,transcribers ,note3 ,the italic text is
 denoted as italic4         4 4 4 ,and  
remembering these1 trust ,pindar for the
 truth of his     saying1 that to the   
cunning workman--7and let me solemnly   
enforce     the words by adding1 that to
 him only7--knowledge comes             
undeceitful4                            
--,,ruskin 7,aratra ,pentelici74        
',very cool of ,tom1' as ,east thought  
but didn't say1 'seeing as     how he   
only came out of ,egypt himself last    
night at bed-time4'                     
--7,tom ,brown's ,schooldays74          
,,the ,,artistic ,,crafts ,,series      
,,of ,,technical ,,handbooks            
,,edited ,,by ,w4 ,r4 ,,lethaby         
,,stained ,,glass ,,work                
,illustration3 ,,cutting ,,and ,,glazing
  ,frontispiece 7,see p4 #acg7          
,,stained ,,glass ,,work     ,a         
,,text-,,book ,,for ,,students     ,,and
 ,,workers ,,in ,,glass4 ,,by     ,c4   
,w4 ,,whall4 ,,with ,,diagrams     ,,by 
,,two ,,of ,,his ,,apprentices     ,,and

 ,,other ,,illustrations                
,,new ,,york      ,d4 ,,appleton ,,and  
,,company              ,,mcmxiv         
,printed by ,,ballantyne1 ,,hanson      
,,co4     at the ,ballantyne ,press1    
,edinburgh         ,to his ,pupils and  
,assistants1 who1 if they     have      
learned as much from him as he has      
from them1 have spent their time        
profitably2     and who1 if they have   
enjoyed learning as     much as he has  
teaching1 have spent it happily2        
this little book is ,dedicated by their 
,affectionate     ,master and ,servant1 
,,the ,,author4     ,,editor',s         
,,preface   ,in issuing these volumes of
 a series of ,handbooks on the ,artistic
 ,crafts1 it will be well to state what 
are our general aims4  ,in the first    
place1 we wish to provide trustworthy   
text-books of workshop practice1 from   
the points of view of experts who have  
critically examined the methods current 
in the shops1 and putting aside vain    
survivals1 are prepared to say what is  

good workmanship1 and to set up a       
standard of quality in the crafts which 
are more especially associated with     
design4 ,secondly1 in doing this1 we    
hope to treat design itself as an       
essential part of good workmanship4     
,during the last century most of the    
arts1 save painting and sculpture of an 
academic kind1 were little considered1  
and there was a tendency to look on     
design as a mere matter of appearance4  
,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         
production4 ,with the critical attention
 given to the crafts by ,ruskin and     
,morris1 it came to be seen that it was 
impossible to detach design from craft  
in this way1 and that1 in the widest    
sense1 true design is an inseparable    
element of good quality1 involving as it
 does the selection of good and suitable
 material1 contrivance for special      

purpose1 expert workmanship1 proper     
finish1 and so on1 far more than mere   
ornament1 and indeed1 that ornamentation
 itself was rather an exuberance of fine
 workmanship than a matter of merely    
abstract lines4 ,workmanship when       
separated by too wide a gulf from fresh 
thought--that is1 from                  
design--inevitably decays1 and1 on the  
other hand1 ornamentation1 divorced from
 workmanship1 is necessarily unreal1 and
 quickly falls into affectation4 ,proper
 ornamentation may be defined as a      
language addressed to the eye2 it is    
pleasant thought expressed in the speech
 of the tool4  ,in the third place1 we  
would have this series put artistic     
craftsmanship before people as          
furnishing reasonable occupations for   
those who would gain a livelihood4      
,although within the bounds of academic 
art1 the competition1 of its kind1 is so
 acute that only a very few per cent4   
can fairly hope to succeed as painters  
and sculptors2 yet1 as artistic         

craftsmen1 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 success4  ,in 
the blending of handwork and thought in 
such arts as we propose to deal with1   
happy careers may be found as far       
removed from the dreary routine of hack 
labour as from the terrible uncertainty 
of academic art4 ,it is desirable in    
every way that men of good education    
should be brought back into the         
productive crafts3 there are more than  
enough of us in the city1 and it is     
probable that more consideration will be
 given in this century than in the last 
to ,design and ,workmanship4         99 
99       99       99       99  ,our last
 volume dealt with one of the branches  
of sculpture1 the present treats of one 
of the chief forms of painting4         
,glass-painting has been1 and is capable
 of again becoming1 one of the most     
noble forms of ,art4 ,because of its    

subjection to strict conditions1 and its
 special glory of illuminated colour1 it
 holds a supreme position in its        
association with architecture1 a        
position higher than any other art1     
except1 perhaps1 mosaic and sculpture4  
,the conditions and aptitudes of the    
,art are most suggestively discussed in 
the present volume by one who is not    
only an artist1 but also a master       
craftsman4 ,the great question of colour
 has been here opened up for the first  
time in our series1 and it is well that 
it should be so1 in connection with     
this1 the pre-eminent colour-art4       
,windows of coloured glass were used by 
the ,romans4 ,the thick lattices found  
in ,arab art1 in which brightly-coloured
 morsels of glass are set1 and upon     
which the idea of the jewelled windows  
in the story of ,aladdin is doubtless   
based1 are ,eastern off-shoots from this
 root4  ,painting in line and shade on  
glass was probably invented in the ,west
 not later than the year #aajj1 and     

there are in ,france many examples1 at  
,chartres1 ,le ,mans1 and other places1 
which date back to the middle of the    
twelfth century4  ,theophilus1 the      
twelfth-century writer on ,art1 tells us
 that the ,french glass was the most    
famous4 ,in ,england the first notice of
 stained glass is in connection with    
,bishop ,hugh's work at ,durham1 of     
which we are told that around the altar 
he placed several glazed windows        
remarkable for the beauty of the figures
 which they contained2 this was about   
#aage4  ,in the ,fabric ,accounts of our
 national monuments many interesting    
facts as to mediaeval stained glass are 
preserved4 ,the accounts of the building
 of ,st4 ,stephen's ,chapel1 in the     
middle of the fourteenth century1 make  
known to us the procedure of the        
mediaeval craftsmen4 ,we find in these  
first a workman preparing white boards1 
and then the master glazier drawing the 
cartoons on the whitened boards1 and    
many other details as to customs1       

prices1 and wages4  ,there is not much  
old glass to be studied in ,london1 but 
in the museum at ,south ,kensington     
there are specimens of some of the      
principal varieties4 ,these are to be   
found in the ,furniture corridor and the
 corridor which leads from it4 ,close by
 a fine series of ,english coats of arms
 of the fourteenth century1 which are   
excellent examples of ,heraldry1 is     
placed a fragment of a broad border     
probably of late twelfth-century work4  
,the thirteenth century is represented  
by a remarkable collection1 mostly from 
the ,ste4 ,chapelle in ,paris and       
executed about #abdh4 ,the most striking
 of these remnants show a series of     
,kings seated amidst bold scrolls of    
foliage1 being parts of a ,jesse ,tree1 
the narrower strips1 in which are       
,prophets1 were placed to the right and 
left of the ,kings1 and all three made  
up the width of one light in the        
original window4 ,the deep brilliant    
colour1 the small pieces of glass used1 

and the rich backgrounds are all        
characteristic of mid-thirteenth-century
 glazing4 ,of early fifteenth-century   
workmanship are the large single figures
 standing under canopies1 and these are 
good examples of ,english glass of this 
time4 ,they were removed from           
,winchester ,college ,chapel about #ahbe
 by the process known as restoration4   
,w4 ,r4 ,,lethaby4  ,january #aije4     
,,author',s ,,preface   ,the author must
 be permitted to explain that he        
undertook his task with some reluctance1
 and to say a word by way of explaining 
his position4  ,i have always held that 
no art can be taught by books1 and that 
an artist's best way of teaching is     
directly and personally to his own      
pupils1 and maintained these things     
stubbornly and for long to those who    
wished this book written4 ,but ,i have  
such respect for the good judgment of   
those who have1 during the last eight   
years1 worked in the teaching side of   
the art and craft movement1 and1 in     

furtherance of its objects1 have        
commenced this series of handbooks1 and 
such a belief in the movement1 of which 
these persons and circumstances form a  
part1 that ,i felt bound to yield on the
 condition of saying just what ,i liked 
in my own way1 and addressing myself    
only to students1 speaking as ,i would  
speak to a class or at the bench1       
careless of the general reader4  ,you   
will find yourself1 therefore1 reader1  
addressed as ,dear ,student4 7,i know   
the term occurs further on47 ,but       
because this book is written for        
students1 it does not therefore mean    
that it must all be brought within the  
comprehension of the youngest           
apprentice4 ,for it is becoming the     
fashion1 in our days1 for artists of    
merit--painters1 perhaps1 even of       
distinction--to take up the practice of 
one or other of the crafts4 ,all would  
be well1 for such new workers are       
needed1 if it was indeed the practice of
 the craft that they set themselves to4 

,but too often it is what is called the 
designing for it only in which they     
engage1 and it is the duty of every one 
speaking or writing about the matter to 
point out how fatal is that error4  ,one
 must provide a word1 then1 for such as 
these also here if one can4  ,indeed1 to
 reckon up all the classes to whom such 
a book as this should be addressed1 we  
should have1 ,i think1 to name3--  7#a7 
,the worker in the ordinary shop1 who is
 learning there at present1 to our      
regret1 only a portion of his craft1 and
 who should be given an insight into the
 whole1 and into the fairyland of       
design4  7#b7 ,the magnificent and      
superior artist1 mature in imagination  
and composition1 fully equipped as a    
painter of pictures1 perhaps even of    
academical distinction1 who turns his   
attention to the craft1 and without any 
adequate practical training in it1 which
 alone could teach its right principles1
 makes1 and in the nature of things is  
bound to make1 great mistakes--mistakes 

easily avoidable4 ,no such thing can    
possibly be right4 ,raphael himself     
designed for tapestry1 and the cartoons 
are priceless1 but the tapestry a       
ghastly failure4 ,it could not have been
 otherwise under the conditions4        
,executant separated from designer by   
all the leagues that lie between ,arras 
and ,rome4  7#c7 ,the patron1 who should
 know something of the craft1 that he   
may not1 mistrusting1 as so often at    
present1 his own taste1 be compelled to 
trust to some one else's ,name1 and of  
course looks out for a big one4  7#d7   
,the architect and church dignitary who1
 having such grave responsibilities in  
their hands towards the buildings of    
which they are the guardians1 wish1     
naturally1 to understand the details    
which form a part of their charge4 ,and 
lastly1 a new and important class that  
has lately sprung into existence1 the   
well-equipped1 picked student--brilliant
 and be-medalled1 able draughtsman1 able
 painter2 young1 thoughtful1 ambitious1 

and educated1 who1 instead of drifting1 
as till recently1 into the overcrowded  
ranks of picture-making1 has now the    
opportunity of choosing other weapons in
 the armoury of the arts4  ,to all these
 classes apply those golden words from  
,ruskin's ,aratra ,pentelici which are  
quoted on the fly-leaf of the present   
volume1 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 quoted4 ,the face of the arts is  
in a state of change4 ,the words craft  
and craftsmanship1 unheard a decade or  
two ago1 now fill the air2 we are none  
of us inheritors of any worthy          
tradition1 and those who have chanced to
 grope about for themselves1 and seem to
 have found some safe footing1 have very
 little1 it seems to me1 to plume or    
pride themselves upon1 but only         
something to be thankful for in their   
good luck4 ,but to have learnt          
faithfully one of the ingenuous arts 7or

 crafts7 is good luck and is firm       
footing2 we may not doubt it who feel it
 strong beneath our feet1 and it must be
 proper to us to help towards it the    
doubtless quite as worthy or worthier1  
but less fortunate1 who may yet be in   
some of the quicksands around4  ,it also
 happens that the art of stained glass1 
though reaching to very high and great  
things1 is in its methods and processes 
a simple1 or at least a very limited1   
one4 ,there are but few things to do1   
while at the same time the principles of
 it touch the whole field of art1 and it
 is impossible to treat of it without   
discussing these great matters and the  
laws which guide decorative art         
generally4 ,it happens conveniently1    
therefore1 as the technical part        
requires less space1 that these things  
should be treated of in this particular 
book1 and it becomes the author's       
delicate and difficult task to do so4   
,he1 therefore1 wishes to make clear at 
starting the spirit in which the task is

 undertaken4  ,it remains only to       
express his thanks to ,mr4 ,drury and   
,mr4 ,noel ,heaton for help             
respectively1 with the technical and    
scientific detail2 to ,mr4 ,st4 ,john   
,hope for permission to use his         
reproductions from the ,windsor         
stall-plates1 and to ,mr4 ,selwyn ,image
 for his great kindness in revising the 
proofs4  ,c4 ,w4 ,,whall4  ,january     
#aije4          ,,contents              
,,page       ,,editor',s ,,preface      
xi       ,,author',s ,,preface          
xvii        ,,part ,i       ,,chapter ,i
       ,introductory1 and ,concerning   
the ,raw ,material                      
#bi        ,,chapter ,,ii       ,cutting
 7elementary7--,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               

#cc        ,,chapter ,,iii              
,painting                               
7elementary7--,pigments--,mixing--,how  
to      ,fill the                       
,brush--,outline--,examples--,industry--
,the      ,needle and                   
,stick--,completing the ,outline        
#ef       ,,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                                 
#gb        ,,chapter ,v       ,cutting  
7advanced7--,the ,ideal ,cartoon--,the  
,cut-line--,setting      the            
,cartoon--,transferring the ,cut-line   
to the ,glass--,another ,way--,some     
,principles      of                     
,taste--,countercharging                
#hc        ,,chapter ,,vi               
,painting                               
7advanced7--,waxing-up--,cleanliness--,f

urther      ,methods of                 
,painting--,stipple--,dry               
,stipple--,film--,effects of            
,distance--,danger of                   
,over-,painting--,frying                
#id        ,,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          
#aje        ,,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       #aah
        ,,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              
#abi        ,,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    
#acc        ,,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                     
#add          ,,part ,,ii               
,,chapter ,,xii                         
,introductory--,the ,great              

,questions--,colour--,light--,architectu
ral                                     
,fitness--,limitations--,thought--,imagi
nation--,allegory            #aed       
,,chapter ,,xiii       ,of              
,economy--,the ,englishman's            
,wastefulness--,its      ,good          
,side--,its ,excess--,difficulties--,a  
,calculation--,remedies    #aef         
,,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               
#afc        ,,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                    
#ahb        ,,chapter ,,xvi       ,of   
,colour                                 
#aih        ,,chapter ,,xvii       ,of  

,architectural ,fitness                 
#bcd       ,,chapter ,,xviii       ,of  
,thought1 ,imagination1 and ,allegory   
#bdh        ,,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 v4 ,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                         #bfd     

,,chapter ,,xx       ,a ,string of      
,beads                                  
#bij        ,,appendix ,i       ,some   
,suggestions as to the ,study of ,old   
,glass                   #cjh           
,,appendix ,,ii       ,on the ,restoring
 of ,ancient ,windows                   
#cae       ,,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       
#cba        ,,notes ,,on ,,the          
,,collotype ,,plates                    
#cbg       ,,the ,,collotype ,,plates   
#ccg       ,,glossary                   
#cfi       ,,index                      
#cgc     ,,part ,i   ,,chapter ,i       
,,introductory1 ,,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 windows2

 not a picture painted on glass with    
coloured paints4  ,you know that a beer 
bottle is blackish1 a hock bottle       
orange-brown1 a soda-water bottle       
greenish-white--these are the colours of
 the whole substance of which they are  
respectively made4  ,break such a       
bottle1 each little bit is still a bit  
of coloured glass4 ,so1 also1 blue is   
used for poison bottles1 deep green and 
deep red for certain wine glasses1 and1 
indeed1 almost all colours for one      
purpose or another4  ,now these are the 
same glass1 and coloured in the same way
 as that used for church windows4  ,such
 coloured glasses are cut into the      
shapes of faces1 or figures1 or robes1  
or canopies1 or whatever you want and   
whatever the subject demands2 then      
features are painted on the faces1 folds
 on the robes1 and so forth--not with   
colour1 merely with brown shading2 then1
 when this shading has been burnt into  
the glass in a kiln1 the pieces are put 
together into a picture by means of     

grooved strips of lead1 into which they 
fit4  ,this book1 it is hoped1 will set 
forth plainly how these things are done1
 for the benefit of those who do not    
know2 and1 for the benefit of those who 
do know1 it will examine and discuss the
 right principles on which windows      
should be made1 and the rules of good   
taste and of imagination1 which make    
such a difference between beautiful and 
vulgar art2 for you may know intimately 
all the processes ,i have spoken of1 and
 be skilful in them1 and yet misapply   
them1 so that your window had better    
never have been made4  ,skill is good if
 you use it wisely and for good end2 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 happier4  ,a  
clear and calculating brain may be used 
for statesmanship or science1 or merely 
for gambling4 ,you1 we will say1 have a 
true eye and a cunning hand2 will you   
use them on the passing fashion of the  

hour--the morbid1 the trivial1 the      
insincere--or in illustrating the       
eternal truths and dignities1 the       
heroisms and sanctities of life1 and its
 innocencies and gaieties8  ,this book1 
then1 is divided into two parts1 of     
which the intention of one is to promote
 and produce skilfulness of hand1 and of
 the other to direct it to worthy ends4 
,the making of glass itself--of the raw 
material--the coloured glasses used in  
stained-glass windows1 cannot be treated
 of here4 ,what are called ,antiques are
 chiefly used1 and there are also       
special glasses representing the ideals 
and experiments of enthusiasts--,prior's
 ,early ,english glass1 and the somewhat
 similar ,norman glass4 ,these glasses1 
however1 are for craftsmen of experience
 to use3 they require mature skill and  
judgment in the using2 to the beginner1 
,antiques are enough for many a day to  
come4  ,how to know the ,right and      
,wrong ,sides of a ,piece of ,antique   
,glass4--,take up a sheet of one of     

these and look at it4 ,you will notice  
that the two sides look different2 one  
side has certain little depressions as  
if it had been pricked with a pin1      
sometimes also some wavy streaks4 ,turn 
it round1 and1 looking at the other     
side1 you still see these things1 but   
blurred1 as if seen through water1 while
 the surface itself on this side looks  
smooth2 what inequalities there are     
being projections rather than           
depressions4 ,now the side you first    
looked at is the side to cut on1 and the
 side to paint on1 and it is the side   
placed inwards when the window is put   
up4  ,the reason is this4 ,glass is made
 into sheets by being blown into        
bubbles1 just as a child blows          
soap-bubbles4 ,if you blow a soap-bubble
 you will see streaks playing about in  
it1 just like the wavy streaks you      
notice in the glass4  ,the bubble is    
blown1 opened at the ends1 and          
manipulated with tools while hot1 until 
it is the shape of a drain-pipe2 then   

