faceted "jewel" of glass, forty
+feet from the eye, where none can see what it is but only what it does,
+just because it would be a gross vulgarity to use it where it would
+pretend to be a diamond?
+
+The safe guide (as far as there can be a _guide_ where I have maintained
+that there should not be a _rule_) is, surely, to generally get the
+depth of colour that you want by the glass itself, _if you can_, and
+therefore with that aim to deal with rich, full-coloured glass and to
+promote its manufacture. But this being once done and the resource
+carried to its full limit, there is no reason why you should deny
+yourself the further resource of touching it with pigment to any extent
+that may seem fit to you as an artist, and necessary to get the effect
+of colour and texture that you are aiming at, in the thing seen as a
+whole. As to the exaggeration of making accidental streaks in the glass
+do duty for folds of drapery, and manufacturing glass (as has been done)
+to meet this purpose, I hold the thing to be a gross degradation and an
+entire misconception of the relation of materials to art. You may also
+lay this to mind, as a thing worthy of consideration, that all old glass
+was painted, and that no school of stained-glass has ever existed which
+made a principle of refusing this aid. I would never argue from this that
+such cannot exist, but it is a thing to be thought on.
+
+Throw your net, then, into every sea, and catch what you can. Learn what
+purple is, in the north ambulatory at York; what green is, in the east
+window of the same, in the ante-chapel of New College, Oxford, and in
+the "Adam and Eve" window in the north aisle at Fairford; what blue and
+red are, in the glorious east window of the nave at Gloucester, and in
+the glow and gloom of Chartres and Canterbury and King's College,
+Cambridge. And when you have got all these things in your mind, and
+gathered lavishly in the field of Nature also, face your problem with a
+heart heated through with the memory of them all, and with a will braced
+as to a great and arduous task, but one of rich reward. For remember
+this (and so let us draw to an end), that in any large window the spaces
+are so great and the problems so numerous that a _few_ colours and
+groupings of colour, however well chosen, will not suffice. Set out the
+main scheme of colours first: those that shall lead and preponderate and
+convey your meaning to the mind and your intended impression to the eye.
+But if you stop here, the effect will be hard and coarse and
+cold-hearted in its harmonies, a lot of banging notes like a band all
+brass, not out of tune perhaps, but craving for the infinite embroidery
+of the strings and wood.
+
+When, therefore, the main relations of colour have been all set out and
+decided for your window, turn your attention to _small_ differences, to
+harmonies _round_ the harmonies. Make each note into a chord, each tint
+into a group of tints, not only the strong and bold, but also the subtle
+and tender; do not miss the value of small modifications of tint that
+soften brilliance into glow. Study how Nature does it on the petals of
+the pansy or sweet-pea. You think a pansy is purple, and there an end?
+but cut out the pale yellow band, the orange central spot, the faint
+lilacs and whites in between, and where is your pansy gone?
+
+       *       *       *       *       *
+
+And here I must now leave it to you. But one last little hint, and do
+not smile at its simplicity.
+
+For the problem, after all, when you have gathered all the hints you can
+from nature or the past, and collected your resources from however
+varied fields, resolves itself at last into one question--"_How shall I
+do it in glass?_" And the practical solving of this problem is in the
+handling of the actual bits of coloured glass which are the tools of
+your craft. And for manipulating these I have found nothing so good as
+that old-fashioned toy--still my own delight when a sick-bed enforces
+idleness--the kaleidoscope. A sixpenny one, pulled to pieces, will give
+you the knowledge of how to make it; and you will find a "Bath-Oliver"
+biscuit-tin, or a large-sized millboard "postal-roll" will make an
+excellent instrument. But the former is best, because you also then have
+the lid and the end. If you cut away all the end of the lid except a rim
+of one-eighth of an inch, and insert in its place with cement a piece of
+ground-glass, and then, inside this, have another lid of clear glass
+cemented on to a rim of wood or millboard, you can, in the space between
+the two, place chips of the glasses you think of using; and, replacing
+the whole on the instrument, a few minutes of turning with the hand will
+give you, not hundreds, but thousand of changes, both of the
+arrangement, and, what is far more important, of the _proportions_ of
+the various colours. You can thus in a few moments watch them pass
+through an almost infinite succession of changes in their relation to
+each other, and form your judgment on those changes, choosing finally
+that which seems best. And I really think that the fact of these
+combinations being presented to us, as they are by the action of the
+instrument, arranged in ordered shapes, is a help to the judgment in
+deciding on the harmonies of colour. It is natural that it should be so.
+"Order is Heaven's first law." And it is right that we should rejoice in
+things ordered and arranged, as the savage in his string of beads, and
+reasonable that we should find it easier to judge them in order rather
+than confused.
+
+Each in his place. How good a thing it is! how much to be desired! how
+well if we ourselves could be so, and know of the pattern that we make!
+For our lives are like the broken bits of glass, sadly or brightly
+coloured, jostled about and shaken hither and thither, in a seeming
+confusion, which yet we hope is somewhere held up to a light in which
+each one meets with his own, and holds his place; and, to the Eye that
+watches, plays his part in a universal harmony by us, as yet, unseen.
+
+[1] West of the road between Welwyn and Hitchin.
+
+
+
+
+CHAPTER XVII
+
+OF ARCHITECTURAL FITNESS
+
+
+Come, in thought, reader, and stand in quiet village churches, nestling
+amongst trees where rooks are building; or in gaps of the chalk downs,
+where the village shelters from the wind; or in stately cathedrals,
+where the aisles echo to the footstep and the sound of the chimes comes
+down, with the memory of the centuries which have lived and died. Here
+the old artists set their handmark to live now they are gone, and we who
+see it today see, if our eye be single, with what sincerity they built,
+carved, or painted their heart and life into these stones. In such a
+spirit and for such a memorial you too must do your work, to be weighed
+by the judgment of the coming ages, when you in turn are gone, in the
+same balance as theirs--perhaps even side by side with it.
+
+And will you dare to venture? Have no fear if you also bring your best.
+But if we enter on work like this as to a mere market for our wares, and
+with no other thought than to make a brisk business with those that buy
+and sell; we well may pray that some merciful scourge of small cords
+drive us also hence to dig or beg (which is more honourable), lest worse
+befall us!
+
+And I do not say these things because this or that place is "God's
+house." All places are so, and the first that was called so was the bare
+hillside; but because you are a man and have indeed here arrived, as
+there the lonely traveller did, at the arena of your wrestling. But,
+granted that you mean to hold your own and put your strength into it, I
+have brought you to these grave walls to consult with them as to the
+limits they impose upon your working.
+
+And perhaps the most important of all is already observed by your
+_being_ here, for it is important that you should visit, whenever
+possible, the place where you are to do work; if you are not able to do
+this, get all the particulars you can as to aspect and surroundings. And
+yet a reservation must be made, even upon all this; for everything
+depends upon the way we use it, and if you only have an eye to the
+showing off of your work to advantage, treating the church as a mere
+frame for your picture, it would be better that your window should
+misfit and have to be cut down and altered, or anything else happen to
+it that would help to put it back and make it take second place. It is
+so hard to explain these things so that they cannot be misconstrued; but
+you remember I quoted the windows at St. Philip's, Birmingham, as an
+example of noble thought and work carried to the pitch of perfection and
+design. But that was in a classic building, with large, plain, single
+openings without tracery. Do you think the artist would have let himself
+go, in that full and ample way, in a beautiful Gothic building full of
+lovely architectural detail? Not so: rather would he have made his
+pictures hang lightly and daintily in the air amongst the slender
+shafts, as in St. Martin's Church in the same town, at Jesus College and
+at All Saints' Church, Cambridge, at Tamworth; and in Lyndhurst, and
+many another church where the architecture, to say truth, had but
+slender claims to such respect.
+
+       *       *       *       *       *
+
+In short, you must think of the building first, and make your windows
+help it. You must observe its scale and the spacing and proportions of
+its style, and place your own work, with whatever new feeling and new
+detail may be natural to you, well within those circumscribing bounds.
+
+But here we find ourselves suddenly brought sharp up, face to face with
+a most difficult and thorny subject, upon which we have rushed without
+knowing it. "Must we observe then" (you say) "the style of the building
+into which we put our work, and not have a style of our own that is
+native to us?"
+
+"This is contrary to all you have been preaching! The old men did not
+so. Did they not add the fancies of their own time to the old work, and
+fill with their dainty, branching tracery the severe, round-headed,
+Norman openings of Peterborough and Gloucester? Did fifteenth-century
+men do thirteenth-century glass when they had to refill a window of that
+date?" No. Nor must you. Never imitate, but graft your own work on to
+the old, reverently, and only changing from it so far forth as you, like
+itself, have also a living tradition, springing from mastery of
+craft--naturally, spontaneously, and inevitably.
+
+Whether we shall ever again have such a tradition running throughout all
+the arts is a thing that cannot possibly be foretold. But three things
+we may be quite sure of.
+
+First, that if it comes it will not be by way of any imitative revival
+of a past style;
+
+Second, that it will be in harmony with the principles of Nature; and
+
+Third, that it will be founded upon the crafts, and brought about by
+craftsmen working in it with their own hands, on the materials of
+architecture, designing only what they themselves can execute, and
+giving employment to others only in what they themselves can do.
+
+A word about each of these three conditions.
+
+In the course of the various attempted revivals in architecture that
+have taken place during the past sixty years, it has been frequently
+urged both by writers and architects that we should agree to revive some
+_one_ style of ancient art that might again become a national style of
+architecture. It would, indeed, no doubt be better, if we must speak in
+a dead language, to agree to use only one, instead of our present
+confusion of tongues: but what, after all, is the adopting of this
+principle at all but to engage once again in the replanting of a
+full-grown tree--the mistake of the Renaissance and the Gothic revival
+repeated? Such things never take firm root or establish healthy growth
+which lives and goes on of its own vitality. They never succeed in
+obtaining a natural, national sympathy and acceptance. The movement is a
+scholarly and academic one, and the art so remains. The reaction against
+it is always a return to materials, and almost always the first result
+of this is a revival of simplicity. People get tired of being surrounded
+with elaborate mouldings and traceries and other architectural features,
+which are not the natural growth of their own day but of another day
+long since dead, which had other thoughts and moods, feelings and
+aspirations. "Let us have straightforward masonry and simple openings,
+and ornament them with something from Nature."
+
+So in the very midst of the pampered and enervated over-refinement of
+Roman decay, Constantine did something more than merely turn the
+conquering eagle back, against the course of the heavens, for which
+Dante seems to blame him,[2] when he established his capital at
+Byzantium; for there at once upon the new soil, and in less than a
+single century, sprang to life again all the natural modes of building
+and decoration that, despised as barbaric, had been ignored and
+forgotten amid the Roman luxury and sham.
+
+It is a curious feature of these latest days of ours that this searching
+after sincerity should seem to be leading us towards a similar revival;
+taking even very much the same forms. We went back, at the time of the
+Gothic revival, to the forgotten Gothic art of stained-glass; now tired,
+as it would seem, of the insincerity and mere spirit of imitation with
+which it and similar arts have been practised, a number of us appear to
+be ready to throw it aside, along with scholarly mouldings and
+traceries, and build our arts afresh out of the ground, as was done by
+the Byzantines, with plain brickwork, mosaic, and matched slabs of
+marble. Definite examples in recent architecture will occur to the
+reader. But I am thinking less of these--which for the most part are
+deliberate and scholastic revivals of a particular style, founded on the
+study of previous examples and executed on rigid academic methods--than
+of what appears to be a widespread awakening to principles of
+simplicity, sincerity, and common sense in the arts of building
+generally. Signs are not wanting of a revived interest in building--a
+revived interest in materials for their own sake, and a revived practice
+of personally working in them and experimenting with them. One calls to
+mind examples of these things, growing in number daily--plain and strong
+furniture made with the designer's own hands and without machinery, and
+enjoyed in the making--made for actual places and personal needs and
+tastes; houses built in the same spirit by architects who condescend to
+be masons also; an effort here and an effort there to revive the common
+ways of building that used to prevail--and not so long ago--for the
+ordinary housing and uses of country-folk and country-life, and which
+gave us cottages, barns, and sheds throughout the length and breadth of
+the land; simple things for simple needs, built by simple men, without
+self-consciousness, for actual use and pleasant dwelling; traditional
+construction and the habits of making belonging to the country-side.
+These still linger in the time-honoured ways of making the waggon and
+the cart and the plough; but they have vanished from architecture and
+building except in so far as they are being now, as I have said,
+consciously and deliberately revived by men who are going back from
+academic methods, to found their arts once more upon the actual making
+of things with their own hand and as their hand and materials will guide
+them.
+
+This was what happened in the time to which I have referred: in the dawn
+of the Christian era and of a new civilisation; and it has special
+interest for us of today, because it was not a case of an infant or
+savage race, beginning all things from seed; but the revival, as in
+Sparta, centuries before it, of simplicity and sincerity of life, in the
+midst of enervation, luxury, and decay.
+
+This seems our hope for the future.
+
+There has already gathered together in the great field of the arts of
+today a little Byzantium of the crafts setting itself to learn from the
+beginning how things are actually made, how built, hammered, painted,
+cut, stitched; casting aside theories and academical thought, and
+founding itself upon simplicity, and sincerity, and materials. And the
+architect who condescends, or, as we should rather say, aspires, to be a
+builder and a master-mason, true director of his craft, will, if things
+go on as they seem now going, find in the near future a band around him
+of other workers so minded, and will have these bright tools of the
+accessory crafts ready to his hand. This it is, if anything, that will
+solve all the vexed questions of "style," and lead, if anything will, to
+the art of the times to be. For the reason why the nineteenth century
+complained so constantly that it had "no style of architecture" was
+surely because it had _every_ style of architecture, and a race of
+architects who could design in every style because they could build in
+no style; knew by practical handling and tooling nothing of the real
+natures and capacities of stone or brick or wood or glass; received no
+criticism from their materials; whereas these should have daily and
+hourly moulded their work and formed the very breath of its life,
+warning and forbidding on the one hand, suggesting on the other, and so
+directing over all.
+
+I have thought fit, dear student, to touch on these great questions in
+passing, that you may know where you stand; but our real business is
+with ourselves: to make ourselves so secure upon firm standing ground,
+in our own particular province, that when the hour arrives, it may find
+in us the man. Let us therefore return again from these bright hopes to
+consider those particular details of architectural fitness which are our
+proper business as workers in glass.
+
+What, then, in detail, are the rules that must guide us in placing
+windows in ancient buildings? But first--_may_ we place windows in
+ancient buildings at all? "No," say some; "because we have no right
+to touch the past; it is 'restoration,' a word that has covered, in
+the past," they say (and we must agree with them), "a mass of artistic
+crime never to be expiated, and of loss never to be repaired." "Yes,"
+say others, "because new churches will be older in half-an-hour--
+half-an-hour older; for the world has moved, and where will you draw
+the line? Also, glass has _to be renewed_, you must put in something,
+or some one must."
+
+Let each decide the question for himself; but, supposing you admit that
+it is permissible, what are the proper restrictions and conditions?
+
+You must not tell a lie, or "match" old work, joining your own on to it
+as if itself were old.
+
+Shall we work in the style of the "New art," then--"_l'art Nouveau_"?
+the style of the last new poster? the art-tree, the art-bird, the
+art-squirm, and the ace of spades form of ornament?
+
+Heaven in mercy defend us and forbid it!
+
+Canopies are venerable; thirteenth-century panels and borders are
+venerable, the great traditional vestments are so, and liturgy, and
+symbolism, and ceremony. These are not things of one age alone, but
+belong to all time. Get, wherever possible, authority on all these
+points.
+
+Must we work in a "style," then--a "Gothic" style?
+
+No.
+
+What rule, then?
+
+It is hard to formulate so as to cover all questions, but something
+thus:--
+
+Take forms, and proportions, and scale from the style of the church you
+are to work in.
+
+Add your own feeling to it from--
+
+(1) The feeling of the day, but the best and most reverent feeling.
+
+(2) From Nature.
+
+(3) From (and the whole conditioned by) materials and the knowledge of
+craft.
+
+Finally, let us say that you must consider each case on its merits, and
+be ready even sometimes perhaps to admit that the old white glass may be
+better for a certain position than your new glass could be, while old
+_stained-glass_, of course, should always be sacred to you, a thing to
+be left untouched. Even where new work seems justifiable and to be
+demanded, proceed as if treading on holy ground. Do not try crude
+experiments on venerable and beautiful buildings, but be modest and
+reticent; know the styles of the past thoroughly and add your own fresh
+feeling to them reverently. And in thought do not think it necessary to
+be novel in order to be original. There is quite enough originality in
+making a noble figure of a saint, or treating with reverent and
+dignified art some actual theme of Scripture or tradition, and working
+into its detail the sweetness of nature and the skill of your hands,
+without going into eccentricity for the sake of novelty, and into weak
+allegory to show your originality and independence, tired with the
+world-old truths and laws of holy life and noble character. And this
+leads us to the point where we must speak of these deep things in the
+great province of thought.
+
+[2] Paradise, canto vi. 1.
+
+
+
+
+CHAPTER XVIII
+
+OF THOUGHT, IMAGINATION, AND ALLEGORY
+
+
+"_The first thing one should demand of a man who calls himself an artist
+is that he has something to say, some truth to teach, some lesson to
+enforce. Don't you think so?_"
+
+Thus once said to me an artist of respectable attainment.
+
+"_I don't care a hang for subject; give me good colour, composition,
+fine effects of light, skill in technique, that's all one wants. Don't
+you think so?_"
+
+Thus once said to me a member of a window-committee, himself also an
+artist.
+
+To both I answered, and would answer with all the emphasis possible--No!
+
+The _first_ duty of an artist, as of every other kind of worker, is to
+know his business; and, unless he knows it, all the "truths" he wishes
+to "teach," and the lessons he wishes to enforce, are but degraded and
+discredited in the eyes of men by his bungling advocacy.
+
+On the other hand, the artist who has trained himself to speak with the
+tongues of angels and after all has nothing to say, is also, to me, an
+imperfect being. What follows is written, as the whole book is written,
+for the young student, just beginning his career and feeling the
+pressure and conflict of these questions. For such I must venture to
+discuss points which the wise and the experienced may pass by.
+
+The present day is deluged with allegory; and the first thing three
+students out of four wish to attempt when they arrive at the stage of
+original art is the presentation, by figures and emblems, of some deep
+abstract truth, some problem of the great battle of life, some force of
+the universe that they begin to feel around them, pressing upon their
+being. Forty years ago such a thing was hardly heard of. In the
+sketching-clubs at the Academies of that day, the historical, the
+concrete, or the respectably pious were all that one ever saw. We can
+hardly realise it, the art of the late sixties. The pre-Raphaelite
+brotherhood, as such, a thing of the past, and seemingly leaving few
+imitators. Burne-Jones just heard of as a strange, unknown artist, who
+wouldn't exhibit his pictures, but who had done some queer new kind of
+stained-glass windows at Lyndhurst, which one might perhaps be curious
+to see when we went (as of course we must) to worship "Leighton's great
+altar-piece." Nay, ten years later, at the opening of the Grosvenor
+Gallery, the new, imaginative, and allegorical art could be met with a
+large measure of derision, and _Punch_ could write, regarding it, an
+audacious and contemptuous parody of the "Palace of Art"; while, abroad,
+Botticelli's _Primavera_ hung over a door, and the attendants at the
+_Uffizii_ were puzzled by requests, granted grudgingly (_if_ granted), to
+have his other pictures placed for copying and study! Times have
+altogether changed, and we now see in every school competition--often
+set as the subject of such--abstract and allegorical themes, demanding
+for their adequate expression the highest and deepest thought and the
+noblest mood of mind and views of life.
+
+It is impossible to lay down any hard and fast rule about these things,
+for each case must differ. There is such a thing as _genius_, and where
+that is there is but small question of rules or even of youth or age,
+maturity or immaturity. And even apart from the question of genius the
+mind of childhood is a very precious thing, and "the thoughts of youth
+are long, long thoughts." Nay, the mere _fact_ of youth with its trials,
+is a great thing; we shall never again have such a chance, such fresh,
+responsive hearts, such capacity for feeling--for suffering--that school
+of wisdom and source of inspiration! It is well to record its lessons
+while they are fresh, to jot down for ourselves, if we can, something of
+the passing hours; to store up their thoughts and feelings for future
+expression perhaps, when our powers of expression have grown more worthy
+of them; but it is not well to try to make universal lessons out of, or
+universal applications of, what we haven't ourselves learned. Our own
+proper lesson at this time is to learn our trade; to strengthen our weak
+hands and train the ignorance of our mind to knowledge day by day,
+strenuously, and only _spurred on by_ the deep stirrings of thought and
+life within us, which generally ought to remain for the present
+_unspoken_.
+
+A great point of happiness in this dangerous and critical time is to
+have a definite trade; learnt in its completeness and practised day by
+day, step by step, upwards from its elements, in constant subservience
+to wise and kind mastership. This indeed is a golden lot, and one rare
+in these days; and perhaps we must not look to be so shielded. This was
+the sober and happy craftsmanship of the Middle Ages, and produced for
+us all that imagery and ornature, instinct with gaiety and simplicity of
+heart, which decorates, where the hand of the ruthless restorer has
+spared it, the churches and cathedrals of Europe.