cut down one side and opened out upon a 
flattening-stone until the round pipe is
 a flat sheet2 and it is this stone     
which gives the glass the different     
texture1 the dimpled surface which you  
notice4  ,some glasses are flashed2 that
 is to say1 a bubble is blown which is  
mainly composed of white glass2 but1    
before blowing1 it is also dipped into  
another coloured glass--red1 perhaps1 or
 blue--and the two are then blown       
together1 so that the red or blue glass 
spreads out into a thin film closely    
united to1 in fact fused on to1 and     
completely one with1 the white glass    
which forms the base2 most ,ruby glasses
 are made in this way4     ,,chapter    
,,ii       ,cutting 7elementary7--,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 ,glass4   ,no written     

directions can teach the use of the     
diamond2 it is as sensitive to the hand 
as the string of a violin1 and a good   
workman feels with a most delicate touch
 exactly where the cutting edge is1 and 
uses his tool accordingly4 ,every       
apprentice counts on spoiling a guinea  
diamond in the learning1 which will take
 him from one to two years4  ,most      
cutters now use the wheel1 of which     
illustrations are given 7figs4 #a and   
#b74  ,illustration3 ,,figs4 #a ,,and   
#b4  ,the wheels themselves are good    
things1 and cut as well as the diamond1 
in some respects almost better2 but many
 of the handles are very unsatisfactory4
 ,from some of them indeed one might    
suppose1 if such a thing were           
conceivable1 that the maker knew nothing
 of the use of the tool4  ,for it is    
held thus 7fig4 #e71 the pressure of the
 forefinger both guiding the cut and    
supplying force for it3 and they give   
you an edge to press on 7fig4 #a7       
instead of a surface6 ,in some other    

patterns1 indeed1 they do give you the  
desired surface1 but the tool is so thin
 that there is nothing to grip4 ,what   
ought to be done is to reproduce the    
shape of the old wooden handle of the   
diamond proper 7figs4 #c and #d74       
,illustration3 ,,figs4 #c ,,and #d4     
,the foregoing passage must1 however1 be
 amplified and modified1 but this ,i    
will do further on1 for you will        
understand the reasons better if ,i     
insert it after what ,i had written     
further with regard to the cutting of   
glass4  ,how to ,sharpen the ,wheel     
,cutter4--,the right way to do this is  
difficult to describe in writing4 ,you  
must1 first of all1 grind down the      
shoulders of the tool1 through which the
 pivot of the wheel goes1 for they are  
made so large that the wheel cannot     
reach the stone 7fig4 #f71 and must be  
reduced 7fig4 #g74 ,then1 after first   
oiling the pivot so that the wheel may  
run easily1 you must hold the tool as   
shown in fig4 #h1 and rub it swiftly up 

and down the stone4 ,the angle at which 
the wheel should rest on the stone is   
shown in fig4 #i4 ,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 itself4 ,you  
do not want to make the tool too sharp1 
otherwise you will risk breaking down   
the edge1 when the wheel will cease to  
be truly circular1 and when that occurs 
it is absolutely useless4 ,the same     
thing will happen if the wheel is       
checked in its revolution while         
sharpening1 and therefore the pivot must
 be kept oiled both for cutting and     
sharpening4  ,illustration3 ,,fig4 #e4  
,illustration3 ,,figs4 #f and #g4  ,it  
is a curious fact to notice that the    
tool1 be it wheel or diamond1 that is   
too sharp is not1 in practice1 found to 
make so good a cut as one that is less  
sharp2 it scratches the glass and throws
 up a line of splinters4  ,how to ,cut  
,glass4--,hold the cutter as shown in   
the illustration 7fig4 #e71 a little    

sloping towards you1 but perfectly      
upright laterally2 draw it towards you1 
hard enough to make it just bite the    
glass4 ,if it leaves a mark you can     
hardly see it is a good cut 7fig4       
#aj;,b71 but if it scratches a white    
line1 throwing up glass-dust as it goes1
 either the tool is faulty1 or you are  
pressing too hard1 or you are applying  
the pressure to the wheel unevenly and  
at an angle to the direction of the cut 
7fig4 #aj;,a74 ,not that you can make   
the wheel move sideways in the cut      
actually2 it will keep itself straight  
as a ploughshare keeps in its furrow1   
but it will press sideways1 and so break
 down the edges of the furrow1 while if 
you exaggerate this enough it will      
actually leave the furrow1 and1 ceasing 
to cut1 will skid aside over the glass4 
,as to pressure1 all cutters begin by   
pressing much too hard2 the tool having 
started biting1 it should be kept only  
just biting while drawn along4 ,the cut 
should be almost noiseless4 ,you think  

you're not cutting because you don't    
hear it grate1 but hold the glass       
sideways to the light and you will see  
the silver line quite continuous4       
,having made your cut1 take the glass   
up2 hold it as in fig4 #aa1 press       
downward with the thumbs and upward with
 the fingers1 and the glass will come   
apart4  ,illustration3 ,,fig4 #h4       
,illustration3 ,,fig4 #i4               
,illustration3 ,,fig4 #aj1 ,a and ,b    
,illustration3 ,,fig4 #aa4  ,but you    
want to cut shaped pieces as well as    
straight4 ,you cannot break these       
directly the cut is made1 but1 holding  
the glass as in fig4 #ab1 and pressing  
it firmly with the left thumb1 jerk the 
tool up by little1 sharp jerks of the   
fingers only1 so as to tap along the    
underside of your cut4 ,you will see a  
little silver line spring along the cut1
 showing that the glass is dividing2 and
 when that silver line has sprung from  
end to end1 a gentle pressure will bring
 the glass apart4  ,illustration3 ,,fig4

 #ab4  ,this upward jerk must be sharp  
and swift1 but must be calculated so as 
only just to reach the glass1 being     
checked just at the right point1 as one 
hammers a nail when one does not want to
 stir the work into which the nail is   
driven4 ,a pushing stroke1 a blow that  
would go much further if the glass were 
not there1 is no use2 and for this      
reason neither the elbow nor the hand   
must move2 the knuckles are the hinge   
upon which the stroke revolves4         
,illustration3 ,,fig4 #ac4              
,illustration3 ,,fig4 #ad4  ,but you can
 only cut certain shapes--for instance1 
you cannot cut a wedge-shaped gap out of
 a piece of glass 7fig4 #ac72 however   
tenderly you handle it1 it will split at
 point ,a4 ,the nearest you can go to it
 is a curve2 and the deeper the curve   
the more difficult it is to get the     
piece out4 ,in fig4 #ad ,a is an average
 easy curve1 ,b a difficult one1 ,c     
impossible1 except by groseing or       
grozeing as cutters call it2 that is1   

after the cut is made1 setting to work  
to patiently bite the piece out with    
pliers 7fig4 #ae74  ,illustration3      
,,fig4 #ae4  ,now1 further1 you must    
understand that you must not cut round  
all the sides of a shaped piece of glass
 at once2 indeed1 you must only cut one 
side at a time1 and draw your cut right 
up to the edge of the glass1 and break  
away the whole piece which contains the 
side you are cutting before you go on to
 another4  ,thus1 in fig4 #af1 suppose  
the shaded portion to be the shape that 
you wish to cut out of the piece of     
glass1 ,a1 ,b1 ,c1 ,d4 ,you must lay    
your gauge anglewise down upon the      
piece4 ,do not try to get the sides     
parallel to the shapes of your gauge1   
for that makes it much more difficult2  
angular pieces break off the easiest4   
,illustration3 ,,fig4 #af4  ,now1 then1 
cut the most difficult piece first4     
,that marked #a4 ,perhaps you will not  
cut it quite true2 but1 if not1 then    
shift the gauge slightly on to another  

part of the curve1 and very likely it   
may fit that better and so come true4   
,then follow with one of those marked #b
 or #c4 ,probably it would be safest to 
cut the larger and more difficult piece 
first1 and get both the curved cuts     
right by your gauge2 then you can be    
quite sure of getting the very easy     
small bit off quite truly1 to fit into  
its place with both of them4 ,go on with
 #d1 and then with one of those marked  
#e or #f4 ,probably it would still be   
best to cut the curved piece first1     
unless you think that shortening it by  
cutting off the small corner-piece first
 will make the curved cut easier by     
making it shorter4  ,in any case you    
must only cut one side at a time1 and   
break it away before you make the cut   
for another side4  ,take care that you  
do not go back in your cut4 ,you must   
try and make it quite continuous        
onwards2 for if you go back in the cut1 
where your tool has already thrown up   
splinters1 it will spoil your tool and  

spoil your cut also4  ,difficult curves1
 that it is only just possible to get   
out by groseing1 ought never to be      
resorted to1 except for some very       
sufficient reason4 ,a cartoonist who    
knows the craft will avoid setting such 
tasks to the cutter2 but1 unfortunately1
 many cartoonists do not know the craft4
 ,if people were taught the complete    
craft as they should be1 this book would
 not have been written4  ,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 chemistry1 the
 permanence1 the purity of materials4   
,with the exception of the practice of  
the craft1 probably we shall not be able
 to go thoroughly into any one of them2 
but ,i shall endeavour to mention them  
all1 and to do so sufficiently to       
indicate the directions in which work   
and research and experiment may be made1
 for they are all three much needed in  
several directions4  ,it becomes1 for   

instance1 now my task1 in modifying the 
passage some pages back as ,i promised1 
to go into one of these subjects in the 
light of inquiries made since the       
passage in question was written2 and ,i 
let it for the time being stand just as 
it was1 without the additional          
information1 because it gives a picture 
of how such things crop up and of the   
way in which such investigations may be 
made1 and of how useful and pleasant    
they may be4  ,here then let us have--  
,a ,,little ,,dissertation ,,upon       
,,cutting4  ,through the agent for the  
wheel-cutter in ,england ,i communicated
 with the maker and inventor in         
,america1 and told him of our           
difficulties and perplexities over here1
 and chiefly with regard to two points4 
,first1 the awkwardness of the handle1  
which causes the glaziers here to use   
the tool bound round with wadding1 or   
enclosed in a bit of india-rubber pipe2 
and1 secondly1 the bluntness of the jaws
 which hold the wheel1 and which must be

 ground down 7and are in universal      
practice ground down71 before the tool  
can be sharpened4  ,his reply called    
attention to a number of different      
patterns of handle1 the existence of    
which1 ,i think1 is not generally known1
 in ,england at any rate1 and some of   
which seem to more or less meet the     
difficulties we experience1 most of them
 also being made with malleable iron    
handles1 so that fresh cutting-wheels   
can be inserted in the same handle4 ,his
 letter also entered into the question  
of the actual dynamics of cutting1      
maintaining1 ,i think rightly1 that a   
cut is made by the edge of the wheel    
7this not being very sharp7 forcing the 
particles of the glass down into the    
mass of it by pressure4  ,with regard to
 the old-fashioned pattern of tool which
 we chiefly use in this country1 the    
very sufficient explanation is that they
 continue to make it because we continue
 to demand it1 a circumstance which1 as 
he declares1 is a mystery to the        

inventor himself6 ,nevertheless1 as we  
do so1 and1 in spite of the variety of  
newer tools on the market1 still go on  
grinding down the jaws of our favourite1
 and wrapping round the handle with     
cotton-wool1 let us try and put this    
matter straight1 and compare our        
requirements with the advantages offered
 us4  ,there are three chief points to  
be cleared up4 7#a7 ,the actual nature  
of a cut in glass2 7#b7 the question of 
sharpening the tool and grinding down of
 the jaws to do so2 and 7#c7 the mystery
 of our preference for a particular     
tool1 although we all confess its       
awkwardness by the means we take to     
modify it4  7#a7 ,with regard1 then1 to 
the nature of a cut in glass ,i am      
disposed entirely to agree with the     
theory put forward by the inventor of   
the wheel1 which an examination of the  
cuts under the microscope1 or even a #f 
diameter lens1 certainly also tends to  
confirm4  ,what happens appears to my   
non-scientific eyes to be this4  ,glass 

is one of the most fissile or splittable
 of all materials2 but it is so just in 
the same way that ice is1 and just in   
the opposite way to that in which slate 
or talc is4  ,slate or talc splits      
easily into thin layers or laminae1     
because it already lies in such layers1 
and these will come apart when the force
 is applied between them3 but it will   
only split into the laminae of which it 
already is composed1 and along the line 
of the fissures which already exist     
between them4  ,glass1 on the contrary  
7and the same is true of ice1 or for    
that matter of currant-jelly and such   
like things71 appears to be a substance 
which is the same in all directions1 or 
nearly so1 and therefore as liable to   
split in one direction as in another1   
and is so loosely held together that1   
once a splitting force is applied1 the  
crack spreads very rapidly and easily1  
and therefore smoothly and in straight  
lines and in even planes4  ,the diamond1
 or the wheel-cutter1 is such a force4  

,being pressed on to the surface1 it    
forces down the particles1 and these    
start a series of small vertical splits1
 sometimes nearly through the whole     
thickness of the glass1 though invisibly
 so until the glass is separated4 ,and  
mark1 that it is the starting of the    
splits that is the important thing2     
there is no object in making them deep1 
it is only wasted force2 they will      
continue to split of themselves if      
encouraged in the proper way 7see       
,plates ,,ix4 and ,x474 ,try this as    
follows4  ,take a bit of glass1 say #c  
inches by #b1 and make the very smallest
 dint you can in it1 in the middle of   
the narrowest dimension4 ,you cannot    
make one so small that the glass will   
hold together if you try to break it    
across4 ,it will break across in a      
straight line1 springing from each end  
of the tiny cut4 ,the cut may be only   
#a_/h of an inch long2 less--it may be  
only #a_/af1 #a_/cb--;as small as you   
will1 the glass will break across just  

the same4  ,why8  ,because the cut has  
started it splitting at each end2 and   
the material being the same all through1
 the split will go straight on in the   
direction in which it has started2 there
 is nothing to turn it aside4  ,so also 
the pressure of the wheel starts a      
continuous split1 or series of splits1  
downwards1 into the thickness of the    
glass4 ,no matter how small a distance  
these go in1 the glass will come asunder
 directly pressure is applied4  ,now1 if
 you press too hard in cutting1 another 
thing takes place4  ,imagine a quantity 
of roofing-slates piled flat one on top 
of another1 all the piles being of equal
 height and arranged in two rows1 side  
by side1 so close that the edges of the 
slates in one row touch the edges of    
those in the other row1 along a central 
line4  ,wheel a wheelbarrow along that  
line over the edges of both4  ,what     
would happen8  ,the top layer of slates 
would all come cocking their outer edges
 up as the barrow passed over their     

inner ones1 would they not8  ,now1 just 
so1 if you press hard on your           
glass-cutting wheel1 it will press down 
the edges of the groove1 and though     
there are no layers already made in the 
glass1 the pressure will split off a    
thin layer from the top surface of the  
glass on each side in flakes as it goes 
along 7,plate ,x41 ,d1 ,e74  ,this is   
what gives the noise of the cut1        
c-r-r-r-r-r-2 and as the thing is no use
 the noise is no use2 like a good many  
other things in life1 the less noise the
 better work1 much cry generally meaning
 little wool1 as the man found out who  
shaved the pig4  ,but the wheel or the  
diamond is not quite the same as the    
wheel of the wheelbarrow1 for it has a  
wedge-shaped edge4 ,imagine a barrow    
with such a wheel2 what then would      
happen to your slates8 besides being    
cocked up by the wheel1 they would also 
be pushed out1 surely8  ,this happens in
 glass4 ,you must not imagine that glass
 is a rigid thing2 it is very elastic1  

and the wedge-like pressure of the wheel
 pushes it out just as the keel of a    
boat pushes the water aside in ripples  
7,plate ,x41 ,d1 ,e74  ,all these       
observations seem to me to bear out the 
theory of the inventor1 and perhaps to  
some extent to explain it4 ,i am much   
tempted to carry them further1 and ask  
the questions1 why a penknife as well as
 a wheel will not make a cut in glass1  
but will make a perfectly definite      
scratch on it if the glass is placed    
under water8 and why this line so made  
will yet not serve for separating the   
glass8 and why a piece of glass can be  
cut in two 7roughly1 to be sure1 but    
still cut in two7 with a pair of        
scissors under water1 a thing otherwise 
quite impossible8  ,but ,i do not think 
that the knowledge of these questions   
will help the reader to do better       
stained-glass windows1 and therefore ,i 
will not pursue them4  7#b7 ,the        
question of sharpening the tool is soon 
disposed of4  ,if the tool is to be     

sharpened1 the jaws must be ground down1
 whether the maker grinds them down     
originally or whether we do it4 ,is     
sharpening worth while1 since the tool  
only costs a few pence8  ,well1 it's a  
question each must decide for himself2  
but ,i will just answer two small       
difficulties which affect the matter4   
,if grinding the jaws loosens the pivot1
 it can be hammered tight again with a  
punch4 ,if sharpening wears out the     
oil-stone 7as it undoubtedly does1 and  
oil-stones are expensive things71 a     
piece of fine polished ,westmoreland    
slate will do as well1 and there is no  
need to be chary of it4 ,even a piece of
 ground-glass with oil will do4  7#c7   
,but now as to the handle4 ,i am first  
to explain the amusing mystery why the  
old pattern shown in fig4 #a still      
sells4  ,it is because the ,british     
working-man is convinced that the wheels
 in this handle are better quality than 
any others4  ,is he right1 or is it only
 an instance of his love for and faith  

in the thing he has got used to8  ,or   
can it be that all workmen do not know  
of the existence of the other types of  
handle8 ,in case this is so1 ,i figure  
some 7fig4 #ag74 ,or is it that the     
wheel for some reason runs less truly in
 the malleable iron than in the cast    
iron8  ,illustration3 ,,fig4 #ag4       
,certain it is that the whole trade here
 prefers these wheels1 and ,i am bound  
to say that as far as my experience goes
 they seem to me to work better than    
those in other handles4  ,but as to all 
the handles themselves1 ,i must now     
voice our general complaint4  7#a7 ,they
 are too light4  ,for tapping our heavy 
antique and slab-glasses we wish we had 
a heavier tool4  7#b7 ,they are too thin
 in the handle for comfort1 at least it 
seems so to me4  7#c7 ,the three gashes 
cut out of the head of the tool decrease
 the weight1 and if these were omitted  
the tool would gain4 ,their only use    
that ,i can conceive of is that of a    
very poor substitute for pliers as a    

groseing tool1 if one has forgotten     
one's pliers4 ,but 7as ,serjeant ,buzfuz
 might say7 who does forget his pliers8 
,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        
tapping1 and that a handle the sections 
of which are calculated for the one will
 not do equally well for the other4     
,but the whole thing resolves itself    
into this1 that if we could get a tool1 
the handle of which corresponded in all 
its curves1 dimensions1 and sections    
with the old-established diamond1 ,i    
think we should all be glad2 and if the 
head1 wheel1 and pivot were all made of 
the quality and material of which fig4  
#a is now made1 but with the handle as  
,i describe1 many of us1 ,i think1 would
 be still more glad2 and if these       
remarks lead in any degree to such      
results1 they at least of all the book  
will have been worth the writing1 and   
will probably be its best claim to a    