+
+But in these changeful days it would be rash indeed to forecast where
+lies the sphere of duty for any individual life. It may lie in the
+reconstruction by solitary, personal experiment, of some forgotten art
+or system, the quiet laying of foundation for the future rather than
+building the monument of today. Or perhaps the self-devoted life of the
+seer may be the Age's chief need, and it is not a Giotto that is wanted
+for the twentieth century but a Dante or a Blake, with the accompanying
+destiny of having to prove as they did--
+
+                 "si come sa di sale
+     Lo pane altrui, e com'h duro calle
+     Lo scendere e'l salir per l'altrui scale."[3]
+
+But, however these things be, whether working happily in harmony with
+the scheme of things around us, and only concerned to give it full
+expression, or not; whether we are the fortunate apprentices of a
+well-taught trade, gaining secure and advancing knowledge day by day, or
+whether we are lonely experimentalists, wringing the secret from
+reluctant Nature and Art upon some untrodden path; there is one last
+great principle that covers all conditions, solves all questions, and is
+an abiding rock which remains, unfailing foundation on which all may
+build; and that is the constant measuring of our smallness against the
+greatness of things, a thing which, done in the right spirit, does not
+daunt, but inspires. For the greatness of all things is ours for the
+winning, almost for the asking.
+
+The great imaginative poets and thinkers and artists of the
+mid-nineteenth century have drawn aside for us the curtain of the world
+behind the veil, and he would be an ambitious man who would expect to
+set the mark higher, in type of beauty or depth of feeling, than they
+have placed it for us; but all must hope to do so, even if they do not
+expect it; for the great themes are not exhausted or ever to be
+exhausted; and the storehouse of the great thought and action of the
+past is ever open to us to clothe our nakedness and enrich our poverty;
+we need only ask to have.
+
+"Ah!" said Coningsby, "I should like to be a great man."
+
+The stranger threw at him a scrutinising glance. His countenance was
+serious. He said in a voice of almost solemn melody--
+
+"Nurture your mind with great thoughts. To believe in the heroic makes
+heroes."[4]
+
+All the great thoughts of the world are stored up in books, and all the
+great books of the world, or nearly all, have been translated into
+English. You should make it a systematic part of your life to search
+these things out and, if only by a page or two, try how far they fit
+your need. We do not enough realise how wide a field this is, how great
+an undertaking, how completely unattainable except by carefully
+husbanding our time from the start, how impossible it is in the span of
+a human life to read the great books unless we strictly save the time
+which so many spend on the little books. Ruskin's words on this subject,
+almost harsh in their blunt common sense, bring the matter home so well
+that I cannot refrain from quoting them.[5]
+
+"Do you know, if you read this, that you cannot read that--that what you
+lose today you cannot gain to-morrow? Will you go and gossip with your
+housemaid, or your stable-boy, when you may talk with queens and kings;
+or flatter yourselves that it is with any worthy consciousness of your
+own claims to respect that you jostle with the common crowd for entrie
+here, and audience there, when all the while this eternal court is open
+to you, with its society wide as the world, multitudinous as its days,
+the chosen, and the mighty, of every place and time? Into that you may
+enter always; in that you may take fellowship and rank according to your
+wish; from that, once entered into it, you can never be outcast but by
+your own fault; by your aristocracy of companionship there, your own
+inherent aristocracy will be assuredly tested, and the motives with
+which you strive to take high place in the society of the living,
+measured, as to all the truth and sincerity that are in them, by the
+place you desire to take in this company of the Dead."
+
+This is the great world of BOOKS that is open to you; and how shall you
+find your way in it, in these days, amongst the plethora of the second
+and third and fourth rate, shouting out at you and besieging your
+attention on every stall? It is no more possible to give you entire
+guidance towards this than to give complete advice on any other problem
+of life; your own nature must be your guide, choosing the good and
+refusing the evil in the degree in which itself is good or evil. But one
+may name some landmarks, set up some guide-posts, and the best of all
+guidance surely is not that of a guide-post, but that of a guide, a
+kindly hand of one who knows the way, to take your hand.
+
+Do you ask for such a guide? A man of our own day, in full view of all
+its questions from the loftiest to the least, and heart and soul engaged
+in them, with deep and sympathetic wisdom born of his own companionship
+with all the great thoughts of the ages? One surely need not hesitate a
+moment in naming as the one for our special needs the writer we have
+just quoted.
+
+Scattered up and down the whole of his works is constant reference to
+and commentary upon the great themes of all ages, the great creeds of
+all peoples.
+
+"Queen of the Air," "Aratra Pentelici," "Ariadne Florentina," "The
+Mornings in Florence," "St. Mark's Rest," "The Oxford Inaugural
+Lectures," "The Bible of Amiens," "Fors Clavigera."
+
+With these as portals you can enter by easy steps into the whole
+universe of great things: the divine myth and symbolism of the old pagan
+world (as we call it) and of more recent Christendom; all the makers of
+ancient Greece and Italy and of our own England; worship and kingship
+and leadership, and the high thought and noble deed of all times. And
+clustering in groups round these centres is the world of books. All
+Theology, Philosophy, Poetry, Sacred History; Homer, Plato, Virgil, the
+Bible, and the Breviary. The great doctors and saints, kings and heroes,
+poets and painters, Gerome and Dominic and Francis; St. Louis and
+Coeur-de-Lion; Dante, St. Jerome, Chaucer, and Froissart; Botticelli,
+Giotto, Angelico; the "Golden Legend"; and many another ancient or
+modern legend and story or passage from the history of some great and
+splendid life, or illuminating hint upon the beauties of liturgy and
+symbolism. They, and a hundred other things, are all gathered up and
+introduced to us in Ruskin's books; and we are shown them from the exact
+standpoint from which they are most likely to appeal to us, and be of
+use. There never was a great world made so easy and pleasant of entrance
+for the adventuring traveller; you have only to enter and take
+possession.
+
+Do you incline towards myth and symbolism and allegory--the expression
+of abstract thought by beautiful figures? Read the myths of Greece
+expounded to you in their exquisite spirituality in the "Queen of the
+Air." Or is your bent devotion and the devout life, expressed in
+thrilling story and gorgeous colour? Read, say, the life of St.
+Catherine or of St. George in the "Golden Legend." Or are you in love,
+and would express its spring-time beauty? Translate into your own native
+language of form and colour "The Romaunt of the Rose."
+
+For the great safeguard and guide in the perilous forest of fancy is to
+find enough interest in the actual facts of some history or the
+qualities of some heroic character, whether real or fabled, round which
+at first you may group your thought and allegory. Listen to _them_, and
+try to formulate and illustrate _their_ meaning, not to announce your
+own. Do not set puzzles, or set things that will be puzzling, without
+the highest and deepest reasons and the apostleship urgently laid upon
+you so to do--but let your allegory surround some definite subject, so
+that men in general can see it and say, "Yes, that is so and so," and go
+away satisfied rather than puzzled and affronted; leaving the inner few
+for whom you really speak, the hearts that, you hope, are waiting for
+your message, to find it out (and you need have no fear that they will
+do so), and to say, "Yes, that _means_ so and so, and it is a good
+thought."
+
+For, remember always that, even if you conceive that you have a mission
+laid upon you to declare Truth, it is most sternly conditioned by an
+obligation, as binding as itself and of as high authority, to set forth
+Beauty: the holiness of beauty equally with the beauty of holiness. No
+amount of good intent can make up for lack of skill; it is your business
+to know your business. Youth always would begin with allegory, but the
+ambition of the good intention is generally in exactly the reverse
+proportion to the ability to carry it out in expression. But the true
+allegory that appeals to all is the presentment of noble natures and of
+noble deeds. Where, for most people at any rate, is the "allegory" in
+the Theseus or the Venus of Milo? Yet is not the whole race of man the
+better for them?
+
+Work, therefore, quietly and continually at the great themes ready set
+for you in the story of the past and "understanded of the people," while
+you are patiently strengthening and maturing your powers of art in
+safety, sheltered from yourself, and sheltered from the condemnation due
+to the too presumptuous assumption of apostleship. For it is one thing
+to stand forth and say, "_I_ have a message to deliver to the world,"
+and quite another to say, "_There is_ such a message, and it has fallen
+to me to be its mouthpiece; woe is me, because I am a man of unclean
+lips." It is needless, therefore--nay, it is harmful--to be always
+breaking your heart against tasks beyond your strength. Work in some
+little province; get foothold and grow outwards from it; go on from
+weakness to strength, and then from strength to the stronger, doing the
+things you _can_ do while you practise towards the things you hope to
+do, and illustrating impersonal themes until the time comes for you to
+try your own individual battle in the great world of thought and
+feeling; till, mature in strength equal to the portrayal of great
+natures, the Angels of God as shown forth by you may be recognised as
+indeed Spirit, and His Ministers as flaming Fire.
+
+There is even yet one last word, and that is, in all the _minor_
+symbolism surrounding your subjects, to observe a due proportion. For
+you may easily be tempted to allow some beautiful little fancy, not
+essential to the subject, to find expression in a form or symbol that
+will thrust itself unduly on the attention, and will only puzzle and
+distract.
+
+Never let little things come first, and never let them be allowed at all
+to the damage, or impairing, or obscuring of the simplicity and dignity
+of the great things; remembering always that the first function of a
+window is to have stately and seemly figures in beautiful glass, and not
+to arrest or distract the attention of the spectator with puzzles. Given
+the great themes adequately expressed, the little fancies may then
+cluster round them and will be carried lightly, as the victor wears his
+wreath; while, on the other hand, if these be lacking no amount of
+symbolism or attribute will supply their place. "_Cucullus non facit
+monachum_," as the old proverb says--"It is not the hood that makes the
+monk," but the ascetic face you depict within it. Indeed, rather beware
+of trusting even to the ordinary, well-recognised symbols in common use,
+and being misled by them to think you have done something you have not
+done; and rather withhold these until the other be made sure. Get your
+figures dignified and your faces beautiful; show the majesty or the
+sanctity that you are aiming at in these alone, and your saint will be
+recognised as saintly without his halo of glory, and your angel as
+angelic without his tongue of flame.
+
+       *       *       *       *       *
+
+In my own practice, when drawing from the life, I make a great point of
+keeping back all these ornaments and symbols of attribute, until I feel
+that my figure alone expresses itself fully, as far as my powers go,
+without them. No ornament upon the robe, or the crosier, or the sword;
+above all, no circle round the head, until--the figure standing out at
+last and seeming to represent, as near as may be, the true pastor or
+warrior it claims to represent--the moment arrives when I say, "Yes, I
+have done all I can,--_now_ he may have his nimbus!"
+
+[3]
+
+                           "how tastes of salt
+     The bread of others, and how is hard the passage
+     To go down and to go up by other's stairs."
+
+                           --_Paradise,_ xvii. 58.
+
+[4] Coningsby, Book iii. ch. i.
+
+[5] "Sesame and Lilies," Lecture 1.
+
+
+
+
+CHAPTER XIX
+
+     Of General Conduct and Procedure--Amount of Legitimate
+     Assistance--The Ordinary Practice--The Great Rule--The Second Great
+     Rule--Four Things to Observe--Art _v._ Routine--The Truth of the
+     Case--The Penalty of Virtue in the Matter--The Compensating
+     Privilege--Practical Applications--An Economy of Time in the
+     Studio--Industry--Work "To Order"--Clients and Patrons--And
+     Requests Reasonable and Unreasonable--The Chief Difficulty the
+     Chief Opportunity--But ascertain all Conditions before starting
+     Work--Business Habits--Order--Accuracy--Setting out Cartoon
+     Forms--An Artist must Dream--But Wake--Three Plain Rules.
+
+
+Having now described, as well as I can, the whole of your equipment--of
+hand, and head, and heart--your mental and technical weapons for the
+practice of stained-glass, there now follow a few simple hints to guide
+you in the use of them; how best to dispose your forces, and on what to
+employ them. This must be a very broken and fragmentary chapter, full of
+little everyday matters, very different to the high themes we have just
+been trying to discuss--and relating chiefly to your conduct of the
+thing as a business, and your relationships with the interests that
+surround you; modes of procedure, business hints, practical matters. I
+am sorry, just as you were beginning (I hope) to be warmed to the
+subject, and fired with the high ambitions that it suggests, to take and
+toss you into the cold world of matter-of-fact things; but that is life,
+and we have to face it. Open the door into the cold air and let us bang
+at it straight away!
+
+Now there is one great and plain question that contains all the rest;
+you do not see it now, but you will find it facing you before you have
+gone very far. The great question, "Must I do it all myself, or may I
+train pupils and assistants?"
+
+Let us first amplify the question and get it fairly and fully stated.
+Then we shall have a better chance of being able to answer it wisely.
+
+I have described or implied elsewhere the usual practice in the matter
+amongst those who produce stained-glass on a large scale. In great
+establishments the work is divided up into branches: designers,
+cartoonists, painters, cutters, lead workers, kiln-men: none of whom, as
+a rule, know any branch of the work except their own.
+
+Obviously one of the principal contentions of this book is against the
+idea that such division, as practised, is an ideal method.
+
+On the other hand, you will gather that the writer himself uses the
+service of assistants.
+
+While in the plates at the end are examples of glass where everything
+has been done by the artists themselves (Plates I., II., III., IV.,
+VII.).
+
+I must freely confess that when I first saw in the work of these men the
+beauty resulting from the personal touch of the artist on the whole of
+the cutting and leading, a qualm of doubt arose whether the practice of
+admitting _any_ other hand to my assistance was not a compromise to some
+extent with absolute ideal; whether it were not the only right plan,
+after all, to do the whole oneself; to sit down to the bench with one's
+drawing, and pick out the glass, piece by piece, on its merits,
+carefully considering each bit as it passed through hand; cutting it and
+trimming it affectionately to preserve its beauties, and, later, leading
+it into its place with thicker or thinner lead, in the same careful
+spirit. But I do not think so. I fancy the truth to be that the _whole_
+business should be opened up to all, and afterwards each should
+gravitate to his place by natural fitness. For the cartoonist _once
+having the whole craft_ requires more constant practice in drawing to
+keep himself a good cartoonist than he would get if he also did all the
+other work of each window; quantity being in this matter even essential
+to quality. I think we must look for more monumental figures, achieved
+by the delegation of minor craft matters, in short, by co-operation.
+Nevertheless, I have never felt less certainty in pronouncing on any
+question of my craft than in this particular matter; whether, to get the
+best attainable results, one should do the whole of the work oneself. On
+the other hand, I never felt _more_ certainty in pronouncing on any
+question of the craft, than now in laying down as an absolute rule and
+condition of doing good work at all: that one should be _able_ to do the
+whole of the work oneself. _That_ is the key to the whole situation, but
+it is not the whole key; for following close upon it comes the rule that
+springs naturally out of it; that, being a master oneself, one must make
+it one's object to train all assistants towards mastership also: to give
+them the whole ladder to climb. This at least has been the case with the
+work of my own which is shown in the other collotypes. There has been
+assistance, but every one of those assisting has had the opportunity to
+learn to make, and according to the degree of his talent is actually
+able to make, the whole of a stained-glass window himself. There is not
+a touch of painting on any of the panels shown which is not by a hand
+that can also cut and lead and design and draw, and perform all the
+other offices pertaining to stained-glass noted in the foregoing pages.
+
+Speaking generally, I care not whether a man calls himself Brown, or
+Brown and Co., or, co-operating with others, works under the style of
+Brown, Jones and Robinson, so long as he observe four things.
+
+(1) Not to direct what he cannot practise;
+
+(2) To make masters of apprentices, or aim at making them;
+
+(3) To keep his hand of mastery over the whole work personally at all
+stages; and
+
+(4) To be prepared sometimes to make sacrifices of profit for the sake
+of the Art, should the interests of the two clash.
+
+Such an one we must call an artist, a master, and a worthy craftsman. It
+is almost impossible to describe the deadening influence which a routine
+embodying the reverse of these four things has upon the mind of those
+who should be artists. Under this influence not only is the subdivision
+of labour which places each successive operation in separate hands
+accepted as a matter of course, but into each operation itself this
+separation imports a spirit of lassitude and dulness and compliance with
+false conditions and limited aims which would seem almost incredible in
+those practising what should be an inspiring art. To men so trained, so
+employed, all counsels of perfection are foolishness; all idea of
+tentative work, experiment, modification while in progress, is looked
+upon as mere delusion. To them work consists of a series of never-varied
+formulas, all fitting into each other and combined to aim at producing a
+definite result, the like of which they have produced a thousand times
+before and will produce a thousand times again.
+
+"With us," once said, to a friend of the writer, a man so trained, "it's
+a matter of judgment and experience. It's all nonsense this talk about
+seeing work at a distance and against the sky, and so forth, while as to
+the ever taking it down again for retouching after once erecting it,
+that could only be done by an amateur. We paint a good deal of the work
+on the bench, and never see it as a whole until it's leaded up; but then
+we know what we want and get it."
+
+"We know what we want!" To what a pass have we come that such a thing
+could be spoken by any one engaged in the arts! Were it wholly and
+universally true, nothing more would be needed in condemnation of wide
+fields of modern practice in the architectural and applied arts, for,
+most assuredly it is a sentence that could never be spoken of any one
+worthy of the name of artist that ever lived. Whence would you like
+instances quoted? Literature? Painting? Sculpture? Music? Their name is
+legion in the history of all these arts, and in the lives of the great
+men who wrought in them.
+
+For a taste--
+
+Did Michael Angelo "know what he wanted" when, half-way through his
+figure, he found the block not large enough, and had to make the limb
+too short?
+
+Did Beethoven know, when he evolved a movement in one of his concerted
+pieces out of a quarrel with his landlady? and another, "from singing or
+rather roaring up and down the scale," until at last he said, "I think I
+have found a motive"--as one of his biographers relates? Tennyson, when
+he corrected and re-corrected his poems from youth to his death? Duerer,
+the precise, the perfect, able to say, "It cannot be better done," yet
+re-engraving a portion of his best-known plate, and frankly leaving the
+rejected portion half erased?[6] Titian, whose custom it was to lay
+aside his pictures for long periods and then criticise them, imagining
+that he was looking at them "with the eyes of his worst enemy"?
+
+There is not, I suppose, in the English language a more "perfect" poem
+than "Lycidas." It purports to have been written in a single day, and
+its wholeness and unity and crystalline completeness give good colour to
+the thought that it probably was so.
+
+     "Thus sang the uncouth swain to the oaks and rills,
+       While the still morn went out with sandals gray;
+     He touched the tender stops of various quills,
+       With eager thought warbling his Doric lay:
+     And now the sun had stretched out all the hills,
+       And now was dropt into the western bay:
+     At last he rose, and twitched his mantle blue;
+     To-morrow, to fresh woods and pastures new."
+
+Yet, regarding it, the delightful Charles Lamb writes:[7]--
+
+"I had thought of the _Lycidas_ as of a full-grown beauty,--as springing
+with all its parts absolute,--till, in evil hour, I was shown the
+original copy of it, together with the other minor poems of its author,
+in the library of Trinity, kept like something to be proud of. I wish
+they had thrown them in the Cam, or sent them, after the later cantos of
+Spenser, into the Irish Channel. How it staggered me to see the fine
+things in their ore!--interlined, corrected, as if their words were
+mortal, alterable, displaceable at pleasure; as if they might have been
+otherwise, and just as good; as if inspiration were made up of parts,
+and those fluctuating, successive, indifferent! I will never go into the
+workshop of any great artist again, nor desire a sight of his picture,
+till it is fairly off the easel; no, not if Raphael were to be alive
+again, and painting another Galatea."
+
+But the real truth of the case is that whatever "inspiration" may be,
+and whether or not "made up of parts," it, or man's spirit and will in
+all works of art, has to _deal with_ things so made up; and not only so,
+but also as described by the other words here chosen: _fluctuating_,
+_successive_, and _indifferent_. You have to deal with the whole sum of
+things all at once; the possible material crowds around the artist's
+will, shifting, changing, presenting at all stages and in all details of
+a work of art, infinite and continual choice. "Nothing," we are told,
+"is single," but all things have relations with each other. How much
+more, then, is it true that every bit of glass in a window is the centre
+of such relations with its brother and sister pieces, and that nothing
+is final until all is finished? A work of art is like a battle; conflict
+after conflict, manoeuvre after manoeuvre, combination after
+combination. The general does not pin himself down from the outset to
+one plan of tactics, but watches the field and moulds its issues to his
+will, according to the yielding or the resistance of the opposing
+forces, keeping all things solvent until the combinations of the strife
+have woven together into a soluble problem, upon which he can launch the
+final charge that shall bring him back with victory.
+
+So also is all art, and you must hold all things in suspense. Aye! the
+last touch more or less of light or shade or colour upon the smallest
+piece, keeping all open and solvent to the last, until the whole thing
+rushes together and fuses into a harmony. It is not to be done by
+"judgment and experience," for all things are new, and there are no two
+tasks the same; and it is impossible for you from the outset to "know
+what you want," or to know it at any stage until you can say that the
+whole work is finished.
+
+"But if we work on these methods we shall only get such a small quantity
+of work done, and it will be so costly done on a system like that you
+speak of! Make my assistants masters, and so rivals! put a window in,
+and take it out again, forsooth!" What remedy or answer for this?
+
+Well--setting aside the question of the more or less genius--there are
+only two solutions that I can see:--an increase in industry or a
+possible decrease in profit, though much may be accomplished in
+mitigation of these hard conditions, if they prove _too_ hard, by a good
+and economical system of work, and by time-saving appliances and
+methods.
+
+But, after all, you were not looking out for an easy task, were you, in
+this world of stress and strain to have the privileges of an artist's
+life without its penalties? Why, look you, you must remember that
+besides the business of "saving your soul," which you may share in
+common with every one else, _you_ have the special privilege of
+_enjoying for its own sake your personal work in the world_.