white stone in ,israel1 as removing one 
more solecism from this so-called       
twentieth century4  ,i shall now leave  
this subject of cutting for the present1
 and describe1 up to about the same     
point1 the processes of painting1 taking
 both on to a higher stage later--as if1
 in fact1 ,i were teaching a pupil2 for 
as soon as you can cut glass well enough
 to cut a piece to paint on1 you should 
learn to paint on it1 and carry the two 
things on step by step1 side by side4   
,,chapter ,,iii       ,painting         
7elementary7--,pigments--,mixing--,how  
to ,fill the                            
,brush--,outline--,examples--,industry--
,the ,needle and                        
,stick--,completing the ,outline4   ,the
 pigments for painting on glass are     
powders1 being the oxides of various    
minerals1 chiefly iron4 ,there are      
others2 but take it thus--that the iron 
oxide is a red pigment1 and the others  
are introduced1 mainly1 to modify this4 
,the red pigment is the best to use1 and

 goes off less in the firing2 but1 alas6
 it is a detestably ugly colour1 like   
red lead2 and1 do what you will1 you    
cannot use it on white glass4 ,against  
clear sky it looks pretty well in some  
lights1 but get it in a sidelight1 or at
 an angle1 and the whole window looks   
like red brick2 while1 seen against any 
background except clear sky1 it always  
looks so from all points of view4 ,there
 are various makers of these pigments4  
,some glass-painters make their own1 and
 a beginner with any knowledge of       
chemistry would be wise to work in that 
direction4  ,i need not discuss the     
various kinds of pigment2 what follows  
is a description of my own practice in  
the matter4  ,to ,mix the ,pigment for  
,painting4--,take a teaspoonful of red  
tracing-colour1 and a rather smaller    
spoonful of intense black1 put them on a
 slab of thick ground-glass about #i    
inches square1 and drop clean water upon
 them till you can work them up into a  
paste with the palette-knife 7fig4 #ah72

 work them up for a minute or so1 till  
the paste is smooth and the lumps broken
 up1 and then add about three drops of  
strong gum made from the purest white   
gum-arabic dissolved in cold water4 ,any
 good chemist will sell this1 but its   
purity is a matter of great importance1 
for you want the maximum of adhesiveness
 with the minimum of the material4  ,mix
 the colour well up with the knife2 then
 take one of those long-haired sable    
brushes1 which are called riggers 7fig4 
#ai71 and which all artists'-colourmen  
sell1 and fill it with the colour1      
diluting it with enough water to make it
 quite thin4 ,do not dilute all the     
pigment2 keep most of it in a tidy lump1
 merely moist1 as you ground it and not 
further wetted1 at the corner of your   
slab2 but always keep a portion diluted 
in a small pond in the middle of your   
palette4  ,illustration3 ,fig4 #ah4     
,how to ,fill the ,brush with           
,pigment4--,now you must note that this 
is a heavy powder floating free in      

water1 therefore it quickly sinks to the
 bottom of your little pond4 ,each time 
you fill your brush you must stir up the
 mud1 for the mud is what you want to   
get in your brush1 and not only so1 but 
you want to get your brush evenly full  
of it from tip to base1 therefore you   
must splay out the hairs flat against   
the glass1 till all are wet1 and then in
 taking it off the palette1 twiddle it  
to a point quickly4 ,this takes long to 
describe1 but it does not take a couple 
of seconds to do4 ,you must have the    
patience to spend so much pains on it1  
and even to fill the brush very often1  
nearly for each touch2 then you will get
 a clear1 smooth1 manageable stroke for 
your outline1 and save time in the end4 
,illustration3 ,,fig4 #ai4  ,how to     
,paint in ,outline4--,make some strokes 
7fig4 #bj7 on a piece of glass and let  
them dry2 some people like them to stick
 very tight to the glass1 some so that a
 touch of the finger removes them2 you  
must find which suits you by-and-by1 and

 vary the amount of gum accordingly2 but
 to begin1 ,i would advise that they    
should be just removable by a moderately
 hard rub with the finger1 rather less  
hard a rub than you close a gummed      
envelope with4  ,practise now for a time
 the making of strokes1 large and small1
 dark and light1 broad and fine2 and    
when you have got command of your tools1
 set yourself the task of doing the same
 thing1 copying an example placed       
underneath your bit of glass4 ,you will 
find a hand-rest 7fig4 #ba7 an          
assistance in this4  ,illustration3     
,,fig4 #bj4  ,it is difficult to give   
any list of examples suitable for this  
stage of glass1 but the kind of line    
employed on the best heraldry is always 
good for the purpose4 ,the splendid     
illustrations of this in ,mr4 ,st4      
,john-,hope's book of the stall-plates  
of the ,knights of the ,garter at       
,windsor1 examples of which by the      
author's courtesy ,i am allowed to      
reproduce 7figs4 #bb-bb;,a71 are ideal  

for bold outline-work1 and fascinatingly
 interesting for their own sake4 ,in    
most of these there is not only         
excellent practice in outline1 and a    
great deal of it1 but1 mixed with it1   
practice also in flat washes1 which it  
is a good thing to be learning side by  
side with the other4  ,illustration3    
,,fig4 #ba4  ,and here let me note that 
there are throughout the practice of    
glass-painting many methods in use at   
every stage4 ,each person1 each firm of 
glass-stainers1 has his own methods and 
traditions4 ,i shall not trouble to     
notice all these as we come to them1 but
 describe what seems to me to be the    
best practice in each case2 but ,i shall
 here and there give a word about       
others4  ,for instance3 if you use sugar
 or treacle instead of gum1 you get a   
rather smoother-working pigment1 and    
after it is dry you can moisten it as   
often as you will for further work by   
merely breathing on the surface2 and    
perhaps if your aim is outline only1 it 

may be well to try it2 but if you wish  
to pass shading-colour over it you must 
use gum1 for you cannot do so over      
treacle colour2 nor do ,i think treacle 
serves so well for the next process ,i  
am to describe1 which here follows4     
,illustration3 ,,fig4 #bb4              
,illustration3 ,,fig4 #bb;,a4   ,how to 
complete the ,outline better than you   
possibly can by ,one ,tracing4--,when   
you take up a bit of glass from the     
table1 after having done all you can to 
make a correct tracing1 you will be     
disappointed with the result4 ,it will  
have looked pretty well on the table    
with the copy showing behind it and     
hiding its defects1 but it is a         
different thing when held up to the     
searching daylight4 ,this must not1     
however1 discourage you4 ,no one1 not   
the most skilful1 could expect to make a
 perfect copy of an original 7if that   
original had any fineness of line or    
sensitiveness of touch about it7 by     
merely tracing it downwards on the      

bench4 ,you must put it upright against 
the daylight1 and mend your drawing1    
freehand1 faithfully by the copy4       
,these remarks do not1 in a great       
degree1 apply to the case of hard       
outlines specially prepared for literal 
translation4 ,i am speaking of those    
where the outline is1 in the artistic   
sense1 sensitive and refined1 as in a   
,botticelli painting or a ,holbein      
drawing1 and to copy these well you want
 an easel4  ,for this small work any    
kind of frame with a sheet of glass in  
it1 and a ledge to rest your bit of     
glass on and a leg to stand out behind1 
will do1 and by all means get it made   
7fig4 #bc72 but do not spend too much on
 it1 for later on you will want a bigger
 and more complicated thing1 which will 
be described in its proper place--that  
is to say1 when we come to it2 and we   
shall come to it when we come to deal   
with work made up of a number of pieces 
of glass1 as all windows must be4       
,illustration3 ,,fig4 #bc4  ,this that  

you have now1 not being a window but a  
bit of glass to practise on1 what ,i    
have described above will do for it4  ,a
 note to be always industrious and to   
work with all your might4--,i advise you
 to put this work on an easel2 but this 
is not the way such work is usually     
done2--where the work is done as a task 
7alas1 that it could ever be so67 it is 
held listlessly in the left hand while  
touched with the right2 but no artist   
can afford to be at this disadvantage1  
or at any disadvantage4  ,fancy a       
surgeon having to hold the limb with one
 hand while he uses the lancet with the 
other1 or an astronomer1 while he makes 
his measurement1 bunglingly moving his  
telescope by hand while he pursues his  
star1 instead of having it driven by the
 clock6  ,you cannot afford to be less  
keen or less in earnest1 and you want   
both hands free--ay6 more than          
this--your whole body free3 you must not
 be lazy and sit glued to your stool2   
you must get up and walk backwards and  

forwards to look at your work4 ,do you  
think art is so easy that you can afford
 to saunter over it8  ,do1 ,i beg you1  
dear reader1 pay attention to these     
words2 for it is true 7though strange7  
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 order4 ,you shall find
 a man going on painting all day1       
working in a messing1 muddling          
way--wasting time and money--because his
 pigment has not been covered up when he
 left off work yesterday1 and has got   
dusty and full of hairs2 another will   
waste hour after hour1 cricking his neck
 and squinting at his work from a       
corner1 when thirty seconds and a little
 wit would move his work where he would 
get a good light and be comfortable2 or 
he will work with bad tools and grumble1
 when five minutes would mend his tools 

and make him happy4  ,an artist's       
work--any artist's1 but especially a    
glass-painter's--should be just as      
finished1 precise1 clean1 and alert as a
 surgeon's or a dentist's4 ,have you not
 in the case of these 7when the affair  
has not been too serious7 admired the   
way in which the cool1 white hands move 
about1 the precision with which the     
finger-tips take up this or that1 and   
when taken up use it just so1 neither   
more nor less3 the spotlessness and     
order and perfect finish of every tool  
and material1 from those fearsome things
 which 7though you prefer not to dwell  
on their uses7 you cannot help admiring1
 down to the snowy cotton-wool daintily 
poked ready through the holes in a      
little silver beehive8 ,just such skill1
 handling1 and precision1 and just such 
perfection of instruments1 ,i urge as   
proper to painting4  ,what ,tools are   
wanted to complete the ,outline4--,i    
will now describe those tools which you 
want at this stage1 that is1 to mend    

your outline with4  ,illustration3      
,,fig4 #bd4  ,you want the brush which  
you used in the first instance to paint 
it with1 and that has already been      
described2 but you also want points of  
various fineness to etch it away with   
where it is too thick2 these are the    
needle and the stick 7fig4 #bd72 any    
needle set in a handle will do1 but if  
you want it for fine work1 take care    
that it be sharp4 ,how foolish1 you say2
 as if you need tell us that4 ,on the   
contrary1--nine people out of ten need  
telling1 because they go upon the       
assumption that a needle must be sharp1 
as sharp as a needle1 and cannot need   
sharpening1--and they will go on for    
#cfe days in a year wondering why a     
needle 7which must be sharp7 should take
 out so much coarser a light than they  
want4  ,now as to sticks2 if you make a 
point of soft wood it lasts for three or
 four touches and then gets furred at   
the point1 and if of very hard wood it  
slips on the glass4 ,bamboo is good2 but

 the best of all--that is to say for    
broad stick-lights--is an old1 sable    
oil-colour brush1 clogged with oil and  
varnish till it is as hard as horn and  
then cut to a point2 this clings a      
little as it goes over the glass1 and is
 most comfortable to use4  ,i have no   
doubt that other materials may be       
equally good1 celluloid or horn1 for    
example2 the student must use his own   
ingenuity on such a simple matter4  ,how
 to ,complete the ,outline4--,with the  
tools above described complete the      
outline--by adding colour with the brush
 where the lines are too fine1 and by   
taking it away with needle or stick     
where they are too coarse2 make it by   
these means exactly like the copy1 and  
this is all you need do4 ,but as an     
example of the degree of correctness    
attainable 7and therefore to be         
demanded7 are here inserted two         
illustrations 7figs4 #be and #bf71 one  
of the example used1 and the other of a 
copy made from it by a young apprentice4

  ,illustration3 ,,fig4 #be4            
,illustration3 ,,fig4 #bf4     ,,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 ,master4   ,take your camel hair     
matting-brush 7fig4 #bg or #bh72 fill it
 with the pigment1 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 7fig4     
#bi74  ,have your badger ready at hand  
and very clean1 for if there is any     
pigment on it from former using1 that   
will spoil the very delicate operation  
you are now to perform4  ,now rapidly1  
but with a very light hand1 lay an even 
wash over the whole piece of glass on   
which the outline is painted2 use       
vertical strokes1 and try to get the    
touches to just meet each other without 

overlapping2 but there is a very        
important thing to observe in holding   
the brush4 ,if you hold it so 7fig4 #cj7
 you cannot properly regulate the       
pressure1 and also the pigment runs away
 downwards1 and the brush gets dry at   
the point2 you must hold it so 7fig4    
#ca71 then the curve of the hair makes  
the brush go lightly over the surface1  
while also1 the body of the brush being 
pointed downwards1 the point you are    
using is always being refilled4         
,illustration3 ,,fig4 #bg4              
,illustration3 ,,fig4 #bh4              
,illustration3 ,,fig4 #bi4  ,it takes a 
very skilful workman indeed to put the  
strokes so evenly side by side that the 
result looks flat and not stripy2 indeed
 you can hardly hope to do so1 but you  
can get rid of what stripes there are by
 taking your badger and stabbing the    
surface of the painting with it very    
rapidly1 moving it from side to side so 
as never to stab twice in the same spot2
 this by degrees makes the colour even1 

by taking a little off the dark part and
 putting it on the light2 but the result
 will look mottled1 not flat and smooth4
 ,sometimes this may be agreeable1 it   
depends on what you are painting2 but if
 you wish it to be smooth1 just give a  
last stroke or two over the whole glass 
sideways1 that is to say1 holding the   
badger so that it stands quite          
perpendicular to the glass1 move it1    
always still perpendicular1 across the  
whole surface4 ,you must not sway it    
from side to side1 or kick it up at the 
end of each stroke like a man           
white-washing2 it must move along so    
that the points of the hairs are all    
just lightly touching the glass all the 
time4  ,illustration3 ,,fig4 #cj4  ,how 
to ,ensure the ,drawing of a ,face being
 kept ,correct while ,painting4--,if you
 adopt the plan of doing the first      
painting over an unfired outline1 you   
must be very careful that the outline is
 not brushed out of drawing in the      
process4 ,if you have sufficient skill  

it need not be so1 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 softened1 and not 
blurred or moved from its place4 ,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
 paper1 and arrange three or four       
well-marked points1 such as the corner  
of the mouth1 the pupil of the eye1 and 
some point on the back of the head or   
neck1 so that these cannot possibly     
shift1 and that you may be able at any  
time to get the tracing back into its   
proper place1 both on the cartoon and on
 the piece of glass on which you are to 
paint the head4 ,on which piece of glass
 also your first care should be that    
these three or four points should be    
clearly marked and unmovable2 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 glass1 and so seeing that      
nothing has shifted its place4          
,illustration3 ,,fig4 #ca4  ,it requires
 a good deal of patience and practice to
 lay matt successfully over unfired     
outline4 ,it is a question of the amount
 and quality of the gum1 the condition  
of your brush1 even the dryness or      
dampness of the air4 ,you must try what 
degree of gum suits you best1 both in   
the outline and in the matt which you   
are to pass over it4 ,try it a good many
 times on a slab of plain glass or on   
the plate of your easel first1 before   
you try on your painting4 ,of course    
it's a much easier thing to matt        
successfully over a small piece than    
over a large4 ,a head as big as the palm
 of your hand is not a very severe test 
of your powers2 but in one as large as  
the whole of your hand1 say a head seven
 inches from crown to chin1 the problem 

is increased quite immeasurably in      
difficulty4 ,the real test is being able
 to produce in glass a real facsimile of
 a head by ,botticelli or ,holbein1 and 
when you can do that satisfactorily you 
can do anything in glass-painting4  ,do 
not aim to get too much in the first    
painting1 at any rate not till you have 
had long practice4 ,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 down1 raw and hard1 upon the    
bare1 cold glass4 ,after all it is a    
common practice to fire the outline     
separately1 and anything beyond this    
that you get upon the glass for first   
fire is so much to the good4  ,but      
besides the quality of the gum you will 
find sometimes differences in the       
quality or condition of the pigment4 ,it
 may be insufficiently ground2 in which 
case the matt1 in passing over1 will    
rasp away every vestige of the outline1 
so delicate a matter it is4  ,you can   

tell when colour is not ground          
sufficiently by the way it acts when    
laid as a vertical wash4 ,lay a wash1   
moist enough to run1 on a bit of your   
easel-slab2 it will run down1 making a  
sort of seaweed-looking pattern--clear  
lanes of light on the glass with a black
 grain at the lower end4 ,those are the 
bits of unground material3 under a      
#ajj-;diameter microscope they look like
 chunks of ironstone or road metal1 or  
of rusty iron1 and you'll soon          
understand why they have scratched away 
your tender outline4  ,you must grind   
such colour till it is smooth1 and an   
old-fashioned granite muller is the     
thing1 not a glass one4  ,now1 after all
 this1 how am ,i to excuse the paradox  
that it is possible to have the colour  
ground too fine6 ,all one can say is    
that you find it so4 ,it can be so fine 
that it seems to slip about in a thin1  
oily kind of way4  ,it's all as you find
 it2 the differences of a craft are     
endless2 there is no forecasting of     

everything1 and you must buy your       
experience1 like everybody else1 and    
find what suits you1 learning your skill
 and your materials side by side4  ,now 
these are the chief processes of        
painting1 as far as laying on colour    
goes2 but you still have much of your   
work before you1 for the way in which   
light and shade is got on glass is      
almost more in taking off than in       
putting on4 ,you have laid your dark    
matt all over the glass evenly2 now the 
next thing is to remove it wherever you 
want light or half-tone4  ,illustration3
 ,,fig4 #cb4  ,how to ,finish a ,shaded 
,painting out of the ,even ,matt4--,this
 is done in many ways1 but chiefly with 
those tools which painters call scrubs1 
which are oil-colour hog-hair brushes1  
either worn down by use1 or rubbed down 
on fine sandpaper till they are as stiff
 as you like them to be4 ,you want them 
different in this3 some harder1 some    
softer2 some round1 some square1 and of 
various sizes 7figs4 #cb and #cc71 and  

with these you brush the matt away      
gently and by degrees1 and so make a    
light and shade drawing of it4 ,it is   
exactly like the process of mezzotint1  
where1 after a surface like that of a   
file has been laboriously produced over 
the whole copper-plate1 the engraver    
removes it in various degrees1 leaving  
the original to stand entirely only for 
the darkest of all shadows1 and removing
 it all entirely only in the highest    
lights4  ,illustration3 ,,fig4 #cc4     
,there is nothing for this but practice2
 there is nothing more to tell about it2
 as the conjurers say1 ,that's how it's 
done4 ,you will find difficulties1 and  
as these occur you will think this a    
most defective book4 ,why on earth1 you 
will say1 didn't he tell us about this1 
about that1 about the other8  ,ah1 yes6 
it is a most defective book2 if it were 
not1 ,i would have taken good care not  
to write it4 ,for the worst thing that  
could happen to you would be to suppose 
that any book can possibly teach you any