+
+And you must expect to pay for that privilege at some corresponding
+personal cost; all the more so in these days when your lot is so
+exceptional a fortune, and when to enjoy daily work falls to so few.
+Nevertheless, when I say "enjoy" I do not mean that art is easy or
+pleasant in the way that ease is pleasant; there is nothing harder; and
+the better the artist, probably the harder it is. But you enjoy it
+because of its privileges; because beauty is delightful; because you
+know that good art does high and unquestioned service to man, and is
+even one of the ways for the advancing of the kingdom of God.
+
+That should be pleasure enough for any one, and compensation for any
+pains. You must learn the secret of human suffering--and you can only
+learn it by tasting it--because it is yours to point its meaning to
+others and to give the message of hope.
+
+In this spirit, then, and within these limitations, must you guide your
+own work and claim the co-operation of others, and arrange your
+relationships with them, and the limits of their assistance and your
+whole personal conduct and course of procedure:--
+
+To be yourself a master.
+
+To train others up to mastery.
+
+To keep your hand over the whole.
+
+To work in a spirit of sacrifice.
+
+These things once firmly established, questions of procedure become
+simple. But a few detached hints may be given. I shall string them
+together just as they come.
+
+_An Economy of Time in the Studio._--Have a portion of your studio or
+work-room wall lined with thin boarding--"picture-backing" of 1/8 inch
+thick is enough, and this is to _pin things on to_. The cartoon is what
+you are busy upon, but you must "think in glass" all the time you are
+drawing it. Have therefore, pinned up, a number of slips of paper--a
+foolscap half-sheet divided _vertically_ into two long strips I find
+best.
+
+On these write down every direction to the cutter, or the painter, or
+the designer of minor ornament, _the moment it comes into your mind_, as
+you work at the charcoal drawing. If you once let the moment pass you
+will never remember these things again, but you will have them
+constantly forced back upon your memory, by the mistranslations of your
+intention which will face you when you first see your work in the glass.
+This practice is a huge saving of time--and of disappointment. But you
+also want this convenient wall space for a dozen other needs; for
+tracings and shiftings of parts, and all sorts of essays and suggestions
+for alteration.
+
+_That we should work always._--I hope it is not necessary to urge the
+importance of _work_. It is not of much use to work only when we _feel
+inclined_; many people very seldom do feel naturally inclined. Perhaps
+there are few things so sweet as the triumph of working _through_
+disinclination till it is leavened through with the will and becomes
+enjoyment by becoming conquest. To work through the dead three o'clock
+period on a July afternoon with an ache in the small of one's back and
+one's limbs all a-jerk with nervousness, drooping eyelids, and a general
+inclination to scream. At such a time, I fear, one sometimes falls back
+on rather low and sordid motives to act as a spur to the lethargic will.
+I think of the shortness of the time, the greatness of the task, but
+also of all those hosts of others who, if I lag, must pass me in the
+race. Not of actual rivals--or good nature and sense of comradeship
+would always break the vision--but of possible and unknown ones whom it
+is my habit to club all together and typify under the style and title of
+"that fellow Jones." And at such a time it is my habit to say or think,
+"Aha! I bet Jones is on his back under a plane tree!"--or thoughts to
+that effect--and grasp the charcoal firmer.
+
+It is habits and dodges and ways of thinking such as these that will
+gradually cultivate in you the ability to "stand and deliver," as they
+say in the decorative arts. For, speaking now to the amateur (if any
+such, picture-painter or student, are hesitating on the brink of an art
+new to them), you must know that these arts are not like
+picture-painting, where you can choose your own times and seasons: they
+are always done to definite order and expected in a definite time; and
+that brings me to speak of the very important subject of "Clients."
+
+_Of Clients and Patrons._--It must, of course, be left to each one to
+establish his own relations with those who ask work of him; but a few
+hints may be given.
+
+You will get many requests that will seem to you unreasonable and
+impossible of carrying out--some no doubt will really be so; but at
+least _consider them_. Remember what we said a little way back--not to
+be set on your own allegory, but to accept your subject from outside and
+add your poetic thought to it. And also what in another place we said
+about keeping all "solvent"--so do with actual suggestion of subject and
+with the wishes of your client: treat the whole thing as "raw material,"
+and all surrounding questions as factors in one general problem. Here
+also Ruskin has a pregnant word of advice--as indeed where has he
+not?--"A great painter's business is to do what the public ask of him,
+in the way that shall be helpful and instructive to them."[8] You cannot
+always do what people ask, but you can do it more often than a
+headstrong man would at first think.
+
+I was once doing a series of small square panels, set at intervals in
+the height of some large, tall windows, and containing Scripture
+subjects, the intermediate spaces being filled with "grisaille" work.
+The subjects, of course, had to be approximately on one scale, and
+several of them became very tough problems on account of this
+restriction. However, all managed to slip through somehow till we came
+to "Jacob's Ladder," and there I stood firm, or perhaps I ought rather
+to say _stuck fast_. "How is it possible," I said to my client, "that
+you can have a picture of the 'Fall' in one panel with Eve's figure
+taking up almost the whole height of it, and have a similar panel with
+'Angels Ascending and Descending' up and down a ladder? There are only
+two ways of doing it--to put the ladder far off in a landscape, which
+would reduce it to insignificance, and besides be unsuitable in glass;
+or to make the angels the size of dolls. Don't you see that it's
+impossible?" No, he didn't see that it was impossible. What he wanted
+was "Jacob's Ladder"; the possibility or otherwise was nothing to him.
+He said (what you'll often hear said, reader, if you do stained-glass),
+"I don't, of course, know anything about art, and I can't say how this
+could be done; that is the artist's province."
+
+It was in my younger days, and I'm afraid I must have replied to the
+effect that it was not a question of art but of common reason, and that
+the artist's province did not extend to making bricks without straw or
+making two and two into five; and the work fell through. But had I the
+same thing to deal with now I should waste no words on it, but run the
+"ladder" right up out of the panel into the grisaille above; an
+opportunity for one of those delightful naive _exceptions_ of which old
+art is so full--like, for instance, the west door of St. Maclou at
+Rouen, where the crowd of falling angels burst out of the tympanum, bang
+through the lintel, defying architecture as they defied the first great
+Architect, and continue their fall amongst the columns below. "Angels
+Descending," by-the-bye, with a vengeance! And if the bad ones, why not
+the good? I might just as well have done it, and probably it would have
+been the very thing out of the whole commission which would have
+prevented the series from being the tame things that such sometimes are.
+Anyway, remember this--for I have invariably found it true--that _the
+chief difficulty of a work of art is always its chief opportunity_. A
+thing can be looked at in a thousand and one ways, and something
+dauntingly impossible will often be the very thing that will shake your
+jogtrot cart out of its rut, make you whip up your horses, and get you
+right home.
+
+BUT
+
+Observe this--that all these wishes of the client should be most
+strictly ascertained _beforehand_; all possibility of midway criticism
+and alteration prevented. Thresh the thing well out in the preliminary
+stages and start clear; as long as it _is_ raw material, all in
+solution, all hanging in the balance--you can do anything. It is like
+"clay in the hands of the potter," and you can make the vessel as you
+please: "Out of the same lump making one vessel to honour and another to
+dishonour." But when the work is _half-done_, when colour is calling out
+to colour, and shape to shape, and thought to thought, throughout the
+length and breadth of the work; when the ideas and the clothing of them
+are all fusing together into one harmony; when, in short, the thing is
+becoming that indestructible, unalterable unity which we call a Work of
+Art:--then, indeed, to be required to change or to reconsider is a real
+agony of impossibility; tearing the glowing web of thought, and form,
+and fancy into a destruction never to be reconstructed, and which no
+piecing or patching will mend.
+
+There are many minor points, but they are really so entirely matters of
+experience, that it hardly seems worth while to dwell upon them. Start
+with recognising the fact that you must try to add business habits and
+sensible and economical ways to your genius as an artist; in short,
+another whole side to your character; and keep that ever in view, and
+the details will fall into their places.
+
+_Have Everything in Order._--Every letter relating to a current job
+should be findable at a moment's notice in an office "letter basket,"
+rather wider than a sheet of foolscap paper, and with sides high enough
+to allow of the papers standing upright in unfolded sheets, each group
+of them behind a card taller than the tallest kind of ordinary document,
+and bearing along the top edge in large red letters--Roman capitals for
+choice--the name of the work: and it need hardly be said that these
+should be arranged in alphabetical order. For minor matters too small
+for such classification it is well to have, in the _front_ place in the
+basket, cards dividing the alphabet itself into about four parts, so
+that unarranged small matters can be still kept roughly alphabetical.
+When the work is done, transfer all documents to separate labelled
+portfolios--a folded sheet of the thickest brown paper, such as they put
+under carpets, is very good--and store them away for reference. Larger
+portfolios for all _templates_, tracings, or architects' details or
+drawings relating to the work. If you have not a good system with regard
+to the ordering of these things, believe me the mere _administration_ of
+a very moderate amount of work will take you _all your day_.
+
+So also with _measurement_.
+
+
+ON ACCURACY IN MEASUREMENT.
+
+In one of Turgenieff's novels a Russian country proverb is
+quoted--"Measure thrice, cut once." It is a golden rule, and should be
+inscribed in the heart of every worker, and I will add one that springs
+out of it--"Never trust a measurement unless it has been made by
+yourself, or for yourself--to your order."
+
+The measurements on architects' designs, or even working drawings, can
+never be trusted for the dimensions of the built work. Even the
+builders' templates, by which the work was built, cannot be, for the
+masons knock these quite enough out, in actual building, to make your
+work done by these guides a misfit. Have your own measurements taken
+again. Above all, beware of trusting to the supposed verticals or
+horizontals in built work, especially in tracery. A thing may be
+theoretically and intentionally at a certain angle, but actually at
+quite a different one. If level is important, take it yourself with
+spirit-level and plumb-line.
+
+With regard to accuracy of work _in the shop_, where it depends on
+yourself and the system you observe, I cannot do better than write out
+for you here the written notice by which the matter is regulated in my
+own practice with regard to cartoons.
+
+_"Rules to be Observed in Setting out Forms for Cartoons._
+
+"In every case of setting out any form, or batch of forms, for new
+windows the truth of the first long line ruled must be _tested_ by
+stretching a thread.
+
+If the lath is proved to be out, it must at once be sent to a joiner to
+be accurately 'shot,' and the accuracy of _both_ its edges must then be
+tested with a thread.
+
+The first right angle made (for the corner of the form) must also be
+tested by raising a perpendicular, with a radius of the compasses not
+less than 6 inches and with a needle-pointed pencil, and by the
+subjoined formula and no other.
+
+From a given point in a given straight line to raise a perpendicular.