 craft1 and take the place of a master  
on the one hand1 and of years of        
practice on the other4  ,this book is   
not intended to do so2 it is written to 
give as much information and to arouse  
as much interest as a book can2 with the
 hope that if any are in a position to  
wish to learn this craft1 and have not  
been brought up to it1 they may learn1  
in general1 what its conditions are1 and
 then be able to decide whether to carry
 it further by seeking good teaching1   
and by laying themselves out for a      
patient course of study and practice and
 many failures and experiments4 ,while1 
with regard to those already engaged in 
glass-painting1 it is of course intended
 to arouse their interest in1 and to    
give them information upon1 those other 
branches of their craft which are not   
generally taught to those brought up as 
glass-painters4     ,,chapter ,v        
,cutting 7advanced7--,the ,ideal        
,cartoon--,the ,cut-line--,setting the  
,cartoon--,transferring the ,cut-line to

 the ,glass--,another ,way--,some       
,principles of ,taste--,countercharging4
   ,we have only as yet spoken of the   
processes of cutting and painting in    
themselves1 and as they can be practised
 on a single bit of glass2 but now we   
must consider them as applied to a      
subject in glass where many pieces must 
be used4 ,this is a different matter    
indeed1 and brings in all the questions 
of taste and judgment which make the    
difference between a good window and an 
inferior one4 ,now1 first1 you must know
 that every differently coloured piece  
must be cut out by itself1 and therefore
 must have a strip of lead round it to  
join it to the others4  ,draw a cartoon 
of a figure1 bearing this well in mind3 
you must draw it in such a simple and   
severe way that you do not set          
impossible or needlessly difficult tasks
 to the cutter4 ,look now1 for example1 
at the picture in ,plate ,v4 by ,mr4    
,selwyn ,image--how simple the cutting6 
,you think it1 perhaps1 too severe8 ,you

 do not like to see the leads so        
plainly4 ,you would like better         
something more after the ,munich school1
 where the lead line is disguised or    
circumvented4 ,if so1 my lesson has gone
 wrong2 but we must try and get it      
right4  ,you would like it better       
because it is more of a picture2        
exactly1 but you ought to like the other
 better because it is more of a window4 
,yes1 even if all else were equal1 you  
ought to like it better1 because the    
lead lines cut it up4 ,keep your        
pictures for the walls and your windows 
for the holes in them4  ,but all else is
 not equal3 and1 supposing you now      
standing before a window of the kind ,i 
speak of1 ,i will tell you what has been
 sacrificed to get this picture-window  
like a picture4 ,stained-glass has been 
sacrificed2 for this is not             
stained-glass1 it is painted glass--that
 is to say1 it is coloured glass ground 
up into powders and painted on to white 
sheets of glass3 a poor1 miserable      

substitute for the glorious colour of   
the deep amethyst and ruby-coloured     
glasses which it pretends to ape4 ,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
 them4 ,you will love them so much that 
you will even get to like the severe    
lead line which announces them for what 
they are4  ,but you must get to         
reasonably love it as a craft           
limitation1 a necessity1 a thing which  
places bounds and limits to what you can
 do in this art1 and prevents tempting  
and specious tricks4  ,how to ,make a   
,cut-line4--,but now1 all this being    
granted1 how are we to set about getting
 the pieces cut8 ,first of all1 ,i would
 say that it is always well to draw     
most1 if not all1 of the necessary lead 
lines on the cartoon itself4 ,by the    
necessary lead lines ,i mean those which
 separate different colours2 for you    
know that there must be a lead line     
between these4 ,then1 when these are    

drawn1 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 pieces4 ,if you do not 
want your cartoon afterwards for any    
other purpose you may as well do so3    
that is1 first set the cartoon if it is 
in charcoal or chalk1 and then try the  
places for these lead lines lightly in  
charcoal over the drawing3 working thus1
 you can dust them away time after time 
till they seem right to you1 and then   
either set them also or not as you      
choose4  ,a good1 useful setting-mixture
 for large quantities is composed by    
mixing equal parts of white polish and  
methylated spirit2 allowing it to settle
 for a week1 and pouring off all that is
 clear4 ,it is used in the ordinary way 
with a spray diffuser1 and will keep for
 any length of time4  ,the next step is 
to make what is called the cut-line4 ,to
 do this1 pin a piece of tracing-cloth  
over the whole cartoon2 this can be got 

from any artist's-colourman or large    
stationer4 ,pin it over the cartoon with
 the dull surface outwards1 and with a  
soft piece of charcoal draw lines #a_/af
 to #a_/h of an inch wide down the      
centre of all the lead lines3 remove the
 cloth from the cartoon1 and if any of  
the lines look awkward or ugly1 now that
 you see them by themselves undisguised 
by the drawing below1 alter them1 and   
then1 finally1 with a long1 thin brush  
paint them in1 over the charcoal1 with  
water-colour lamp-black1 this time a    
true sixteenth of an inch wide4 ,don't  
dust the charcoal off first1 it makes   
the paint cling much better to the shiny
 cloth4  ,when this is done1 there is a 
choice of three ways for cutting the    
glass4 ,one is to make shaped pieces of 
cartridge-paper as patterns to cut each 
bit of glass by2 another is to place the
 bits of glass1 one by one1 over the    
cut-line and cut freehand by the line   
you see through the glass4 ,this latter 
process needs no description1 but you   

cannot employ it for dark glasses       
because you cannot see the line through3
 for this you must employ one of the    
other methods4  ,how to ,transfer the   
,cutting-line on to the ,glass4--,take a
 bit of glass large enough to cut the   
piece you want2 place it1 face upwards1 
on the table2 place the cut-line over it
 in its proper place1 and then slip     
between them1 without moving either1 a  
piece of black transfer paper3 then1    
with a style or hard pencil1 trace the  
cutting-line down on to the glass4 ,this
 will not make a black mark visible on  
the glass1 it will only make a grease   
mark1 and that hardly visible1 not      
enough to cut by2 but take a soft       
dabber--a lump of cotton-wool tied up in
 a bit of old handkerchief--and with    
this1 dipped in dry whitening or        
powdered white chalk1 dab the glass all 
over2 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 paper2 and by this 

you can cut very comfortably4  ,but a   
third way is to cut the shape of each   
piece of glass out in cartridge-paper2  
and to do this you put the cut-line down
 over a sheet of continuous-cartridge or
 cartoon paper1 as it is called1 and    
press along all the lines with a style  
or hard pencil1 so as to make a furrow  
on the paper beneath2 then1 after       
removing the cut-line1 you place a sheet
 of ordinary window-glass below the     
paper and cut out each piece1 between   
the furrows leaving a full #a_/af of an 
inch4 ,this sixteenth of an inch        
represents the heart or core of the     
future lead2 it is the distance which   
the actual bits of glass lie one from   
the other in the window4 ,you must use a
 very sharp penknife1 and you will find 
that1 cutting against glass1 each shape 
will have quite a smooth edge2 and round
 this you can cut with your diamond4    
,this method1 which is far the most     
accurate and craftsmanly way of cutting 
glass1 is best used with the actual     

diamond3 in that case you feel the edge 
of the paper all the time with the      
diamond-spark2 but in cutting with the  
wheel you must not rest against the edge
 of the paper2 otherwise you will be    
sure to cut into it4 ,now1 whichever of 
all these processes you employ1 remember
 that there must be a full #a_/af of an 
inch left between each piece of glass   
and all its neighbours4  ,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 thickness3 the 
closer the glass fits to this the       
better1 but no part of the glass must go
 nearer to its neighbour than this1     
otherwise the work will be pressed      
outwards1 and you will not be able to   
get the whole of the panel within its   
proper limits4  ,illustration3 ,,fig4   
#cd  ,fig4 #cd is an illustration of    
various kinds and sizes of lead2 showing
 some with the glass inserted in its    
place4 ,by all means make your leads    
yourself1 for many of those ready made  

are not lead at all1 or not pure lead4  
,get the parings of sheet lead from a   
source you can trust1 and cast them     
roughly in moulds as at fig4 #ce4 ,fig4 
#cf is the shears by which the strips   
may be cut2 fig4 #cg is the lead-mill or
 vice by which they are milled and run  
into their final shape2 fig4 #ch the    
cheeks or blocks through which the lead 
passes4 ,the working of such an         
instrument is a thing that is understood
 in a few minutes with the instrument   
itself at hand1 but it is cumbrous to   
explain in writing1 and not worth while2
 since if you purchase such a thing1    
obviously the seller will be there to   
explain its use4 ,briefly1--the handle  
turns two wheels with milled edges      
#a_/af of an inch apart2 which1 at one  
motion1 draw the lead between them1 mill
 it1 and force it between the two cheeks
 7fig4 #ch71 which mould the outside of 
the lead in its passage4 ,these combined
 movements1 by a continuous pressure1   
squeeze out the strip of lead into about

 twice its length2 correspondingly      
decreasing its thickness and finishing  
it as it goes4  ,illustration3 ,,fig4   
#ce4  ,illustration3 ,,fig4 #cf4        
,illustration3 ,,fig4 #cg4  ,some       
principles of good taste and common     
sense with regard to the cutting up of a
 ,window2 according to which the        
,cartoon and ,design must be            
modified4--,never disguise the lead     
line4 ,cut the necessary parts first1 as
 ,i said before2 cut the optional parts 
simply2 thinking most of                
craft-convenience1 and not much of      
realism4  ,illustration3 ,,fig4 #ch4    
,do not1 however1 go to the extent of   
making two lead lines cross each other4 
,fig4 #ci shows the two kinds of joint1 
,a being the wrong one 7as ,i hold71 and
 ,b the right one2 but1 after all1 this 
is partly a question of taste4  ,do not 
cut borders and other minor details into
 measured spaces2 cut them hap-hazard4  
,illustration3 ,,fig4 #ci4  ,do not cut 
leafage too much by the outlines of the 

groups of leaves--or wings by the       
outlines of the groups of feathers4  ,do
 not outline with lead lines any forms  
of minor importance4  ,do not allow the 
whole of any figure to cut out dark     
against light1 or light against dark2   
but if the figure is ever so bright1 let
 an inch or two of its outline tell out 
as a dark against a spot of still       
brighter light2 and if it is ever so    
dark1 be it red or blue as strong as may
 be1 let an inch or two of its outline  
tell out against a still stronger dark  
in the background1 if you have to paint 
it pitch-black to do so4  ,by this      
countercharging 7as heralds say71 your  
composition will melt together with a   
pleasing mystery2 for you must always   
remember that a window is1 after all1   
only a window1 it is not the church1 and
 nothing in it should stare out at you  
so that you cannot get away from it2    
windows should dream1 and should be so  
treated as to look like what they are1  
the apertures to admit the light2       

subjects painted on a thin and brittle  
film1 hung in mid-air between the light 
and the dark4     ,,chapter ,,vi        
,painting                               
7advanced7--,waxing-up--,cleanliness--,f
urther ,methods of                      
,painting--,stipple--,dry               
,stipple--,film--,effects of            
,distance--,danger      of              
,over-,painting--,frying4   ,i have     
mentioned all these points of judgment  
and good taste we have just finished    
speaking of1 because they are matters   
that must necessarily come before you at
 the time you are making the cartoon1   
the preliminary drawing of the window1  
and before you come to handle the glass 
at all4  ,but it is now necessary to    
tell you how the whole of the glass1    
when it is cut1 must be fixed together1 
so that you can both see it and paint   
upon it as a whole picture4 ,this is    
done as follows3--  ,first place the    
cut-line 7for the making of which you   
have already had instructions7 face     

upwards on the bench1 and over it place 
a sheet of glass1 as large at least as  
the piece you mean to paint4 ,thick     
window-glass1 what glass-makers call    
thirty-two ounce sheet--that is1 glass  
that weighs about thirty-two ounces to  
the square foot--will do well enough for
 very small subjects1 but for anything  
over a few square feet1 it is better to 
use thin plate-glass4 ,this is          
expensive1 but you do not want the best2
 what is called patent plate does quite 
well1 and cheap plate-glass can often be
 got to suit you at the salvage stores1 
whither it is brought from fires4       
,having laid your sheet of glass down   
upon the cut-line1 place upon it all the
 bits of glass in their proper places2  
then take beeswax 7and by all means let 
it be the best and purest you can get2  
get it at a chemist's1 not at the       
oil-shop71 and heat a few ounces of it  
in a saucepan1 and when all of it is    
melted--not before1 and as little after 
as may be--take any convenient tool1 a  

penknife or a strip of glass1 and1      
dipping it rapidly into the melted wax1 
convey it in little drops to the points 
where the various bits of glass meet    
each other1 dropping a single drop of   
wax at each joint4 ,it is no advantage  
to have any extra drops along the sides 
of the bits2 if each corner is properly 
secured1 that is all that is needed     
7fig4 #dj74  ,some people use a little  
resin or tar with the wax to make it    
more brittle1 so that when the painting 
is finished and the work is to be taken 
down again off the plate1 the spots of  
wax will chip off more easily4 ,i do not
 advise it4 ,boys in the shop who are   
just entering their apprenticeship get  
very skilful1 and quite properly so1 in 
doing this work2 waxing up yard after   
yard of glass1 and never dropping a spot
 of wax on the surface4  ,it is much to 
be commended3 all things done in the    
arts should be done as well as they can 
be done1 if only for the sake of        
character and training2 but in this case

 it is a positive advantage that the    
work should be done thus cleanly1       
because if a spot of wax is dropped on  
the surface of the glass that is to be  
painted on1 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 adhere4           
,illustration3 ,,fig4 #dj4  ,for the    
same reason the wax-saucepan should be  
kept very clean1 and the wax frequently 
poured off1 and all sediment thrown     
away4 ,a bit of cotton-fluff off the    
duster is enough to drag a lump out on  
the end of the waxing-tool1 which1      
before you have time to notice it1 will 
be dribbling over the glass and perhaps 
spoiling it2 for you must note that     
sometimes it is necessary to re-wax down
 unfired work1 which a drop of wax the  
size of a pinhole1 flirted off from the 
end of the tool1 will utterly ruin4 ,how
 important1 then1 to be cleanly4  ,and  

in this matter of removing such spots   
from fired work1 do please note that you
 should use the knife and the duster    
alternately for each spot4 ,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 time1 and the merest fraction 
of trouble2 and these are ill saved     
indeed at the cost of doing the work    
ill4 ,and you are sure to do it so1 for 
when the spot is scraped off it is very 
difficult to see where it was2 you are  
sure to miss some1 in going over the    
glass with a duster1 and you will       
discover them again1 to your cost and   
annoyance1 when you matt over them for  
the second painting3 and1 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 shading1 compelling you  
to break off your work and do now what  
should have been done before you began  
to paint4  ,but the best plan of all is 

to avoid the whole thing by doing the   
work cleanly from the first4 ,and it is 
quite easy2 for all you have to do is to
 carry the tool horizontally till it is 
over the spot where you want the wax1   
and then1 by a tilt of the hand1 slide  
the drop into its place4  ,further      
,methods of ,painting4--,there are two  
chief methods of treating the matt--one 
is the stipple1 and the other the film  
or badgered matt4  ,the ,stipple4--,when
 you have put on your matt with the     
camel-hair brush1 take a stippling brush
 7fig4 #da7 and stab the matt all over  
with it while it is wet4 ,a great       
variety of texture can be got in this   
way1 for you may leave off the process  
at any moment2 if you leave it off soon1
 the work will be soft and blurred1 for1
 not being dry1 the pigment will spread 
again as soon as you leave off3 but1 if 
you choose1 you can go on stippling till
 the whole is dry1 when the pigment will
 gather up into little sharp spots like 
pepper1 and the glass between them will 

be almost clear4 ,you must bear in mind 
that you cannot use scrubs over work    
like the last described1 and cannot use 
them to much advantage over stipple at  
all4 ,you can draw a needle through2 but
 as a rule you do not want to take      
lights out of stipple1 since you can    
complete the shading in the single      
process by stippling more or less       
according to the light and shade you    
want4  ,illustration3 ,,fig4 #da4  ,a   
very coarse form of the process is dry  
stippling1 where you stipple straight on
 to the surface of the clear glass1 with
 pigment taken up off the palette by the
 stippling brush itself3 for coarse     
distant work this may be sometimes      
useful4  ,now as to film4 ,we have      
spoken of laying on an even matt and    
badgering it smooth2 and you can use    
this with a certain amount of stipple   
also with very good effect2 but you are 
to notice one great rule about these two
 processes1 namely1 that the same amount
 of pigment obscures much more light    

used in film than used in stipple4      
,light spreads as it comes through      
openings2 and a very little light let1  
in pinholes1 through a very dark matt1  
will1 at a distance1 so assert itself as
 to prevail over the darkness of the    
matt4  ,it is really very little use    
going on to describe the way the colour 
acts in these various processes2 for its
 behaviour varies with every degree of  
all of them4 ,one may gradually acquire 
the skill to combine all the processes1 
in all their degrees1 upon a single     
painting2 and the only way in which you 
can test their relative value1 either as
 texture or as light and shade1 is to   
constantly practise each process in all 
its degrees1 and see what results each  
has1 both when seen near at hand and    
also when seen from a distance4 ,it is  
useless to try and learn these things   
from written directions2 you must make  
them your own1 as precious secrets1 by  
much practice and much experiment1      
though it will save you years of both to

 learn under a good master4  ,but this  
question of distance is a most important
 thing1 and we must enlarge upon it a   
little and try to make it quite clear4  
,glass-painting is not like any other   
painting in this respect4  ,let us say  
that you see an oil-painting--a         
portrait--at the end of the large room  
in some big ,exhibition4 ,you stand near
 it and say1 ,yes1 that is the ,king 7or
 the ,commander-in-,chief71 a good      
likeness2 however do they do those      
patent-leather boots8 ,but after you    
have been down one side of the room and 
turn round at the other end to yawn1 you
 catch sight of it again2 and still you 
say1 ,yes1 it's a good likeness1 and    
really those boots are very clever6 ,but
 if it had been your own painting on    
glass1 and sitting at your easel you had
 at last said1 ,yes1--now it's like the 
drawing--that's the expression1 you     
could by no means safely count on being 
able to say the same at all distances4  
,you may say it at ten feet off1 at     