+Let A B be the given straight line (this must be the _long_ side of the
+form, and the point B must be one corner of the base-line): it is
+required to raise from the point B a line perpendicular to the line A B.
+
+[Illustration: FIG. 71.]
+
+(1) Prolong the line A B at least 6 inches beyond B (if there is not
+room on the paper, it must be pinned on to a smooth board, and a piece
+of paper pinned on, so as to meet the edge of it, and continue it to the
+required distance).
+
+(2) With the centre B (the compass leg being in all cases placed with
+absolute accuracy, using a lens if necessary to place it) describe the
+circle C D E.
+
+(3) With the centres C and E, and with a radius of not less than 9
+inches, describe arcs intersecting at F and G.
+
+(4) Join F G.
+
+Then, if the work has been correctly done, the line F G will _pass
+through the point_ B, and be perpendicular to the line A B. If it does
+not do so, the work is incorrect, and must be repeated.
+
+When the base and the springing-line are drawn on the form, the form
+must be accurately measured from the bottom upwards, and _every foot
+marked on both sides_. Such markings to be in fine pencil-line, and
+to be drawn from the sides of the form to the extreme margin of the
+paper, and you are not to trust your eye by laying the lath flat down
+and ticking off opposite the inch-marks, but you are to stand the lath
+on its edge, so that the inch-marks actually meet the paper, and then
+tick opposite to them.
+
+Also if there are any bars in the window to be observed, the places of
+these must be marked, and it must be made quite clear whether the mark
+is the middle of the bar or its edge; and all this marking must be done
+lightly, but very carefully, with a needle-pointed pencil.
+
+In every case where the forms are set out from templates, the accuracy
+of the templates must be verified, and in the event of the base not
+being at right angles with the side, a true horizontal must be made from
+the corner which is higher than the other (the one therefore which has
+the obtuse angle) and marked within the untrue line; and all
+measurements, whether of feet, bars, or squaring-out lines, or levels
+for canopies, bases, or any other divisions of the light, must be made
+upwards FROM THIS TRUE LEVEL LINE."
+
+These rules, I suppose, have saved me on an average an hour a day since
+they were drawn up; and, mark you, an hour of _waste_ and an hour of
+_worry_ a day--which is as good as saving a day's work at the least.
+
+An artist must dream; you will not charge me with undervaluing that; but
+a decorator must also wake, and have his wits about him! Start,
+therefore, in all the outward ordering of your career with the three
+plain rules:--
+
+(1) To have everything orderly;
+
+(2) To have everything accurate;
+
+(3) To bring everything and every question to a point, _at the time_,
+and clinch it.
+
+[6] "Ariadne Florentina," p. 31.
+
+[7] "A Saturday's Dinner."
+
+[8] "Aratra Pentelici," p. 253.
+
+
+
+
+CHAPTER XX
+
+A STRING OF BEADS
+
+
+Is there anything more to say?
+
+A whole world-full, of course; for every single thing is a part of all
+things. But I have said most of my say; and I could now wish that you
+were here that you might ask me aught else you want.
+
+A few threads remain that might be gathered up--parting words, hints
+that cannot be classified. I must string them together like a row of
+beads; big and little mixed; we will try to get the big ones more or
+less in the middle if we can.
+
+Grow everything from seed.
+
+All seeds that are living (and therefore worth growing) have the power
+in them to grow.
+
+But so many people miss the fact that, on the other hand, _nothing else_
+will grow; and that it is useless in art to transplant full-grown trees.
+
+This is the key to great and little miseries, great and little mistakes.
+
+Were you sorry to be on the lowest step of the ladder? Be glad; for all
+your hopes of climbing are in that.
+
+And this applies in all things, from conditions of success and methods
+of "getting work" up to the highest questions of art and the "steps to
+Parnassus," by which are reached the very loftiest of ideals.
+
+I must not linger over the former of these two things or do more than
+sum it up in the advice, to take anything you can get, and to be glad,
+not sorry, if it is small and comes to you but slowly. Simple things,
+and little things, and many things, are more needed in the arts today
+than complex things and great and isolated achievements. If you have
+nothing to do for others, do some little thing for yourself: it is a
+seed, presently it will send out a shoot of your first "commission," and
+that will probably lead to two others, or to a larger one; but pray to
+be led by small steps; and make sure of firm footing as you go, for
+there is such a thing as trying to take a _leap_ on the ladder, and
+leaping off it.
+
+So much for the seed of success.
+
+The seed of craftsmanship I have tried to describe in this book.
+
+The seed of ornament and design, it is impossible to treat of here; it
+would require as large a book as this to itself: but I will hazard the
+devotion of a page each to the A and the B of my own A B C of the
+subject as I try to teach it to my pupils, and put them before you
+without comment, hoping they may be of some slight use. (See figs. 72
+and 73.)
+
+But though I said that nothing will grow but seed, it does not, of
+course, follow that every seed will grow, or, if it does, that you
+yourself will reap the exact harvest you expect, or even recognise it in
+its fruitage as the growth of what you have sown. Expect to give much
+for little, to lose sight of the bread cast on the waters, not even sure
+that you will know it again even if you find it after many days. You
+never know, and therefore do not count your scalps too carefully or try
+to number your Israel and Judah. Neither, on the other hand, allow your
+seed to be forced by the hothouse of advertising or business pushing, or
+anything which will distract or distort that quiet gaze upon the work by
+which you love it for its own sake, and judge it on its merits; all such
+sidelights are misleading, since you do not know whether it is intended
+that this or that shall prosper or both be alike good.
+
+How many a man one sees, earnest and sincere at starting, led aside off
+the track by the false lights of publicity and a first success. Art is
+peace. Do things because you love them. If purple is your favourite
+colour, put purple in your window; if green, green; if yellow, yellow.
+Flowers and leaves and buds because you love them. Glass because you
+love it. It is not that you are to despise either fame or wealth.
+Honestly acquired both are good. But you must bear in mind that the
+pursuit of these separately by any other means than perfecting your work
+is a thing requiring great outlay of TIME, and you cannot afford to
+withdraw any time from your work in order to acquire them.
+
+[Illustration: FIG. 72. Design consists of arrangement. Let us practise
+arrangement separately, and on its simplest terms. Take the simplest
+possible arranged form, and make all ornament spring from this, without,
+for a considerable time changing its character, or making any additions
+of a different character to it. If we are not then to do this what
+resource have we? we may change its direction. Proceed then to do so,
+observing a few very simple rules. 1. Do the work in single "stitches"
+2. & to each arm of the cross in turn. 3 keep a record of each step;
+that is, as soon as you have got any definite developement from your
+original form, put that down on paper and leave it, drawing it over
+again and developing from the second drawing. The fourth rule is the
+most important of all: 4. Keep "on the spot" as much as possible, i.e.
+take a number of single steps from the point you have arrived at, not a
+number of consecutive steps leading farther from it. For example: "b"
+here is a single step from "a", you do one thing. I do not want you to
+go on developing from it [fig. "b"] as "c", "d" & "e" until you have
+gone back to fig. "a" and made all the immediately possible steps to be
+taken from it, one of wh. is shown, fig "f."
+
+[Illustration: a]
+
+[Illustration: b]
+
+[Illustration: c]
+
+[Illustration: c]
+
+[Illustration: d]
+
+[Illustration: e]
+
+[Illustration: f]]
+
+[Illustration: FIG. 73. Seed of design as applied to Craft & Material.
+Suppose you have three simple openings. (fig. 'a'.) garret windows, or
+passage windows, we will suppose, each with a central horizontal bar:
+and suppose you have a number of pieces of glass to use up already cut
+to one gauge, and that six of these fill a window, can you get any
+little variety by arrangement on the following terms. 1. Treating both
+upper and lower ranges alike 2. Allowing yourself to halve them,
+vertically only. 3. Not wasting any glass. 4. Not halving more than two
+in each light. How is this, fig. b? you despise it? so absurdly simple?
+It is the key to all simple ornament in leaded glass. Exhaust all the
+possible varieties, there are at least nine. Do them. That's all.
+
+[Illustration: A]
+
+[Illustration: B]
+
+[Illustration]
+
+[Illustration] ]
+
+In these days and in our huge cities there are so many avenues open to
+celebrity, through Society, the Press, Exhibition, and so forth, that a
+man once led to spend time on them is in danger of finding half his
+working life run away with by them before he is aware, while even if
+they are successful the success won by them is a poor thing compared to
+that which might have been earned by the work which was sacrificed for
+them. It becomes almost a profession in itself to keep oneself
+notorious.
+
+To spend large slices out of one's time in the mere putting forward of
+one's work, _showing_ it apart from _doing_ it, necessary as this
+sometimes is, is a thing to be done grudgingly; still more so should one
+grudge to be called from one's work here, there, and everywhere by the
+social claims which crowd round the position of a public man.
+
+       *       *       *       *       *
+
+There are strenuous things enough for you in the work itself without
+wasting your strength on these. We will speak of them presently; but a
+word first upon originality.
+
+Don't _strive_ to be original; no one ever got Heaven's gift of
+invention by saying, "I must have it, and since I don't feel it I must
+assume it and pretend it;" follow rather your master patiently and
+lovingly for a long time; give and take, echo his habits as Botticelli
+echoed Filippo Lippi's, but improve upon them; add something to them if
+you can, as he also did, and pass then on, as he also did, to the
+_little_ Filippo--Filippino--making him a truer and sweeter heart than
+his father, out of the well of truth and sweetness with which
+Botticelli's own heart was brimming. Do this, but at the same time
+expect with happy patience, as a boy longs for his manhood, yet does not
+try to hasten it and does not pretend to forestall it, the time when
+some fresh idea in imagination, some fresh method in design, some fresh
+process in craftsmanship, will come to you as a reward of patient
+working--and come by accident, as all such things do, lest you should
+think it your own and miss the joy of knowing that it is not yours but
+Heaven's.
+
+And when this comes, guard it and mature it carefully. Do not throw it
+out too lavishly broadcast with the ostentation of a generous genius
+having gifts to spare. Share it with proved and worthy friends, when
+they notice it and ask you about it, but in the meanwhile develop and
+cultivate it as a gardener does a tree. And this leads me to the most
+important point of all--namely, the value, the all-sufficing value, of
+_one_ new step on the road of Beauty. If such is really granted you,
+consider it as enough for your lifetime. One such thing in the history
+of the arts has generally been enough for a century; how much more,
+then, for a generation.
+
+For indeed there is only one rule for fine work in art, that you should
+put your whole strength, all the powers of mind and body into every
+touch. Nothing less will do than that. You must face it in drawing from
+the life. Try it in its acutest form, not from the posed, professional
+model, who will sit like a stone; try it with children, two years old or
+so; the despair of it, the exhaustion: and then, in a flash, when you
+thought you had really done somewhat, a still more captivating,
+fascinating gesture, which makes all you have done look like lead. Can
+you screw your exhaustion up _again,_ sacrifice all you have done, and
+face the labour of wrestling with the new idea? And if you do? You are
+sick with doubt between the new and the old. You ask your friends; you
+probably choose wrong; your judgment is clouded by the fatigue of your
+previous toil.