twenty1 and yet at thirty the shades may
 all gather together into black patches2
 the drawing of the eyelids and eyes may
 vanish in one general black blot1 the  
half-tones on the cheeks may all go to  
nothing4 ,these actual things1 for      
instance1 will be the result if the     
cheeks are stippled or scrubbed1 and the
 shade round the eyes left as a         
film--ever so slight a film will do it4 
,seen near1 you see the drawing through 
the film2 but as you go away the light  
will come pouring stronger and stronger 
through the brush or stipple marks on   
the cheeks1 until all films will cut out
 against it like black spots1 altering  
the whole expression past recognition4  
,try this on simple terms3--  ,do a face
 on white glass in strong outline only3 
step back1 and the face goes to nothing2
 strengthen the outline till the forms  
are quite monstrous--the outline of the 
nose as broad as the bridge of          
it--still1 at a given distance1 it goes 
to nothing2 the expression varies every 

step back you take4 ,but now1 take a    
matting brush1 with a film so thin that 
it is hardly more than dirty water2 put 
it on the back of the glass 7so as not  
to wash up your outline72 badger it     
flat1 so as just to dim the glass less  
than ground glass is dimmed2--and you   
will find your outline look almost the  
same at each distance4 ,it is the pure  
light that plays tricks1 and it will    
play them through a pinhole4  ,and now1 
finally1 let us say that you may do     
anything you can do in the painting of  
glass1 so long as you do not lay the    
colour on too thick4 ,the               
outline-touches should be flat upon the 
glass1 and above all things should not  
be laid on so wet1 or laid on so thick1 
that the pigment forms into a drop at   
the end of the touch2 for this drop1 and
 all pigment that is thick upon the     
glass like that1 will fry when it is put
 into the kiln3 that is to say1 being so
 thick1 and standing so far from the    
surface of the glass1 it will fire      

separately from the glass itself and    
stand as a separate crust above it1 and 
this will perish4  ,plate ,,ix4 shows   
the appearance of the bubbles or        
blisters in a bit of work that has      
fried1 as seen under a microscope of #bj
 diameters2 and if you are inclined to  
disregard the danger of this defect as  
seen of its natural size1 when it is a  
mere roughness on the glass1 what do you
 think of it now8 ,you can remove it at 
once by scraping it with a knife2 and   
indeed1 if through accident a touch here
 and there does fry1 it is your only    
plan to so remove it4 ,all you can      
scrape off should be scraped off and    
repainted every time the glass comes    
from the kiln2 and that brings us to the
 important question of firing4          
,,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 ,kiln4   ,the way 
in which the painting is attached to the
 glass and made permanent is by firing  
it in a kiln at great heat1 and thus    
fusing the two together4  ,simple enough
 to say1 but who is to describe in      
writing this process in all its forms8  
,for there is1 perhaps1 nothing in the  
art of stained-glass on which there is  
greater diversity of opinion and        
diversity of practice than this matter  
of firing4 ,but let us make a beginning 
by saying that there are1 it may be     
said1 three chief modifications of the  
process4  ,first1 the use of the old1   
closed1 coke or turf kiln4  ,second1 of 
the closed gas-kiln4  ,and third1 of the
 open gas-kiln4  ,the first consists of 
a chamber of brick or terra-cotta1 in   
which the glass is placed on a bed of   
powdered whitening1 on iron plates1 one 
above another like shelves1 and the     

whole enclosed in a chamber where the   
heat is raised by a fire of coke or     
peat4  ,this1 be it understood1 is a    
slow method4 ,the heat increases        
gradually1 and applies to the glass what
 the kiln-man calls a good1 soaking     
heat4 ,the meaning of this expression1  
of course1 is that the gradual heat     
gives time for the glass and the pigment
 to fuse together in a natural way1 more
 likely to be good and permanent in its 
results than a process which takes a    
twentieth part of the time and which    
therefore 7it is assumed7 must wrench   
the materials more harshly from their   
nature and state4  ,there are1 it must  
be admitted1 one or two things to be    
said for this view which require        
answering4  ,first1 that this form of   
kiln has the virtue of being old2 for in
 such a thing as this1 beyond all manner
 of doubt1 was fired all the splendid   
stained-glass of the ,middle ,ages4     
,second1 that by its use one is entirely
 preserved from the dangers attached to 

the misuse of the gas-kiln4  ,but the   
answers to these two things are--       
,first1 that the method employed in the 
,middle ,ages did not invariably ensure 
permanence4 ,any one who has studied    
stained-glass must be familiar with     
cases in which ancient work has faded or
 perished4  ,the second claim is        
answered by the fact1 ,i think beyond   
dispute1 that all objections to the use 
of the gas-kiln would be removed if it  
were used properly2 it is not the use of
 it as a process which is in itself     
dangerous1 but merely the misuse of it4 
,people must be content with what is    
reasonable in the matter2 and1 knowing  
that the gas-kiln is spoken of as the   
quick-firing kiln1 they must not insist 
on trying to fire too quick4  ,now ,i   
have the highest authority 7that of the 
makers of both kiln and pigment7 to     
support my own conviction1 founded on my
 own experience1 in what ,i am here     
going to say4  ,observe1 then1 that up  
to the point at which actual fusion     

commences--that is1 when pigment and    
glass begin to get soft--there is no    
advantage in slowness1 and therefore    
none in the use of fuel as against      
gas--no possible disadvantage as far as 
the work goes3 only it is time wasted4  
,but where people go wrong is in not    
observing the vital importance of       
proceeding gently when fusion does      
commence4 ,for in the actual process of 
firing1 when fusion is about to         
commence1 it is indeed all-important to 
proceed gently2 otherwise the work will 
fry1 and1 in fact1 it is in danger from 
a variety of causes4 ,make it1 then1    
your practice to aim at twenty to       
twenty-five minutes1 instead of ten or  
twelve1 as the period during which the  
pigment is to be fired1 and regulate the
 amount of heat you apply by that       
standard4 ,the longer period of moderate
 heat means safety4 ,the shorter period 
of great heat means danger1 and rather  
more than danger4  ,fig4 #db is the     
closed gas-kiln1 where the glass is     

placed in an enclosed chamber2 fig4 #dc 
is the open gas-kiln1 where the gas     
plays on the roof of the chamber in     
which the glass lies2 fig4 #dd shows    
this latter4 ,but no written description
 or picture is really sufficient to make
 it safe for you to use these gas-kilns4
 ,you would be sure to have some serious
 accident1 probably an explosion2 and as
 it is absolutely necessary for you to  
have instruction1 either from the maker 
or the experienced user of them1 it is  
useless for me to tell lamely what they 
could show thoroughly4 ,i shall         
therefore leave this essentially        
technical part of the subject1 and1     
omitting these details1 speak of the few
 principles which regulate the firing of
 glass4  ,illustration3 ,,fig4 #db4     
,illustration3 ,,fig4 #dc4              
,illustration3 ,,fig4 #dd4  ,and the    
first is to fire it enough4 ,whatever   
pigment you use1 and with whatever flux1
 none will be permanent if the work is  
under-fired2 indeed ,i believe that     

under-firing is far more the cause of   
stained-glass perishing than the use of 
untrustworthy pigment or flux2 although 
it must always be borne in mind that the
 use of a soft pigment1 which will fire 
beautifully at a low heat1 with a fine  
gloss on the surface1 is always to be   
avoided4 ,the pigment is fused1 no      
doubt2 but is it united to the glass8   
,what one would like to have would be a 
pigment whose own fusing-point was the  
same1 or about the same1 as that of the 
glass itself1 so that the surface1 at   
least1 of the piece of glass softens to 
receive it and lets it right down into  
itself4 ,you should never be satisfied  
with the firing of your glass unless it 
presents two qualifications3 first1 that
 the surface of the glass has melted and
 begun to run together2 and second1 that
 the fused pigment is quite glossy and  
shiny1 not the least dull or rusty      
looking1 when the glass is cool4  ,what 
one would like to have4  ,and can you   
not get it8  ,well1 yes6 but you want   

experience and constant watchfulness--in
 short1 rule of thumb4 ,for every       
different glass differs in hardness1 and
 you never know1 except by memory and   
constant handling of the stuff1 exactly 
what your materials are going to do in  
the kiln2 for as to standardising1 so as
 to get the glass into any known        
relation with the pigment in the matter 
of fusing1 the thing has never1 as far  
as ,i know1 been attempted4 ,it probably
 could not be done with regard to all1  
or even many1 glasses--nor need it2     
though perhaps it might be well if a    
nearer approach to it could be achieved 
with regard to the manufacture of the   
lighter tinted glasses1 the whites      
especially1 on which the heads and hands
 are painted1 and where consequently it 
is of such vital importance that the    
painting should have careful justice    
done to it1 and not lose in the firing  
through uncertainty with regard to      
conditions4  ,nevertheless1 if you      
observe the rule to fire sufficiently1  

the worst that can happen is a          
disappointment to yourself from the     
painting having to an unnecessary extent
 fired away in the kiln4 ,you must be   
patient1 and give it a second painting2 
and as to the rule of thumb1 it is      
surprising how one gets to know1 by     
constant handling the stuff1 how the    
various glasses are going to behave in  
the fire4 ,it was the method of the     
,middle ,ages which we are so apt to    
praise1 and there is much to be said for
 practical1 craftsmanly experience1     
especially in the arts1 as against a    
system of formulas based on scientific  
knowledge4 ,it would be a pity indeed to
 get rid of the accidental and all the  
delight which it brings1 and we must    
take it with its good and bad4  ,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 kiln4
 ,every one will tell you a different   
tale about many points connected with   
glass1 just as doctors disagree in every

 affair of life4 ,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    
harm2 and when one asks1 ,can it do it  
any good8 the reply will be1 ,well1     
probably it would be as well to fire it 
soon2 or in the case of mixing1 ,to use 
it fresh4 ,now1 if it would be as       
well--which really means on the safe    
side--then that seems a sufficient      
reason for any reasonable man4  ,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       
anything4 ,it is just the same with     
matters of measurement1 although upon   
these such vital issues depend4 ,how    
weary one gets of the phrase it's not   
far out--the obvious comment of a       
reasonable man upon such a remark1 of   
course1 being that if it is out at all  

it's1 at any rate1 too far out4 ,a      
,french assistant that ,i had once used 
always to complain of my demanding 7as  
he expressed it7 such rigorous accuracy4
 ,but there are only two ways--to be    
accurate or inaccurate2 and if the      
former is possible1 there is no excuse  
for the latter4  ,but as to this        
question of freshness of colour1 which  
is of such paramount importance1 ,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 point1 which 
certainly is that fresh colour1 used the
 same day it is ground and fired the    
same day it is used1 fires better and   
fires away less than any other4  ,the   
facts of the case1 scientifically1 ,i am
 assured1 are as follows4 ,the pigment  
contains a large amount of soft glass in
 a very fine state of division1 and the 
carbonic acid1 which all air contains   
7especially that of workshops71 will    
immediately begin to enter into         

combination with the alkalis of the     
glass1 throw out the silica1 and thus   
disintegrate what was brought together  
in the first instance when the glass was
 made4 ,the result of this is that this 
intruder 7the carbonic acid7 has to be  
driven out again by the heat of the     
kiln1 and is quite likely to disturb the
 pigment in every possible way in the   
process of its escape4 ,i have myself   
sometimes noticed1 when some painted    
work has been laid aside unusually long 
before firing1 some white efflorescence 
or crystallisation taking place and     
coming out as a white dust on the       
painted surface4  ,now it is not        
necessary to know here1 in a scientific 
or chemical sense1 what has actually    
taken place4 ,two things are evident to 
common sense4 ,one1 that the change is  
organic1 and the other that it is       
unpremeditated2 and therefore1 on both  
grounds1 it is a thing to avoid1 which  
indeed my friend's scientific           
explanation sufficiently confirms4 ,it  

is well1 therefore1 on all accounts to  
paint swiftly and continuously1 and to  
fire as soon as you can2 and above all  
things not to let the colour lie about  
getting stale on the palette4 ,mix no   
more for the day than you mean to use2  
clean your palette every day or nearly  
so2 work up all the colour each time you
 set your palette1 and do not give way  
to that slovenly and idle practice that 
is sometimes seen1 of leaving a crust of
 dry colour to collect1 perhaps for days
 or weeks1 round the edge of the mass on
 your palette1 and then some day1 when  
the spirit moves you1 working this in   
with the rest1 to imperil the safety of 
your painting4  ,how to ,know when the  
,glass is ,fired ,sufficiently4--,this  
is told by the colour as it lies in the 
kiln--that is1 in such a kiln that you  
can see the glass2 but who can describe 
a colour8 ,you have nothing for this but
 to buy your experience4 ,but in kilns  
that are constructed with a peephole1   
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 it4 ,if the       
pigment is raw it will 7if there is     
enough of it on the glass to cover the  
surface7 prevent the piece of glass from
 reflecting the rod2 but directly it is 
fired the pigment itself becomes glossy1
 and then the surface will reflect4     
,this is all a matter of practice2      
nothing can describe the look of a piece
 of glass that is fired4 ,you must      
either watch batch after batch for      
yourself and learn by experience1 or get
 a good kiln-man to point out fired and 
unfired1 and call your attention to the 
slight shades of colour and glow which  
distinguish one from the other4  ,on    
,taking the ,glass out of the           
,fire4--,and so you take the glass out  
of the fire4 ,in the old kilns you take 
the fire away from the glass1 and leave 
the glass to cool all night or so2 in   
the new1 you remove it and leave it in  
moderate heat at the side of the kiln   

till it is cool enough to handle1 or    
nearly cold4 ,and then you hold it up   
and look at it4     ,,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--,procedure4   ,and   
when you have looked at it1 as ,i said  
just now you should do1 your first      
thought will be a wish that you had     
never been born4 ,for no one1 ,i        
suppose1 ever took his first batch of   
painted glass out of the kiln without   
disappointment and without wondering    
what use there is in such an art4 ,for  
the painting when it went in was grey1  
and silvery1 and sharp1 and crisp1 and  
firm1 and brilliant4 ,now all is        
altered2 all the relations of light and 
shade are altered2 the sharpness of     
every brush-mark is gone1 and everything
 is not only washed out to half its     

depth1 but blurred at that4 ,even if you
 could get it1 by a second painting1 to 
look exactly as it was at first1 you    
think3 ,what a waste of life6 ,i thought
 ,i had done6 ,it was right as it was2  
,i was pleased so far2 but now ,i am    
tired of the thing2 ,i don't want to be 
doing it all over again4  ,well1 my dear
 reader1 ,i cannot tell you a remedy for
 this state of things--it is one of the 
conditions of the craft2 you must find  
by experience what pigment1 and what    
glass1 and what style of using them1 and
 what amount of fire give the least of  
these disappointing results1 and then   
make the best of it2 and make up your   
mind to do without certain effects in   
glass1 which you find are unattainable4 
,there is1 however1 one remedy which ,i 
suppose all glass-painters try1 but     
eventually discard4 ,i suppose we have  
all passed through the stage of working 
very dark1 to allow for the firing-off2 
and ,i want to say a word of warning    
which may prevent many heartaches in    

this matter4 ,i having passed through   
them all1 there is no reason why others 
should4 ,now mark very carefully what   
follows1 for it is difficult to explain1
 and you cannot afford to let the sense 
slip by you4  ,i told you that a film   
left untouched would always come out as 
a black patch against work that was     
pierced with the scrub1 however         
slightly4  ,now1 herein lies the        
difficulty of working with a very thick 
matt2 for if it is thick enough on the  
cheek and brow of a face to give strong 
modelling when fired1 then whenever it  
has passed over the previous            
outline-painting1 for example1 in the   
eyes1 mouth1 nostrils1 c41 you will find
 that the two together have become too  
thick for the scrub to move4  ,now you  
do not need1 as an artist1 to be told   
that it is fatal to allow any part of   
your painting to be thus beyond your    
control2 to be obliged to say1 ,it's too
 dark1 but unfortunately ,i have no     
tools that will lighten it--it will not 

yield to the scrub4  ,however1 a certain
 amount can be done in this direction by
 using1 on the shadows that are just too
 strong for the scrub1 a tool made by   
grinding down on sandpaper a large      
hog-hair brush1 and1 of these1 what are 
called stencil-brushes are as good as   
any 7fig4 #de74  ,you do not use this by
 dragging it over the glass as you drag 
a scrub1 but by pricking the whole of   
the surface which you wish to lighten4  
,this will make little pinholes all over
 it1 which will be sufficient to let the
 patch of shadow gently down to the     
level of the surrounding lighter        
modelling1 and will prevent your dark   
shadows looking like actual patches1 as 
we described them doing a little way    
back4  ,illustration3 ,,fig4 #de4       
,further than this you cannot go3 for ,i
 cannot at all see how the next process 
,i am to describe can be a good one1    
though ,i once thought1 as ,i suppose   
most do1 that it would really solve the 
difficulty4 ,what ,i allude to is the   

use of the needle4  ,of ,work ,etched   
out with a ,needle4--,the needle is a   
very good and useful tool for stained   
glass1 in certain operations1 but ,i am 
now to speak of it as being used over   
whole areas as a substitute for the     
scrub1 in order to deal with a matt too 
dense for the scrub to penetrate4  ,the 
needle will1 to be sure1 remove such a  
matt2 that is to say1 will remove lines 
out of it1 quite clear and sharp1 and   
this1 too1 out of a matt so dense1 that 
what remains does not fire away much in 
the kiln4 ,here is a tempting thing     
then6 to have one's work unchanged by   
the fire6 ,and if you could achieve this
 without changing the character of the  
work for the worse1 no doubt this method
 would be a very fine thing4 ,but let me
 trace it step by step and try to       
describe what happens4  ,you have       
painted your outline and you put a very 
heavy matt over it4  ,peril ,no4        
#a4--;,if your matt is so dense that it 
will not fire off1 it must very nearly  

approach the point of density at which  
it will fry4 ,how then about the        
portions of it which have been painted  
on1 as ,i have said1 over another layer 
of pigment in the shape of the outline8 
,here is a danger4 ,but even supposing  
that all is safe1 and that you have just
 stopped short of the danger point4 ,you
 have now your dense1 rich1 brown matt1 
with the outline just showing through   
it4 ,proceed to model it with the       
needle4 ,the first stroke will really   
frighten you2 for a flash of silver     
light will spring along after the point 
of the needle1 so dazzling in contrast  
to the extreme dark of the matt that it 
looks as if the plate had been cut in   
two1 while the matt beside it becomes   
pitch-black by contrast4 ,well1 you go  
on1 and by putting more strokes1 and    
reducing the surrounding darkness       
generally1 you get the drawing to look  
grey--but you get it to look like a grey
 pen-drawing or etching1 not like a     
painting at all4 ,we will suppose that  

this seems to you no disadvantage       
7though ,i must say1 at once1 that ,i   
think it a very great one72 but now you 
come to the deep shadows2 and these1 ,i 
need hardly say1 cut themselves out1    
more than ever1 like dark patches or    
blots1 in the manner already spoken of4 
,you try pricking it with the brush ,i  
have described for that operation1 and  
it will not do it2 then you resort to   
the needle itself1 and you are startled 
at the little1 hard1 glittering specks  
that come jumping out of the black      
shadow at each touch4 ,you get a finer  
needle1 and then you sharpen even that  
on the hone2 and perhaps then1 by       
pricking gingerly round the edges of the
 shadows1 you may get the drawing and   
modelling to melt together fairly well4 
,but beware6 for if there is one dot of 
light too many1 the expression of the   
head goes to the winds4 ,let us say that
 such a thing occurs2 you have pricked  
one pinhole too many round the corner of
 the mouth4  ,what can you do8  ,you    

take your tracing-brush and try to mend 
it with a touch of pigment2 and so on1  
and so on2 till you timidly say 7feeling
 as if you had been walking among       
egg-shells for the last hour71 ,well1 ,i
 think it will do1 and ,i daren't touch 
it any more4 ,and supposing by these    
means you get a head that looks really  
what you wanted2 the work is all what   
glass-painters call rotten2 liable to   
flake off at the least touch2 isolated  
bits of thick crust1 cut sheer out from 
each other1 with clear glass between4   
,in short1 the thing is a niggling and  
botching sort of process to my mind1 and
 ,i hope that the above description is  
sufficiently life-like to show that ,i  
have really given it a good trial       
myself--with1 as a result1 the          
conclusion certainly strongly borne home
 to me1 that the delight of having one's
 work unchanged by the fire is too      
dearly purchased at the cost of it4     
,how to get the greatest degree of      
,strength into your ,painting without   