+
+But you have gained strength. That is the real point of the thing. It is
+not what you have done in this instance, but what you have become in
+doing it. Next time, fresh and strong, you will dash the beautiful
+sudden thought upon the paper and leave it, happy to make others happy,
+but only through the pains you took before, which are a small price to
+pay for the joy of the strength you have gained.
+
+This is the rule of great work. Puzzle and hesitation and compromise can
+only occur because you have left some factor of the problem out of
+count, and this should never be. Your business is to take all into
+account and to sacrifice everything, however fascinating and tempting it
+may be in itself, if it does not fit in as part of an harmonious
+_whole_. Remember in this case, when loth to make such sacrifice, the
+old saying that "there's as good fish in the sea as ever came out."
+Brace yourself to try for something still better. Recast your
+composition. If it is defective, the defect all comes from some want of
+strenuousness as you went along. It is like getting a bit of your figure
+out of drawing because your eye only measured some portion of it with
+one or two portions of the rest and not with the whole figure and
+attitude. Every student knows the feeling. So in your composition: you
+may get impossible levels, impossible relations between the subject and
+the surrounding canopy: perhaps one coming in front of the other at one
+point and the reverse at another point. You drew the thing dreamily: you
+were not alert enough. And now you must waste what you had got to love,
+because though it's so pretty it is not fitting.
+
+But sometimes it will happen that some line of your composition is thus
+hacked off by no fault of yours, by some mismeasurement of a bar by your
+builder, or some change of mind or whim of your client, who "likes it
+all but"---- (some vital feature). As we have said, this is not quite a
+fair demand to be made upon the artist, but it will sometimes occur,
+whatever we do. Pull yourself together, and, before you stand out about
+it and refuse to change, consider. Try the modification, and try it in
+such an aroused and angry spirit as shall flame out against the
+difficulty with force and heat. Let the whole thing be as fuel of fire,
+and the reward will be given. The chief difficulty may become--it is
+more than an even chance that it does become--the chief glory, and that
+the composition will be like the new-born Phoenix, sprung from the
+ashes of the old and thrice as fair.
+
+Then also strike while the iron is hot, and work while you're warm to
+it. When you have done the main figure-study and slain its difficulty
+you feel braced up, your mind clear, and you see your way to link it in
+with the surroundings. Will you let it all get cold because it is toward
+evening and you are physically tired, when another hour would set the
+whole problem right for next day's work; now, while you are warm, while
+the beauty of the model you have drawn from is still glowing in you with
+a thousand suggestions and possibilities? You will do in another hour
+now what would take you days to do when the fire has died down--if you
+ever do it at all.
+
+It is after a day's work such as this that one feels the true delight of
+the balm of Nature. For conquered difficulty brings new insight through
+the feeling of new power; and new beauties are seen because they are
+felt to be attainable, and by virtue of the assurance that one has got
+distinctly a step nearer to the veil that hides the inner heart of
+things which is our destined home.
+
+It is after work like this, feeling the stirrings of some real strength
+within you, promising power to deal with nature's secrets by-and-by,
+that you see as never before the beauty of things.
+
+The keen eyes that have been so busy turn gratefully to the silver of
+the sky with the grey, quiet trees against it and the watery gleam of
+sunset like pale gold, low down behind the boughs, where the robin, half
+seen, is flitting from place to place, choosing his rest and twittering
+his good-night; and you think with good hope of your life that is
+coming, and of all your aspirations and your dreams. And in the
+stillness and the coolness and the peace you can dwell with confidence
+upon the thought of all the Unknown that is moving onward towards you,
+as the glow which is fading renews itself day by day in the East,
+bringing the daily task with it.
+
+You feel that you are able to meet it, and that all is well; that there
+are quiet and good things in store, and that this constant renewal of
+the glories of day and night, this constant procession of morning and
+evening as the world rolls round, has become almost a special possession
+to you, to which only those who pay the price have entrance, an
+inheritance of your own as a reward of your endeavour and acquired
+power, and leading to some purposed end that will be peace.
+
+       *       *       *       *       *
+
+Stained-glass, stained-glass, stained-glass! At night in the lofty
+church windows the bits glow and gloom and talk to one another in their
+places; and the pictured angels and saints look down, peopling the empty
+aisles and companioning the lamp of the sanctuary.
+
+       *       *       *       *       *
+
+The beads worth threading seem about all threaded now, and the book
+appears to be done. Thus we have gone on then, making it as it came to
+hand, blundering, as it seems to me, on the borders of half a dozen
+literary or illiterate styles, the pen not being the tool of our proper
+craft; but on the whole saying somehow what we meant to say: laughing
+when we felt amused, and being serious when the subject seemed so, our
+object being indeed to make workers in stained-glass and not a book
+about it. Is it worth while to try and put a little clasp to our string
+of beads and tie all together?
+
+There was a little boy (was he six or seven or eight?), and his seat on
+Sunday was opposite the door in the fourteenth-century chancel of the
+little Norman country church. There the great, tall windows hung in the
+air around him, and he used to stare up at them with goggle-eyes in the
+way that used to earn him household names, wondering which he liked
+best. And for months one would be the favourite, and for months another
+would supplant it; his fancy would change, and now he liked this--now
+that. Only the stone tracery-bars, for there was no stained-glass to
+spoil them. The broad, plain flagstones of the floor spread round him in
+cool, white spaces, in loved unevenness, honoured by the foot-tracks
+which had worn the stone into little valleys from the door and through
+the narrow, Norman chancel-arch up towards the altar rails, telling of
+generations of feet, long since at rest, that had carried simple lives
+to seek the place as the place of their help or peace.
+
+Plain rush-plaited hassocks and little brass sconces where, on lenten
+nights, in the unwarmed church, glimmered the few candles that lit the
+devotion of the strong, rough sons of the glebe, hedgers and ditchers,
+who came there after daily labour to spell out simple prayer and praise.
+But it was best on the summer Sunday mornings, when the great spaces of
+blue, and the towering white clouds looked down through the diamond
+panes; and the iron-studded door, with the wonderful big key, which his
+hands were not yet strong enough to turn, stood wide open; and outside,
+amongst the deep grass that grew upon the graves, he could see the
+tortoise-shell butterflies sunning themselves upon the dandelions. Then
+it was that he used to think the outside the best, and fancy (with
+perfect truth, as I believe) that angels must be looking in, just as
+much as he was looking out, and gazing down, grave-eyed, upon the little
+people inside, as he himself used to watch the red ants busy in their
+tiny mounds upon the grass plot or the gravel path; and he wondered
+sometimes whether the outside or the inside was "God's House" most: the
+place where he was sitting, with rough, simple things about him that the
+village carpenter or mason or blacksmith had made, or the beautiful
+glowing world outside. And as he thought, with the grave mind of a
+child, about these things, he came to fancy that the eyes that looked
+out through the silver diamond-panes which kept out the wind and rain,
+mattered less than the eyes that looked in from the other side where
+basked the butterflies and flowers and all the living things he so
+loved; awful eyes that were at home where hung the sun himself in his
+distances and the stars in the great star-spaces; where Orion and the
+Pleiades glittered in the winter nights, where "Mazzaroth was brought
+forth in his season," and where through the purple skies of summer
+evening was laid out overhead the assigned path along which moved
+Arcturus with his sons.
+
+
+
+
+APPENDIX I
+
+SOME SUGGESTIONS AS TO THE STUDY OF OLD GLASS
+
+
+Every one who wants to study glass should go to York Minster. Go to the
+extreme west end, the first two windows are of plain quarries most
+prettily leaded, and showing how pleasant "plain-glazing" may be, with
+silvery glass and a child-like enjoyment of simple patterning,
+unconscious of "high art." But look at the second window on the north
+side. What do you see? You see a yellow shield? Exactly. Every one who
+looks at that window as he passes at a quick walk must come away
+remembering that he had seen a yellow shield. But stop and look at it.
+Don't you _like_ it--_I_ do! Why?--well, because it happens to be by
+good luck just _right_, and it is a very good lesson of the degree in
+which beauty in glass depends on juxtaposition. I had thought of it as a
+particularly beautiful bit of glass in quality and colour--but not at
+all! it is textureless and rather crude. I had thought of it as old--not
+at all: it is probably eighteenth-century. But look what it happens to
+be set in--the mixture of agate, silver, greenish and black quarries.
+Imagine it by itself without the dull citron crocketting and pale
+yellow-stain "sun" and "shafting" of the panel below--without the black
+and yellow escutcheon in the light to its right hand--even without the
+cutting up and breaking with black lead lines of its own upper half. In
+short, you could have it so placed that you would like it no better,
+that it would _be_ no better, than the bit of "builder's glazing" in the
+top quatrefoil of the next window, which looks like, and I fancy is, of
+almost the very same glass, but clumsily mixed, and, fortunately,
+_dated_ for our instruction, 1779.
+
+I do not know any place where you can get more study of certain
+properties of glass than in the city of York. The cathedral alone is a
+mine of wealth. The nave windows are near enough to see all necessary
+detail. There is something of every period. And with regard to the nave
+and clerestory windows, they have been so mauled and re-leaded that you
+need not be in the least afraid of admiring the wrong thing or passing
+by the right. You can be quite frank and simple about it all. For
+instance, my own favourite window is the fifth from the west on the
+south side. The old restorer has coolly slipped down one whole panel
+below its proper level in a shower of rose-leaves (which were really,
+I believe, originally a pavement), and, frankly, I don't know (and
+don't care) whether they are part of his work in the late eighteenth
+century or the original glass of the late fourteenth. I rather incline
+to think that they came out of some other window and are bits of
+fifteenth-century glass. The same with the chequered shield of Vernon in
+the other light. I daresay it is a bit of builder's glazing--but isn't
+it jolly? And what do you think of the colour of the little central
+circle half-way up the middle light? Isn't it a flower? And look at the
+petal that's dropped from it on to the bar below! or the _whole_ of the
+left-hand light; well, or the middle light, or the right-hand light? If
+that's not colour I don't know what is. I doubt if it was any more
+beautiful when it was new, perhaps not so beautiful. Compare it, for
+example, with the window in the same wall (I think next to it on the
+west, which has been "restored"). The window exactly opposite seems one
+of the least retouched, and the least interesting; if you think the
+yellow canopies disagreeable in colour don't be ashamed to say so: they
+are not unbeautiful exactly, I think, but, personally, I could do with
+less of them. Yet I should not be surprised to be assured that they are
+all genuine fourteenth-century. In the north transept is the celebrated
+"Five Sisters," the most beautiful bit of thirteenth-century "grisaille"
+perhaps in existence. That is where we get our patterns for
+"kamptulicon" from; but we don't make kamptulicon quite like it. If you
+want a sample of "nineteenth-century thirteenth-century" work you have
+only to look over your left shoulder.