,danger4--,short of using a needle then1
 and a matt that will only yield to that
 instrument1 ,i would advise1 if you    
want the work strong1 that you should   
paint the matt so that it will just     
yield1 and only just1 and that with     
difficulty1 to the scrub2 and1 before   
you use this tool1 just pass the finger1
 lightly1 backwards and forwards over   
the matted surface4 ,this will take out 
a shimmer of light here and there1      
according to the inequalities of the    
texture in the glass itself2 the first  
touches of the scrub will not then look 
so startling and hard as if taken out of
 the dead1 even matt2 and also this     
rubbing of the finger across the surface
 seems to make the matt yield more      
easily to the tool4 ,the dust remaining 
on the surface perhaps helps this2      
anyhow1 this is as far as you can go on 
the side of strength in the work4 ,you  
can of course back the work1 that is1   
paint on the back as well as the        
front--a mere film at the back2 but this

 is a method of a rather doubtful       
nature4 ,the pigment on the back does   
not fire equally well with that on the  
front1 and when the window is in its    
place1 that side will be1 you must bear 
in mind1 exposed to the weather4  ,i    
have spoken incidentally of rubbing the 
glass with the finger as a part of      
painting2 but the practice can be       
carried further and used more generally 
than ,i have yet said3 the little pits  
and markings on the surface of the      
glass1 which ,i mentioned when ,i spoke 
of the right and wrong sides of the     
material1 can be drawn into the service 
of the window sometimes with very happy 
effect4 ,being treated with matt and    
then rubbed with the finger1 they often 
produce very charming varieties of      
texture on the glass1 which the painter 
will find many ways of making useful4   
,of the ,second ,painting of ,glass     
after it has been ,fired4--,so far we   
have only spoken of the appearance of   
work after its first fire1 and its      

influence upon choice of method for     
first painting2 but there is of course  
the resource which is the proper subject
 of this chapter1 namely1 the second    
painting4  ,very small work can be done 
with one fire2 but only very skilful    
painters can get work1 on any large     
scale1 strong enough for one fire to    
serve1 and that only with the use of    
backing4 ,of course if very faint tones 
of shadow satisfy you1 the work can be  
done with one fire2 but if it is well   
fired it must almost of necessity be    
pale4 ,some people like it so--it is a  
matter of taste1 and there can be no    
pronouncement made about it2 but if you 
wish your work to look strong in light  
and shade--stronger than one painting   
will make it--,i advise you1 when the   
work comes back from the fire and is    
waxed up for the second time 7which1 in 
any case1 it assuredly should be1 if    
only for your judgment upon it71 to     
proceed as follows4  ,first1 with a     
tracing-brush1 go over all the lines and

 outlined shadows that seem too weak1   
and then1 when these touches are quite  
dry1 pass a thin matt over the whole1   
and with stippling-brushes of various   
sizes1 stipple it nearly all away while 
wet4 ,you will only have about five     
minutes in which to deal with any one   
piece of glass in this way1 and in the  
case of a head1 for example1 it needs a 
skilful hand to complete it in that     
short space of time4 ,the best plan is  
to make several shots at it2 if you do  
not hit the mark the first time1 you may
 the second or the third4 ,i said       
stipple it nearly all away2 but the     
amount left must be a matter of taste2  
nevertheless1 you must note that if you 
do not remove enough to make the work   
look silvery1 it is in danger of looking
 muddy4 ,all the ordinary resources of  
the painter's art may be brought in     
here3 retouching into the half-dry      
second matt1 dabbing with the finger--in
 short1 all that might be done if the   
thing were a water-colour or an         

oil-painting2 but it is quite useless to
 attempt to describe these deftnesses of
 hand in words3 you may use any and     
every method of modifying the light and 
shade that occurs to you4     ,,chapter 
,,ix       ,of ,staining and            
,aciding--,yellow                       
,stain--,aciding--,caution required in  
,use--,remedy for ,burning--,uses of    
,aciding--,other ,resources of          
,stained-,glass ,work4   ,yellow stain1 
or silver stain as some call it1 is made
 in various ways from silver--chloride1 
sulphate1 and nitrate1 ,i understand1   
are all used4 ,the stain is laid on     
exactly like the pigment1 but at the    
back of the glass4 ,it does not work    
very smoothly1 and some painters like to
 mix it with ,venice turpentine instead 
of water to get rid of this defect2     
whichever you use1 keep a separate set  
of tools and a separate palette for it1 
and always keep them clean and the stain
 fresh mixed4 ,also you should not fire 
it with so strong a heat1 and therefore1

 of course1 you should never fire       
pigment and stain in the same batch in  
the kiln2 otherwise the stain will      
probably go much hotter in colour than  
you wish1 or will get muddy1 or will    
metal as painters call it--that is1 get 
a horny1 burnt-sienna look instead of a 
clear yellow4  ,how to ,etch the ,flash 
off a ,flashed ,glass with              
,acid4--,there is only one more process1
 having to do with painting1 which ,i   
shall describe1 and that is aciding4 ,by
 this process you can etch the flash off
 the flashed glasses where you like4    
,the process is the same as etching--you
 stop-out the parts that you wish to    
remain1 just as in etching2 but instead 
of putting the stopping material over   
the whole bit of glass and then         
scratching it off1 as you do in         
copper-plate etching1 it is better for  
the most part to paint the stopping on  
where you want it1 and this is          
conveniently done with ,brunswick black1
 thinned down with turpentine2 if you   

add a little red lead to it1 it does no 
harm4 ,you then treat it to a bath of   
fluoric acid diluted with water and     
placed in a leaden pan2 or1 if it is    
only a touch you want1 you can get it   
off with a mop of cotton-wool on a      
stick1 dipped in the undiluted acid2 but
 be careful of the fumes1 for they are  
very acrid and disagreeable to the eyes 
and nose2 take care also not to get the 
acid on your finger-ends or nails1      
especially into cuts or sore places4    
,for protection1 india-rubber           
finger-stalls for finger and thumb are  
very good1 and you can get these at any 
shop where photographic materials are   
sold4 ,if you do get any of the acid on 
to your hands or into a cut1 wash them  
with diluted carbonate of soda or       
diluted ammonia4 ,the acid must be kept 
in a gutta-percha bottle4  ,when the    
aciding is done1 as far as you want it1 
the glass must be thoroughly rinsed in  
several waters2 do not leave any acid   
remaining1 or it will continue to act   

upon the glass4 ,you must also be       
careful not to use this process in the  
neighbourhood of any painted work1 or1  
in short1 in the neighbourhood of any   
glass that is of consequence1 the fumes 
from the acid acting very strongly and  
very rapidly4 ,this process1 of course1 
may be used in many ways3 you can1 by   
it1 acid out a diaper pattern1 red upon 
white1 white upon red2 and blue may be  
treated in the same fashion2 the white  
lights upon steel armour1 for instance1 
may be obtained in this way with very   
telling effect1 getting indeed the      
beautiful combination of steely blue    
with warm brown which we admire so in   
,burne-,jones cartoons2 for the brown of
 the pigment will not show warm on the  
blue1 but will do so directly it passes 
on to the white of the acided parts4    
,this is the last process ,i need       
describe2 the many little special       
refinements to be got by playing games  
with the lead lines2 by thickening and  
thinning them2 by doubling glass1 to get

 depth and intensity1 or to blend new   
tints2--these and such like are the     
things that any artist who does his own 
work and practises his own craft can    
find out1 and ought to find out1 and is 
bound to find out1 for himself--they are
 the legitimate reward of the hand and  
heart labour spent1 as a craftsman      
spends them1 upon the material4 ,suffice
 it to say that in spite of the great   
skill which has been employed upon      
stained-glass1 ancient and modern1 and  
employed in enormous amount2 and in     
spite of the great and beautiful results
 achieved2 we may yet look upon         
stained-glass as an art in which there  
are still new provinces to              
explore--walking upon the old paths1    
guided by the old landmarks1 but        
gathering new flowers by the way4  ,we  
must now1 then1 turn our attention to   
the mechanical processes by which the   
stained-glass window is finished off4   
,,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 ,up4   ,you 
first place your cut-line1 face upward1 
upon the bench1 and pin it down there4  
,you next cut two straight-edges of     
wood1 one to go along the base line of  
the section you mean to lead up1 and the
 other along the side that lies next to 
you on the bench as you stand at work2  
for you always work from one side1 as   
you will soon see4 ,and it is important 
that you should get these straight-edges
 at a true right angle1 testing them    
carefully with the set-square4 ,fig4 #df
 represents a bench set out for         
leading-up4  ,you must now build the    
glass together1 as a child puts together
 his puzzle-map1 one bit at a time1     
working from the base corner that is    
opposite your left hand4  ,but first of 

all you must place a strip of extra wide
 and flat lead close against each of    
your straight-edges1 so that the core of
 the lead corresponds with the outside  
line of your work4  ,illustration3      
,,fig4 #df4  ,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 fill4 ,i think  
we may say that1 whatever the mouldings 
may be on the stone1 there is always a  
flat piece at exact right angles to the 
face of the wall in which the window    
stands1 and it is in this flat piece    
that the groove is cut to receive the   
glass 7fig4 #dg74  ,illustration3 ,,fig4
 #dg4  ,now1 as the glazed light has to 
fill the daylight opening1 there must   
obviously be a piece beyond the daylight
 size to go into the stone4 ,by slipping
 the glazed light in sideways1 and even1
 in large lights1 by bending it slightly
 into a bow1 you can just get into the  
stone a light an inch1 or nearly so1    

wider than the opening2 but the best way
 is to use an extra wide lead on the    
outside of your light1 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 7fig4 #dh74 ,by
 this means you can reduce the size of  
the panel by almost #a_/d of an inch on 
each side2 you can push the panel then1 
without either bending or slanting it   
much1 up to its groove2 and1 putting one
 side as far as it will go into the     
groove1 you can bend back again into    
their former place the two leaves of the
 lead on the opposite side2 and when you
 have done that slide them as far as    
they will go into their groove1 and do  
the same by the opposite pair4 ,you will
 then have the panel in its groove1 with
 about #a_/d of an inch to hold by and  
#a_/d of an inch of lead showing4 ,some 
people fancy an objection to this2      
perhaps in very small windows it might  
look better to have the glass flush with
 the stone2 but for myself ,i like to   

see a little showing of that outside    
lead1 on to which so many of the leads  
that cross the glass are fastened4      
,anyway you must bear the circumstance  
in mind in fixing down your             
straight-edges to start glazing the     
work2 and that is why ,i have made this 
digression by mentioning now something  
that properly belongs to fixing4        
,illustration3 ,,fig4 #dh4  ,now before 
beginning to glaze you must stretch and 
straighten the lead2 and this is done as
 follows 7fig4 #di--;,frontispiece74    
,hold the calm of lead in your left     
hand1 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 
twisted3 then1 holding one end firmly   
under your right foot1 take tight hold  
of the other end with your pliers1 and  
pull with nearly all your force in the  
direction of your right shoulder4 ,take 
care not to pull in the direction of    
your face2 for if you do1 and the lead  
breaks1 you will break some of your     

features also4 ,it is very important to 
be careful that the lead is truly       
straight and not askew1 otherwise1 when 
you use it in leading1 the glass will   
never keep flat4 ,the next operation is 
to open the lead with a piece of hard   
wood1 such as boxwood or lignum-vitae   
7fig4 #ej71 made to your fancy for the  
purpose1 but something like the diagram1
 which glaziers call a lathykin 7as ,i  
understand it74 ,for cutting the lead   
you must have a thin knife of good      
steel4 ,some use an old dinner-knife1   
some a palette-knife cut down--either   
square across the blade or at an        
angle--it is a matter of taste 7fig4    
#ea74  ,illustration3 ,,fig4 #ej4       
,illustration3 ,,fig4 #ea4  ,having laid
 down your leads ,a and ,b 7fig4 #eb71  
put in the corner piece of glass 7,no4  
#a72 two of its sides will then be      
covered1 leaving one uncovered4 ,take a 
strip of lead and bend it round the     
uncovered edge1 and cut it off at ,d1 so
 that the end fits close and true       

against the core of lead ,a4 ,and you   
must take notice to cut with a perfectly
 vertical cut1 otherwise one side will  
fit close and the other will leave a    
gap4  ,illustration3 ,,fig4 #eb4  ,in   
fig4 #ec ,a represents a good joint1 ,b 
a bad one4 ,bend it round and cut it off
 similarly at ,e4 ,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 cut4  ,slip it in1 and push it
 in nice and tight1 and put in piece    
,no4 #b4  ,illustration3 ,,fig4 #ec     
,but now look at your cut-line4 ,do you 
see that the inner edges of pieces #b1  
#c1 and #d all run in a fairly smooth   
curve1 along which a continuous piece of
 lead will bend quite easily8 ,leave1   
then1 that edge1 and put in1 first1 the 
leads which divide ,no4 #b from ,no4 #c1
 and ,no4 #c from ,no4 #d4 ,now don't   
forget6 the long lead has to come along 
the inside edges of all three2 so the   

leaf of it will overlap those three     
edges nearly #a_/h of an inch 7supposing
 you are using lead of #a_/d inch       
dimension74 ,you must therefore cut the 
two little bits we are now busy upon    
#a_/h of an inch short of the top edge  
of the glass 7fig4 #ed71 for the inside 
leads only meet each other2 it is only  
the outside lead that overlaps4         
,illustration3 ,,fig4 #ed4  ,how the    
,loose ,glass is held in its place while
 ,leading4--,this is done with nails    
driven into the glazing table1 close up 
against the edge of the lead2 and the   
best of all for the purpose are         
bootmakers' lasting nails2 therefore no 
more need be said about the matter2 use 
no other 7fig4 #ee74  ,illustration3    
,,fig4 #ee4  ,and you tap them in with  
two or three sharp taps2 not of a       
hammer1 for you do not want to waste    
time taking up a fresh tool1 but with   
the end of your leading-knife which is  
called a stopping-knife 7fig4 #ef71 and 
which lead workers generally make for   

themselves out of an oyster-knife1 by   
bending the blade to a convenient       
working angle for manipulating the lead1
 and graving out lines in the lower part
 of the handle1 into which they run     
solder1 terminating it in a solid lump  
at the butt-end which forms an excellent
 substitute for a hammer4               
,illustration3 ,,fig4 #ef4  ,now as soon
 as you have got the bits #a1 #b1 #c1 #d
 in their places1 with the leads ,f1 ,g 
and ,h1 ,i between them1 you can take   
out the nails along the line ,k1 ,f1 ,h1
 ,m1 one by one as you come to them1    
starting from ,k2 and put along that    
line one lead enclosing the whole lot1  
replacing the nails outside it to keep  
all firm as you work2 and you must note 
that you should look out for            
opportunities to do this always1        
whenever there is a long line of the    
cut-line without any abrupt corners in  
it4 ,you will thus save yourself the    
cutting 7and afterwards the soldering7  
of unnecessary joints2 for it is always 

good to save labour where you can       
without harm to the work2 and in this   
case the work is all the better for it4 
,now1 when you have thus continued the  
leading all the way across the panel1   
put on the other outside lead1 and so   
work on to a finish4  ,when the         
opposite1 outside lead is put on1 remove
 the nails and take another             
straight-edge and put it against the    
lead1 and knock it up by hitting the    
straight-edge until you get it to the   
exact size2 at the same time taking your
 set-square and testing the corners to  
see that all is at right angles4  ,leave
 now the panel in its place1 with the   
straight-edges still enclosing it1 and  
solder off the joints4     ,,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 ,cementing4   ,if the leads    
have got tarnished you may brush them   
over with the wire brush 7fig4 #eg71    
which glaziers call a scratch-card2 but 
this is a wretched business and need    
never be resorted to if you work with   
good lead and work fresh and fresh1 and 
finish as you go1 not letting the work  
lie about and get stale4 ,take an       
old-fashioned tallow dip candle1 and put
 a little patch of the grease over each 
joint1 either by rubbing the candle     
itself on it1 or by melting some of it  
in a saucepan and applying it with a    
brush4 ,then take your soldering-iron   
7fig4 #eh7 and get it to the proper     
heat1 which you must learn by practice1 
and proceed to tin it by rubbing it on a
 sheet of tin with a little solder on   
it1 and also some resin and a little    
glass-dust1 until the bit 7which is of  
copper7 has a bright tin face4 ,then1   
holding the stick of solder in the left 
hand1 put the end of it down close to   
the joint you wish to solder1 and put   

the end of the iron against it1 biting  
off as it were1 but really melting off1 
a little bit1 which will form a liquid  
drop upon the joint4 ,spread this drop  
so as to seal up the joint nice and     
smooth and even1 and the thing is done4 
,repeat with all the joints2 then turn  
the panel over and do the opposite side4
  ,illustration3 ,,fig4 #eg4            
,illustration3 ,,fig4 #eh4  ,how to     
,handle ,leaded ,lights4--,i said turn  
the panel over4 ,but that brings to mind
 a caution that you need about the      
handling of leaded lights4 ,you must    
not--as ,i once saw a man do--start to  
hold them as a waiter does a tray4 ,you 
must note that thin glass in the sheet  
and also leaded lights1 especially      
before cementing1 are not rigid1 and    
cannot be handled as if they were panels
 of wood2 you must take care1 when      
carrying them1 or when they lean against
 the wall1 to keep them as nearly       
upright as they will safely stand1 and  
the inside one leaning against a board1 

and not bearing its own weight4 ,and in 
laying them on the bench or in lifting  
them off it1 you must first place them  
so that the middle line of them         
corresponds with the edge of the bench1 
or table1 and then turn them on that as 
an axis1 quickly1 so that they do not   
bear their own weight longer than       
necessary 7figs4 #ei and #fj74  ,how to 
,cement a ,leaded ,light4--,the next    
process is the cementing of the light so
 as to fill up the grooves of the lead  
and make all weather-proof4 ,this is    
done with a mixture composed as         
follows3-- ,whitening1 #b_/c to plaster 
of ,paris #a_/c2 add a mixture of equal 
quantities of boiled linseed-oil and    
spirit of turpentine to make a paste    
about as thick as treacle4 ,add a little
 red lead to help to harden it1 some    
patent dryer to cause it to dry1 and    
lamp-black to colour4  ,this must be put
 in plenty on to the surface of the     
panel and well scrubbed into the joints 
with a hard fibre brush2 an ordinary    

coarse grass brush or bass brush1 with  
wooden back1 as sold for scrubbing      
brushes at the oil shops1 used in all   
directions so as to rub the stuff into  
every joint4  ,but you must note that if
 you have plated 7i4e4 doubled7 any of  
the glass you must1 before cementing1   
putty those places4 ,otherwise the      
cement may probably run in between the  
two1 producing blotches which you have  
no means of reaching in order to remove 
them4  ,illustration3 ,,fig4 #ei4  ,you 
can1 if you like1 clean away all the    
cement along the edges of the leads2 but
 it is quite easy to be too precise and 
neat in the matter and make the work    
look hard4 ,if you do it1 a blunted awl 
will serve your turn4  ,illustration3   
,,fig4 #fj4  ,one had better mention    
everything1 and therefore ,i will here  
say that1 of course1 a large light must 
be made in sections2 and these should   
not exceed four feet in height1 and less
 is better4 ,in fixing these in their   
place when the window is put up 7an     

extra wide flat lead being used at the  
top and bottom of each section71 they   
are made to overlap2 and if you wish the
 whole drainage of the window to pass   
into the building1 of course you will   
put your section thus--7fig4 #fa ,a72   
while if you wish the work to be        
weather-tight you will place it         
thus--7fig4 #fa ,b74 ,it is just as well
 to make every question clear if one    
can1 and therefore ,i mention this4     
,most people like their windows         
weather-tight1 and1 of course1 will make
 the overlapping lead the top one2 but  
it's a free country1 and ,i don't       
pretend to dictate1 content if ,i make  
the situation clear to you1 leaving you 
to deal with it according to your own   
fancy4 ,all is now done except the      
banding4  ,illustration3 ,,fig4 #fa ,a4 
,illustration3 ,,fig4 #fa ,b4  ,how to  
,band a ,leaded ,light4--,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 place4 ,these ties are simply 
short lengths of copper wire1 generally 
about four inches long1 but varying1 of 
course1 with the size of the bar that   
you mean to use2 and these are to be    
soldered vertically 7fig4 #fb7 on to the
 face of the light at any convenient    
places along the line where the bar will
 cross4 ,in fixing the window1 these    
wires are to be pulled tight round the  
bar and twisted up with pliers1 and the 
twisted end knocked down flat and neat  
against the bar4  ,and this is the very 
last operation in the making of a       
stained-glass window4 ,it now only      
remains to instruct you as to what      
relates to the fixing of it in its      
place4  ,how to ,fix a ,window in its   
,place4--,there is1 almost always1 a    
groove in the stonework to receive the  
glass2 and1 except in the case of an    
unfinished building1 this is1 of course1
 occupied by some form of plain glazing4
 ,you must remove this by chipping out  
with a small mason's chisel the cement  

with which it is fixed in the groove1   
and common sense will tell you to begin 
at the bottom and work upwards4 ,this   
done1 untwist the copper bands from the 
bars and put your own glass in its      
place1 re-fixing the bars 7or new ones7 
in the places you have determined on to 
suit your design and to support the     
glass1 and fixing your glass to them in 
the way described1 and pointing the     
whole with good cement4 ,the method of  
inserting the new glass is described at 
p4 #ace4  ,illustration3 ,,fig4 #fb4    
,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 this1 which1 after all1 is partly  
masons' work4 ,but ,i1 for my part1     
cannot understand the spirit of an      
artist who applies his art to a craft   
purpose and has not1 at least1 a strong 
wish to know all that pertains to it4   
,,part ,,ii   ,,chapter ,,xii           
,introductory--,the ,great              
,questions--,colour--,light--,architectu

ral                                     
,fitness--,limitations--,thought--,imagi
nation--,allegory4   ,the foregoing has 
been written as a handbook to use at the
 bench1 and therefore ,i have tried to  
keep myself strictly to describing the  
actual processes and the ordinary       
practice and routine of stained-glass   
work4  ,but can we leave the subject    
here8  ,if we were speaking of even the 
smallest of the minor arts and crafts1  
we should wish to say something of why  
they are practised and how they should  
be practised1 of the principles that    
guide them1 of the spirit in which they 
should be undertaken1 of the place they 
occupy in human affairs and in our life 
on earth4 ,how much more then in an ,art
 like this1 which soars to the highest  
themes1 which dares to treat1 which is  
required to treat1 of things ,heavenly  
and ,earthly1 of the laws of ,god1 and  
of the nature1 duty1 and destinies of   
man2 and not only so1 but must treat of 
these things in connection with1 and in 

subservience to1 the great and dominant 
,art of ,architecture8  ,we must not    
shrink1 then1 from saying all that is in
 our mind3 we must ask ourselves the    
great questions of all art4 ,we must    
investigate the ,how of them1 and even  
face the ,why4  ,therefore here 7however
 hard it be to do it7 something must be 
said of such great general principles as
 those of colour1 of light1 of          
architectural fitness1 of limitations1  
of thought and imagination and allegory2
 for all these things belong to         
stained-glass work1 and it is the right 
or wrong use of these high things that  
makes windows to be good or to be bad4  
,let us1 dear student1 take the simplest
 things first1 not because they are the 
easiest 7though they perhaps are so71   
but because they will gradually1 ,i     
hope1 warm up our wits to the point of  
considering these matters1 and so       
prepare the way for what is hardest of  
all4  ,and ,i think a good subject to   
begin with is that of ,economy          

generally1 taking into consideration    
both time and materials4     ,,chapter  
,,xiii       ,of ,economy--,the         
,englishman's ,wastefulness--,its ,good 
,side--,its                             
,excess--,difficulties--,a              
,calculation--,remedies4   ,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 globe6
 ,he only thinks of getting through the 
work1 or whatever it may be1 that he has
 purposed to himself1 attaining the end 
immediately in view in the speediest    
manner possible without regard to       
anything else1 lavish of himself and of 
the stuff he works with4 ,the picture   
drawn by ,robert ,louis ,stevenson in   
,treasure ,island of ,john ,silver and  
his pirates1 when about to start on     
their expedition1 throwing the remainder
 of their breakfast on the bivouac fire1
 careless whence fresh supplies might   
come1 is ,english all over4 ,this is the

 character of the race4 ,it has its good
 side1 this grand disdain--it wins      
,battles1 ,victoria ,crosses1 ,humane   
,society's medals1 and other things well
 worth the winning2 brings into port    
many a ship that would else be lost or  
abandoned1 and1 year in1 year out1 sends
 to sea the lifeboats on our restless   
line of coast4 ,it would be something   
precious indeed that would be worth the 
loss of it2 but there is a medium in all
 things1 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 piece1 in order to make it 
small enough to throw away1 without     
being ashamed1 under the bench1 he must 
sometimes1 ,i should think1 wish the man
 were employed on some warlike or       
adventurous trade1 and that he had a    
,hollander or ,italian in his place1 who
 would make a whole window out of what  
the other casts away4  ,at the same     
time1 it must be confessed that this is 

a very difficult matter to arrange2 and 
it is only fair to the workman to admit 
that under existing conditions of work  
and demand1 and even in many cases of   
the buildings in which the work is done1
 the way does not seem clear to have the
 whole of what might be wished in this  
matter4 ,i will point out the           
difficulties against it4  ,first1 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 it1 the workman has no inducement  
to economise2 for1 no record being kept 
of the glass saved1 he knows that he    
will get no credit by saving1 while the 
extra time that he spends on economy    
will make him seem a slower workman1 and
 so he would be blamed4  ,then1 again1  
it is impossible to see the colour of   
glass as it lies on the bench2 he has   
little choice but to cut each piece out 
of the large sheet2 for if he got a     
clutter of small bits round him till he 

happened to want a small bit1 he would  
never be able to get on4  ,there is no  
use1 observe1 in niggling and           
cheese-paring4 ,there should be a just  
balance made between the respective     
values of the man's time and the        
material on which it is spent2 and to   
this end ,i now give some calculations  
to show these--calculations rather      
startling1 considered in the light of   
what one knows of the ordinary practices
 and methods4  ,the antique glasses used
 in stained-glass work vary in price    
from #as4 a foot to #es41 the weight per
 foot being about #cb oz4  ,the wage of 
the workmen who have to deal with this  
costly material varies from #h;d4 to    
#as4 per hour4  ,the price of the same  
glass thrown under the bench1 and known 
as cullet1 is ,l#a per ,,ton4  ,let us  
now do a little simple arithmetic1      
which1 besides its lesson to the        
workers1 may1 ,i think1 come as a       
revelation even to some employers who1  
content with getting work done quickly1 

may have hardly realised the price paid 
for that privilege4                     
#a ton  #bj cwt4                        
x  #d                              --   
#hj qrs4                            x   
#bh                             ---     
#fdj   #cb oz4  #b lb41          #afj   
-----            therefore _/  #b7 #bbdj
 lbs4                           -----   
#aabj  number of square feet in a ton4  
,the worth of this at #as4 a foot       
7whites7 is3--                       _/ 
#bj7 #aabj 7 ,l#ef ,,per ,,ton4         
#ajj                           ----     
#abj                             #abj   
,at #bs4 #f;d4 per foot 7the best of    
pot-metal blues1 and rubies             
generally73--                           
#ef                                #ef  
#bh                               ---   
#b-a_/b times #ef  #adj        ,l#adj   
,,per ,,ton4  ,at #es4 a foot           
7gold-pink1 and pale pink1 venetian1 and
 choice glasses generally73--           
#ef                           x     #e  

---                              ,l#bhj 
,,per ,,ton4  ,therefore these glasses  
are worth respectively--#ef times1 #adj 
times1 and #bhj times as much upon the  
bench as they are when thrown below it6 
,and yet ,i ask you--employer or        
employed--is it not the case that1      
often--shall we not say generally8--in  
any given job as much goes below as     
remains above if the work is in fairly  
small pieces8 ,is not the accompanying  
diagram a fair illustration 7fig4 #fc7  
of about the average relation of the    
shape cut to its margin of waste8       
,illustration3 ,,fig4 #fc4  ,employers  
estimate this waste variously4 ,i have  
heard it placed as high as two-thirds2  
that is to say1 that the glass1 when    
leaded up1 only measured one-third of   
the material used1 or1 in other words1  
that the workman had wasted twice as    
much as he used4 ,this1 ,i admit1 was   
told me in my character as customer1 and
 by way of explaining what ,i considered
 a high charge for work2 but ,i suppose 

that no one with experience of          
stained-glass work would be disposed to 
place the amount of waste lower than    
one-half4  ,now a good cutter will take 
between two and three hours to cut a    
square foot of average stained-glass    
work1 fairly simple and large in scale2 
that is to say1 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 only4 ,if 
this then is the case when the          
highest-priced labour is dealing only   
with the lowest-priced material1 we may 
assume it as the general rule for       
stained-glass cutting1 on the average1  
that labour is less costly than the     
material on which it is spent1 and ,i   
would even say much less costly4  ,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 hour4  ,but 

,i fear that all suggestions as to      
mitigating this state of things are of  
little use4 ,the remedy is to play into 
each other's hands by becoming1 all of  
us1 complete1 all-round craftsmen2      
breaking down all the unnatural and     
harmful barriers that exist between     
artists and workmen1 and so fitting     
ourselves to take an intelligent        
interest in both the artistic and       
economic side of our work4  ,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 them4 ,i am content
 with pointing out the facts4           
,,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 ,restoring4  ,the second        
question of principle that ,i would     
dwell upon is that of perfection4       
,every operation in the arts should be  
perfect4 ,it has to be so in most arts1 
from violin-playing to circus-riding1   
before the artist dare make his bow to  
the public4  ,placing on one side the   

question of the higher grades of art    
which depend upon special talent or     
genius--the great qualities of          
imagination1 composition1 form and      
colour1 which belong to mastership--,i  
would now1 in this book1 intended for   
students1 dwell upon those minor things1
 the doing of which well or ill depends 
only upon good-will1 patience1 and      
industry4  ,anyone can wash a brush     
clean2 any one can keep the colour on   
his palette neat2 can grind it all up   
each time it is used2 can cover it over 
with a basin or saucer when his work is 
over2 and yet these things are often    
neglected1 though so easy to do4 ,the   
painter will neglect to wash out his    
brush2 and it will be clogged with      
pigment and gum1 get dry1 and stick to  
the palette1 and the points of the hair 
will tear and break when it is removed  
again by the same careless hand that    
left it there4  ,another will leave     
portions of his colour1 caked and dry1  
at the edges of his palette for weeks1  

till all is stale2 and then1 when the   
spirit moves him1 will some day work    
this in1 full of dirt and dust1 with the
 fresher colour4 ,everything1 everything
 should be done well6 ,from the highest 
forms of painting to tying up a parcel  
or washing out a brush2--all tools      
should be clean at all times1 the       
handles as well as the hair--there is no
 excuse for the reverse2 and if your    
tools are dirty1 it is by the same      
defect of your character that will make 
you slovenly in your work4 ,painting    
does not demand the same actual         
swiftness as some other arts2           
nevertheless each touch that you place  
upon the glass1 though it may be        
deliberate1 should be deft1 athletic1   
perfect in itself2 the nerves braced1   
the attention keen1 and the powers of   
soul and body as much on the alert as   
they would need to be in violin-playing1
 fencing1 or dissecting4  ,this is not  
to advocate hurry4 ,that is another     
matter altogether1 for which also there 

is no excuse4 ,never hurry1 or ask an   
assistant to hurry4 ,windows are        
delayed1 even promises broken 7though   
that can scarce be defended71 there may 
be ire in celestial minds2 but that is  
all forgotten when we are dead2 and we  
soon shall be1 but not the window4      
,another thing to note1 which applies   
generally throughout all practice1 is   
the wisdom1 of getting as near as you   
can to your conditions4 ,for instance1  
the bits of glass in a window are       
separated by lead lines2 pitch-black1   
therefore1 against the light of day     
outside4 ,now1 when waxed up on the     
plate in the shop for painting1 these   
will be separated by thin cracks of     
light1 and in this condition they are   
usually painted4 ,can't you do better   
than that8 ,don't you think it's worth  
while spending half-an-hour to paint    
false lead lines on the back of the     
plate8 ,a ha'p'orth of lamp-black from  
the oil-shop1 with a little water and   
treacle and a long-haired brush1 like a 

coach-painter's1 will do it for you 7see
 ,plate ,,xiii474  ,another thing3 when 
the window is in its place1 each light  
will be surrounded with stone or brick1 
which1 although not so black as the lead
 lines1 will tell as a strong dark      
against the glass4 ,see therefore that  
while you are painting1 your glass is   
surrounded by dark1 or at any rate not  
by clear1 glittering light4 ,strips of  
brown paper1 pinned down the sides of   
the light you are painting1 will get the
 thing quite near to its future         
conditions4  ,as you have been told1 the
 work is fixed in its place by bars of  
iron1 and these ought by no means to be 
despised or ignored or disguised1 as if 
they were a troublesome necessity3 you  
must accept fully and willingly the     
conditions of your craft2 you must pride
 yourself upon so accepting them1       
knowing that they are the wholesome     
checks upon your liberty and the proper 
boundaries of the field in which you    
have your appointed work4 ,there should1

 in any light more than a foot wide1 be 
bars at every foot throughout the length
 of the light2 and these bars should be 
#a_/b inch1 #c_/d inch1 or #a inch in   
section1 according to the weight of the 
work4 ,the question then arises3 ,should
 the bars be set out in their places on 
the paper1 before you begin to draw the 
cartoon1 or should you be perfectly free
 and unfettered in the drawing and then 
make the bars fit in afterwards1 by     
moving them up and down as may be needed
 to avoid cutting across the faces1     
hands1 c4  ,i find more difficulty in   
answering this than any other technical 
question in this book4 ,i do not think  
it can be answered with a hard and fast 
,yes or ,no4 ,it depends on the         
circumstances of the case4 ,but ,i      
incline towards the side of making it   
the rule to put the bars in first1 and  
adapt the composition to them4 ,you may 
think this a surprising view for an     
artist to take4 ,surely1 you will say1  
that is putting the cart before the     

horse1 and making the more important    
thing give way to the less6 ,but my     
feeling is that reasonable limitations  
of any kind ought never to be considered
 as hindrances in a work of art4 ,they  
are part of the problem1 and it is only 
a spirit of dangerous license which will
 consider them as bonds1 or will find   
them irksome1 or wish to break them     
through4 ,stained-glass is not an       
independent art4 ,it is an accessory to 
architecture1 and any limitations       
imposed by structure and architectural  
propriety or necessity are most gravely 
to be considered and not lightly laid on
 one side4 ,and in this connection it   
must be remembered that the bars cannot 
be made to go anywhere to fit a freely  
designed composition3 they must be      
approximately at certain distances on   
account of use2 and they must be        
arranged with regard to each other in   
the whole of the window on account of   
appearance4  ,you might indeed find     
that1 in any single light1 it is quite  

easy to arrange them at proper and      
serviceable distances1 without cutting  
across the heads or hands of the        
figures2 but it is ten chances to one   
that you can get them to do so1 and     
still be level with each other1         
throughout a number of lights side by   
side4  ,the best plan1 ,i think1 is to  
set them out on the side of the         
cartoon-paper before you begin1 but not 
so as to notice them2 then first roughly
 strike out the position your most      
important groups or figures are to      
occupy1 and1 before you go on with the  
serious work of drawing1 see if the bars
 cut awkwardly1 and1 if they do1 whether
 a slight shifting of them will clear   
all the important parts2 it often will1 
and then all is well2 but ,i do not     
shrink from slightly altering even the  
position of a head or hand1 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  

hands4  ,if1 by the way1 ,i see fit in  
any case to adopt the other plan1 and   
make my composition first1 placing the  
bars afterwards to suit it1 ,i never    
allow myself to shift them from the     
level that is convenient and reasonable 
for anything except a head2 ,i prefer   
even that they should cut across a hand1
 for instance1 rather than that they    
should be placed at inconvenient        
intervals to avoid it4  ,the principle  
of observing your limitations is1 ,i do 
not hesitate to say1 the most important1
 and far the most important1 of all     
principles guiding the worker in the    
right practising of any craft4  ,the    
next in importance to it is the right   
exercise of all legitimate freedom      
within those limitations4 ,i place them 
in this order1 because it is better to  
stop short1 by nine-tenths1 of right    
liberty1 than to take one-tenth of wrong
 license4 ,but by rights the two things 
should go together1 and1 with the       
requisite skill and training to use     