+
+A similar glance to the right will show you "nineteenth-century
+fifteenth-century" work--and show it you in a curious and instructive
+transition stage--portions of the two right-hand windows of the five
+being old glass worked in with new, while the right-hand one of all is a
+little abbot who is nearly all old and has shrunk behind a tomb,
+wondering, as it seems to me, "how those fellows got in," and making up
+his mind whether he's going to stand being bullied by the new St. Peter.
+In the south transept opposite, all the five eastern windows are
+fifteenth-century, and some of them very well preserved, while those in
+the southern wall are modern. The great east window has a history of its
+own quite easily ascertainable on the spot and worthy of research and
+study. Then go into the north ambulatory, look at the third of the big
+windows. Well, the right-hand light; look at the bishop at the top in a
+dark red chasuble, note the bits of dull rose colour in the lower dress,
+the bit of blackish grey touching the pastoral staff just below the edge
+of the chasuble, look at the bits of sharp strong blue in the
+background. Now I believe these are all accidents--bits put in in
+releading; but when the choir is singing and you can pick out every
+separate note of the harmony as it comes down to you from each curve of
+the fretted roof, if you don't think this window goes with it and is
+music also, you must be wrong, I think, in eye or ear. But indeed this
+part of the church and all round the choir aisles on both sides is a
+perfect treasure-house of glass.
+
+If you want an instance of what I said (p. 212) as to "added notes
+turning discord into harmony," look at the _patched_ east window of the
+south choir aisle. Mere jumble--probably no selection--yet how
+beautiful! like beds of flowers. Did you ever see a bed of flowers that
+was _not_ beautiful?--often and often, when the gardener had carefully
+selected the plants of his ribbon-bordering; but I would have you think
+of an old-fashioned cottage garden, with its roses and lilies and
+larkspur and snapdragon and marigolds--those are what windows should be
+like.
+
+In addition to the minster, almost every church in the city has some
+interesting glass; several of them a great quantity, and some finer than
+any in the cathedral itself. And here I would give a hint. _Never pass a
+church or chapel of any sort or kind_, _old or new, without looking in._
+You cannot tell what you may find.
+
+And a second hint. Do not make written pencil notes regarding colour,
+either from glass or nature, for you'll never trouble to puzzle them out
+afterwards. Take your colour-box with you. The merest dot of tint on the
+paper will bring everything back to mind.
+
+Space prevents our making here anything like a complete itinerary
+setting forth where glass may be studied; it must suffice to name a few
+centres, noting a few places in the same district which may be visited
+from them easily. I name only those I know myself, and of course the
+list is very slight.
+
+YORK. And all churches in the city.
+
+GLOUCESTER. Tewkesbury, Cirencester.
+
+BIRMINGHAM. (For Burne-Jones glass.) Shrewsbury, Warwick, Tamworth,
+Malvern.
+
+WELLS.
+
+OXFORD. Much glass in the city, old and new. Fairford.
+
+CAMBRIDGE. Much glass in the city, old and new.
+
+CANTERBURY.
+
+CHARTRES. (If there is still any left unrestored.) St. Pierre in the
+same town.
+
+SENS.
+
+TROYES. AUXERRE.
+
+Of the last two I have only seen some copies. For glass by Rossetti,
+Burne-Jones, and Madox-Brown, consult their lives.
+
+There are many well-known books on the subject of ancient glass,
+Winston, Westlake, &c., which give fuller details on this matter.
+
+
+
+
+APPENDIX II
+
+ON THE RESTORING OF ANCIENT WINDOWS
+
+
+Let us realise what _is_ done.
+
+And let us consider what _ought to be done_.
+
+A window of ancient glass needs releading. The lead has decayed and the
+whole is loose and shaky. The ancient glass has worn very thin, pitted
+almost through like a worn-out thimble with little holes where the
+alkalis have worked their way out. It is as fragile and tender as an old
+oil-painting that needs to be taken off a rotten canvas and re-lined. If
+you examine a piece of old glass whose lead has had time to decay, you
+will find that the glass itself is often in an equally tender state. The
+painting would remain for years, probably for centuries yet, if
+untouched, just as dust, without any attachment at all, will hang on a
+vertical looking-glass. But if you scrape it, even only with the
+finger-nail, you will generally find that that is sufficient to bring
+much--perhaps most--of the painting off, while both sides of the glass
+are covered with a "patina" of age which is its chief glory in quality
+and colour, and which, or most of which, a wet handkerchief dipped in a
+little dust and rubbed smartly will remove.
+
+In short, here is a work of art as beautiful and precious as a picture
+by Titian or Holbein, and probably, as being the chief glory of some
+stately cathedral, still more precious, which ought only to be trusted
+to the gentle hands of a cultivated and scientific artist, connoisseur,
+and expert. The glass should all be handled as if it were old filigree
+silver. If the lead is so perished that it is absolutely impossible to
+avoid taking the glass down, it should be received on the scaffold
+itself, straight from its place in the stone, between packing-boards
+lined with sheets of wadding--"cotton-wool"--attached to the boards with
+size or paste, and with, of course, the "fluffy" side outwards. These
+boards, section by section, should be finally corded or clamped ready
+for travelling _before being lowered from the scaffold_; if any pieces
+of the glass get detached they should be carefully packed in separate
+boxes, each labelled with a letter corresponding to one placed on the
+section as packed, so that there may be no chance of their place ever
+being lost, and when all is done the whole window will be ready to be
+gently lowered, securely "packed for removal," to the pavement below.
+The ideal thing now would be to hire a room and do the work on the spot;
+but if this is impossible on account of expense and the thing has to
+bear a journey, the sections, packed as above described, should be
+themselves packed, two or three together, as may be convenient, in an
+outer packing-case for travelling. It should be insured, for then a
+representative of the railway must attend to certify the packing, and
+also extra care will be taken in transit.
+
+Arrived at the shop, the window should be laid out carefully on the
+bench and each bit re-leaded into its place, the very fragile pieces
+between two bits of thin sheet-glass.
+
+Unless this last practice is adopted _throughout_, the ordinary process
+of cementing must be omitted and careful puttying substituted for it.
+While if it _is_ adopted the whole must be puttied _before_ cementing,
+otherwise the cement will run in between the various thicknesses of
+glass. It would be an expensive and tedious and rather thankless
+process, for the repairer's whole aim would be to hide from the
+spectator the fact that anything whatever had been done.
+
+What does happen at present is this. A country clergyman, or, in the
+case of a cathedral, an architectural surveyor, neither of whom know by
+actual practice anything technically of stained-glass, hand the job over
+to some one representing a stained-glass establishment. This gentleman
+has studied stained-glass on paper, and knows as much about cutting or
+leading technically and by personal practice, as an architect does of
+masonry, or stone-carving--neither more nor less. That is to say, he has
+made sketch-books full of water-colour or pencil studies, and endless
+notes from old examples, and has never cut a bit of glass in his life,
+or leaded it.
+
+Well, he assumes the responsibility, and the client reposes in the
+blissful confidence that all is well.
+
+Is all well?
+
+The work is placed in the charge of the manager, and through him it
+filters down as part of the ordinary, natural course of events into the
+glazing-shop. Here this precious and fragile work of art we have
+described is handed over to a number of ordinary working men to treat by
+the ordinary methods of their trade. They know perfectly well that
+nobody above them knows as much as they, or, indeed, anything at all of
+their craft. Division of labour has made them "glaziers," as it has made
+the gentlemen above stairs, who do the cartoons or the painting,
+"artists." These last know nothing of glazing, why should glaziers know
+anything of art? It is perfectly just reasoning; they do their very
+best, and what they do is this. They take out the old, tender glass,
+with the colour hardly clinging to it, and they put it into fresh leads,
+and then they solder up the joints. And, by way of a triumphant wind-up
+to a good, solid, English, common-sense job, with no art-nonsense or
+fads about it, they proceed to scrub the whole on both sides with stiff
+grass-brushes (ordinarily sold at the oil-shops for keeping back-kitchen
+sinks clean), using with them a composition mainly consisting of exactly
+the same materials with which a housemaid polishes the fender and
+fire-irons. That is a plain, simple, unvarnished statement of facts. You
+may find it difficult of belief, but this is what actually happens. This
+is what you are having done everywhere, guardians of our ancient
+buildings. You'll soon have all your old windows "quite as good as new."
+It's a merry world, isn't it?
+
+
+
+
+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.
+
+[Illustration: I.--Part of Window. St. Anselm's, Woodridings, Pinner.]
+
+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.
+
+[Illustration: II.--Part of Window. St. Anselm's, Woodridings, Pinner.]
+
+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.
+
+[Illustration: III.--Window. St. Peter's Church, Clapham.]
+
+PLATE IV.--_Central part of Window in Cobham Church, Kent, by Reginald
+Hallward._ Executed under the same conditions as the preceding.
+
+[Illustration: IV.--Part of Window. Cobham Church, Kent.]
+
+PLATE V.--_Part of Window in Ardrahan Church, Galway--"St. Robert" by
+Selwyn Image._ From the cartoon. See p. 83.
+
+[Illustration: V.--Part of Window. Ardrahan, Galway.]
+
+PLATE VI.--_Two Designs for Domestic Glass, by Miss M. J. Newill._ From
+the cartoons.
+
+[Illustration: VI.--From Cartoons for Domestic Glass.]
+
+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.
+
+[Illustration: VII.--Window. "The Dream of St. Kenelm."]
+
+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.
+
+[Illustration: VIII.--Quarries. (Size of originals, 4-1/2 by 4 ins.)]
+
+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.
+
+[Illustration: IX.--Micro-photographs from details connected with Glass
+Work.]
+
+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.
+
+[Illustration: X.--Micro-photographs. Diamond and Wheel Cuts seen in
+Section and Plan.]
+
+PLATE XI.--_From Gloucester Cathedral--"St. Boniface" by the author and
+his pupils._
+
+[Illustration: XI.--Part of Window. Gloucester Cathedral.]
+
+PLATE XII.--_From the same--"The Stork of Iona" and "The Infant Church,"
+by the same._ Canopies from Oak and Ivy.
+
+[Illustration: XII.--Part of Window. Gloucester Cathedral.]
+
+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.
+
+[Illustration: XIII.--Portion of Unfinished Window, photographed from
+Work on the Easel.]
+
+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.
+
+[Illustration: XIV.--Drawings from Nature, in Preparation for Design.]
+
+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.
+
+[Illustration: XV.--Part of Window. Tonbridge School Chapel,
+photographed from the Cartoon.]
+
+PLATE XVI.--_Figure of one of the Choir of "Dominations." From
+Gloucester, by the author and his pupils._
+
+[Illustration: XVI.--Part of Window. Gloucester Cathedral.]
+
+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
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Work, by C. W. Whall
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS WORK ***
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