them1 constitute indeed the whole of the
 practice of a craft4  ,modern division 
of labour is much against both of these 
things1 the observance of which charms  
us so in the ancient ,gothic ,art of the
 ,middle ,ages4  ,for1 since those days1
 the craft has never been taught as a   
whole4 ,reader6 this book cannot teach  
it you--no book1 can2 but it can make   
you--and it was written with the sole   
object of making you--wish to be taught 
it1 and determine to be taught it1 if   
you intend to practise stained-glass    
work at all4  ,modern stained-glass work
 is done by numerous hands1 each trained
 in a special skill--to design1 or to   
paint1 or to cut1 or to glaze1 or to    
fire1 or to cement--but none are taught 
to do all2 very few are taught to do    
more than one or two4 ,how1 then1 can   
any either use rightful liberty or      
observe rightful limitations8 ,they do  
not know their craft1 upon which these  
things depend4 ,and observe how         
completely also these two things depend 

upon each other4 ,you may be rightly    
free1 because you have rightly learnt   
obedience2 you know your limitations1   
and1 therefore1 you may be trusted to   
think1 and feel1 and act for yourself4  
,this is what makes old glass1 and      
indeed all old art1 so full of life1 so 
full of interest1 so full of            
enjoyment--in places1 and right places1 
so full even of fun4 ,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     
them1 and an inferior person laboriously
 translating them in facsimile into the 
material8 ,they are what they are       
because they were the spontaneous and   
allowed license and play of a craftsman 
who knew his craft1 and could be trusted
 to use it wisely1 at any rate in all   
minor matters4   ,,the ,,limitations    
,,of ,,stained-,,glass4  ,the           
limitations of stained-glass can only be

 learnt at the bench1 and by years of   
patient practice and docile service2 but
 it may be well to mention some of them4
  ,you must not disguise your lead line4
 ,you must accept it willingly1 as a    
limitation of your craft1 and make it   
contribute to the beauty of the whole4  
,but ,i have a light to do of the ',good
 ,shepherd1' and ,i want a landscape and
 sky1 and how ugly lead lines look in a 
pale-blue sky6 ,i get them like shapes  
of cloud1 and still it cuts the sky up  
till it looks like 'random-rubble'      
masonry4 ,therefore large spaces of pale
 sky are taboo1 they will not do for    
glass1 and you must modify your whole   
outlook1 your whole composition1 to suit
 what will do4 ,if you must have sky1 it
 must be like a ,titian sky--deep blue1 
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 sky2 and even   
then it must not be in a large mass3 you
 can always break it up with            

branched-work of trees1 or with         
buildings4  ,there should be no full    
realism of any kind4  ,no violent action
 must assert itself in a window4  ,i do 
not say that there must not1 in any     
circumstances1 be any violent           
action--the subject may demand it2 but1 
if so1 it must be so disguised by the   
craftsmanship of the work1 or treated so
 decoratively1 or so mixed up with the  
background or surroundings1 that you do 
not see a figure in violent action      
starting prominently out from the window
 as you stand in the church4 ,but1 after
 all1 this is a thing of artistic sense 
and discretion1 and no rules can be     
formulated4 ,the ,parthenon frieze is of
 figures in rapid movement4 ,yet what   
repose6 ,and in stained-glass you must  
aim at repose4 ,remember1--it is an     
accessory to architecture2 and who is   
there that does not want repose in      
architecture8 ,name me a great building 
which does not possess it8 ,how the     
architects must turn in their graves1   

or1 if living1 shake in their shoes1    
when they see the stained-glass man     
turned into their buildings1 to display 
himself and spread himself abroad and   
blow his trumpet6  ,efface yourself1 my 
friend2 sink yourself2 illustrate the   
building2 consider its lines and lights 
and shades2 enrich it1 complete it1 make
 people happier to be in it4  ,there    
must be no craft-jugglery in            
stained-glass4  ,the art must set the   
craft simple problems2 it must not set  
tasks that can only be accomplished by  
trickery or by great effort1            
disproportioned to the importance of the
 result4 ,but1 indeed1 you will         
naturally get the habit of working      
according to this rule1 and other       
reasonable rules1 if you yourself work  
at the bench--all lies in that4  ,there 
must be nothing out of harmony with the 
architecture4  ,and1 therefore1 you must
 know something of architecture1 not in 
order to imitate the work of the past   
and try to get your own mistaken for it1

 but to learn the love and reverence and
 joy of heart of the old builders1 so   
that your spirit may harmonise with     
theirs4  ,do not shrink from the trouble
 and expense of seeing the work in situ1
 and then1 if necessary1 removing it for
 correction and amendment4  ,if you have
 a large window1 or a series of windows1
 to do1 it is often not a very great    
matter to take a portion of one light at
 least down and try it in its place4 ,i 
have done it very often1 and ,i can     
assure you it is well worth while4      
,,of ,,making ,a ,,sketch ,,in ,,glass4 
,but there is another thing that may    
help you in this matter1 and that is to 
sketch out the colour of your window in 
small pieces of glass--in fact1 to make 
a scale-sketch of it in glass4 ,a scale 
of one inch to a foot will do generally1
 but all difficult or doubtful          
combinations of colour should be        
sketched larger--full size even--before 
you venture to cut4  ,work should be    
kept flat by leading4  ,one of the main 

artistic uses of the leadwork in a      
window is that1 if properly used1 it    
keeps the work flat and in one plane1   
and allows far more freedom in the      
conduct of your picture1 permitting you 
to use a degree of realism and fulness  
of treatment greater than you could do  
without it4 ,work may be done1 where    
this limitation is properly accepted and
 used1 which would look vulgar without  
it2 and on the other hand1 the most     
,byzantine rigidity may be made to look 
vulgar if the lead line is misused4 ,i  
have seen glass of this kind where the  
work was all on one plane1 and where the
 artist had so far grasped proper       
principles as to use thick leads1 but   
had curved these leads in and out across
 the folds of the drapery as if they    
followed its ridges and hollows--the    
thing becoming1 with all its good-will  
to accept limitations1 almost more      
vulgar than the discredited             
,munich-glass of a few years ago1 which 
hated and disguised the lead lines4     

,you must step back to look at your work
 as often and as far as you can4        
,respect your bars and lead lines1 and  
let them be strong and many4  ,every bit
 of glass in a window should look cared 
for4  ,if there is a lot of blank space 
that you don't know how to fill1 be sure
 your design has been too narrowly and  
frugally conceived4 ,i do not mean to   
say that there may not be spaces1 and   
even large spaces1 of plain             
quarry-glazing1 upon which your subject 
with its surrounding ornament may be    
planted down1 as a rich thing upon a    
plain thing4 ,i am thinking rather of a 
case where you meet with some sudden    
lapse or gap in the subject itself or in
 its ornamental surroundings4 ,this is  
apt specially to occur where it is one  
which leads rather to pictorial         
treatment1 and where1 unless you have   
canopy or tabernacle work1 as it is     
called1 surrounding and framing         
everything1 you find yourself at a loss 
how to fill the space above or below4   

,very little can be said by way of      
general rule about this2 each case must 
be decided on its merits1 and we cannot 
speak without knowing them4 ,but two    
things may be said3 ,first1 that it is  
well to be perfectly bold 7as long as   
you are perfectly sincere71 and not be  
afraid1 merely because they are unusual1
 of things that you really would like to
 do if the window were for yourself4    
,there are no hard and fast rules as to 
what may or may not be done1 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 interesting4 ,the golden rule is to
 handle every bit of it yourself1 and   
then you will be interested in the      
ingenuity of its arrangement2 the       
cutting of it into little and big bits2 
the lacework of the leads2 thickening   
and thinning these also to get bold     
contrasts of strong and slender1 of     
plain and intricate2 catching your      

pearly glass like fish1 in a net of     
larger or smaller mesh2 for1 bear in    
mind always that this question relates  
almost entirely to the whiter glasses4  
,colour has its own reason for being    
there1 and carries its own interest2 but
 the most valuable piece of advice that 
,i can think of in regard to            
stained-glass treatment 7apart from the 
question of subject and meaning7 is to  
make your white spaces interesting4     
,the old painters felt this when they   
diapered their quarry-glazing and did   
such grisaille work as the ,five        
,sisters window at ,york4 ,every bit of 
this last must have been put together   
and painted by a real craftsman         
delighting in his work4 ,the drawing is 
free and beautiful2 the whole work is   
like jewellery1 the colour scheme       
delightfully varied and irregular4 ,the 
work was loved3 each bit of glass was   
treated on its merits as it passed      
through hand4 ,working in this way all  
things are lawful2 you may even put a   

thin film of matt over any piece to     
lower it in tone and give it richness1  
or to bring out with emphasis some      
quality of its texture4 ,some bits will 
have lovely streaks and swirling lines  
and bands in them--reamy1 as            
glass-cutters call it--or groups of     
bubbles and spots1 making the glass like
 agate or pebble2 and a gentle hand will
 rub a little matt or film over these1  
and then finger it partly away to bring 
out its quality1 just as a jeweller     
foils a stone4 ,this is quite a         
different thing from smearing a window  
all over with dirt to make it a         
sham-antique2 and where it is desirable 
to lower the tone of any white for the  
sake of the window1 and where no special
 beauties of texture exist1 it is       
better1 ,i think1 to matt it and then   
take out simple patterns from the matt3 
not outlined at all1 but spotted and    
streaked in the matt itself1 chequered  
and petalled and thumb-marked1 just as  
nature spots and stripes and dapples1   

scatters daisies on the grass and       
snowflakes in the air1 and powders over 
with chessboard chequers and lacings and
 oes and eyes of light1 the wings of    
butterflies and birds4  ,so man has     
always loved to work when he has been   
let to choose1 and when nature has had  
her way4 ,such is the delightful art of 
the basket and grass-cloth weaver of the
 ,southern seas2 of the ancient ,cyprian
 potter1 the ,scandinavian and the      
,celt4 ,it never dies2 and in some      
quiet1 merciful time of academical      
neglect it crops up again4 ,such is the1
 often delightful1 builders-glazing of  
the carpenters-,gothic period1 or       
earlier1 when the south transept window 
at ,canterbury1 and the east and west   
windows at ,cirencester1 and many such  
like1 were rearranged with old materials
 and new by rule of thumb and just as   
the glazier thought he would4 ,heaven   
send us nothing worse done through too  
much learning6 ,i daresay he shouldn't  
have done it2 but as it came to him to  

do1 as1 probably1 he was ordered to do  
it1 we may be glad he did it just so4   
,in the ,canterbury window1 for         
instance1 no doubt much of the old glass
 never belonged to that particular      
window2 it may have been1 sinfully1     
brought there from windows where it did 
belong4 ,at ,cirencester there are      
numbers of bits of canopy and so forth1 
delightful fifteenth-century work1      
exquisitely beautiful1 put in as best   
they could be2 no doubt from some       
mutilated window where the figures had  
been destroyed--for1 if my memory serves
 me1 most of them have no figures       
beneath--and surrounded by little       
chequered work1 and stripes and banding 
of the glaziers' own fancy4 ,a modern   
restorer would have delighted to supply 
sham-antique saints for them1 imitating 
fifteenth-century work 7and deceiving   
nobody71 and to complete the mutilated  
canopies by careful matching1 making the
 window entirely correct and            
uninteresting and lifeless and          

accomplished and forbidding4 ,the very  
blue-bottles would be afraid to buzz    
against it2 whereas here1 in the old    
church1 with the flavour of sincerity   
and simplicity around them1 at one with 
the old carving and the spirit of the   
old time1 they glitter with fresh       
feeling1 and hang there1 new and old    
together1 breaking sunlight2            
irresponsible1 absurd1 and delightful4  
,,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   
,comment4   ,here1 now1 follow some     
little practical hints upon work in     
general2 mere receipts2 description of  
time-saving methods and apparatus which 
,i have separated from the former part  
of the book2 partly because they are    

mostly exceptions to the ordinary       
practice1 and partly because they are of
 general application1 the common-sense  
of procedure1 and will1 ,i hope1 after  
you have learnt from the former parts of
 the book the individual processes and  
operations1 help you to marshal these1  
in order and proportion1 so as to use   
them to the greatest advantage and with 
the best results4 ,and truly our        
stained-glass methods are most wasteful 
and bungling4 ,the ancient ,egyptians1  
they say1 made glass1 and ,i am sure    
some of our present tools and apparatus 
date from the time of the ,pyramids4    
,a ,,clumsy ,,kiln-,,feeder4  ,what     
shall we say1 for instance1 of this     
instrument 7fig4 #fd71 used for loading 
some forms of kiln8  ,illustration3     
,,fig4 #fd4  ,the workman takes the     
ring-handle in his right hand1 rests the
 shaft in the crook of his left elbow1  
puts the fork under an iron plate loaded
 with glass and weighing about forty    
pounds1 and then1 with tug and strain1  

lifts it1 ready to slip off and smash at
 any moment1 and1 grunting1 transfers it
 to the kiln4 ,a little mechanical      
appliance would save nine-tenths of the 
labour1 a stage on wheels raised or     
lowered at will 7a thing which surely   
should not be hard to invent7 would     
bring it from the bench to the kiln1 and
 then1 if needs be1 and no better method
 could be found1 the fork might be used 
to put it in4  ,meanwhile1 as a         
temporary step in the right direction1  
,i illustrate a little apparatus        
invented by ,mr4 ,heaton1 which1 with   
the tray made of some lighter substance 
than iron1 of which he has the secret1  
decreases the labour by certainly       
one-third1 and ,i think a half 7fig4    
#fe74  ,illustration3 ,,fig4 #fe4  ,it  
is indeed only a sort of half-way house 
to the right thing1 but1 tested one     
against the other with equal batches of 
plates1 its use is certainly less       
laborious than that of the fork4 ,and   
that is a great gain2 for the           

consequence of these rough ways is that 
the kiln-man1 whom we want to be a      
quiet1 observant man1 with plenty of    
leisure and with all his strength and   
attention free to watch the progress of 
a process or experiment1 like a chemist 
in his laboratory1 has often two-thirds 
of it distracted by the stress of       
needless work which is only fit for a   
navvy1 and the only tendency of which   
can be towards turning him into one4    
,illustration3 ,,fig4 #ff4   ,a         
,,glass-,,rack ,,for ,,waste ,,pieces4  
,then the cutter1 who throws away half  
the stuff under his bench6 ,how easy it 
would be1 if things were thought of from
 the beginning and the place built for  
the work1 to have such width of bench   
and space of window that1 along the     
latter1 easily and comfortably within   
reach1 should run stages1 tier above    
tier1 of strong sheet or thin plate     
glass1 sloping at such an angle that the
 cuttings might lie along them against  
the light1 with a fillet to stop them   

from falling off4 ,then it would be a   
pleasure1 as all handy things are1 for  
the workman to put his bits of glass    
there1 and when he wanted a piece of    
similar colour1 to raise his head and   
choose one1 instead of wastefully       
cutting a fresh piece out of the        
unbroken sheet1 or wasting his time     
rummaging amongst the bits on the bench4
 ,a stage on the same principle for     
choosing glass is illustrated in fig4   
#fg4  ,but it is in easels that         
improvement seems most wanted and would 
be most easy1 and here ,i really must   
tell you a story4   ,,an ,,inconvenient 
,,easel4  ,having once some very large  
lights to paint1 against time1 the      
friends in whose shop ,i was to work    
7wishing to give me every advantage and 
to save time71 had had special easels   
made to take in the main part of each   
light at once4 ,but an ,easel1 in       
stained-glass work1 meaning always the  
single slab of plate-glass in a wooden  
frame1 these were of that type4 ,i      

forget their exact size and could hazard
 no guess at their weight1 but it took  
four men to get one from the ground on  
to the bench4 ,why1 ,i wanted it done a 
dozen times an hour6 and should have    
wished to be able to do it at any       
moment4 ,instead of that it was1 ,now   
then1 ,bill2 ease her over6 ,steady6    
,now lift6 ,all together1 boys6 and so  
forth4 ,i wonder there wasn't a strike6 
,but did no one1 then1 ever see in a    
club or hotel a plate-glass window about
 as big as a billiard-table1 and a slim 
waiter come up to it1 and1 with a polite
 ,would you like the window open1 sir8  
quietly lift it with one hand8          
,illustration3 ,,fig4 #fg4   ,a         
,,convenient ,,easel4  ,fig4 #fh is a   
diagram of the kind of easel ,i would   
suggest4 ,it can either stand on the    
bench or on the floor1 and with the     
touch of a hand can be lifted1 weighing 
often well over a hundredweight1 to any 
height the painter pleases1 till it     
touches the roof1 enabling him to see at

 any moment the whole of his work at a  
distance and against the sky1 which one 
would rather call an absolute necessity 
than a mere convenience or advantage4   
,some of these things were thought out  
roughly by myself1 and have been added  
to and improved from time to time by my 
painters and apprentices1 a matter which
 ,i shall say a word on by-and-by1 when 
we consider the relations which should  
exist between these and the master4     
,,an ,,improved ,,tool ,,for            
,,waxing-,,up4  ,meanwhile here is      
another little tool 7fig4 #fi71 the     
invention of one of my youngest hands   
7and heads71 and really a praiseworthy  
invention1 though indeed a simple and   
self-evident matter enough4 ,the usual  
tool for waxing-up is 7#a7 a strip of   
glass1 7#b7 a penknife1 7#c7 a stick of 
wood4 ,the thing most to be wished for  
in whatever is used being1 of course1   
that it should retain the heat4 ,this   
youth argued3 ,if they use copper for   
soldering-bits because it retains heat  

so well1 why not use copper for the     
waxing-up tool8 besides1 it can be made 
into a pen which will hold more wax4    
,illustration3 ,,fig4 #fh4              
,illustration3 ,,fig4 #fi4  ,so said1 so
 done2 nothing indeed to make a fuss    
about1 but part of a very wholesome     
spirit of wishing to work with handy    
tools economically1 instead of          
blundering and wasting4   ,,an ,,easel  
,,with ,,movable ,,plates4  ,but to     
return for a moment to the easel4 ,i    
find it very convenient not to have it  
made all of one plate of glass1 but to  
divide it so that about four plates make
 the whole easel of five feet high4     
,these plates slip in grooves1 and can  
be let in either at the top or bottom1  
the latter being then stopped by a      
batten and thumbscrews4 ,by this means a
 light of any length can be painted in  
sections without a break4 ,for supposing
 you work from below upwards1 and have  
done the first five feet of the window1 
take out all the glass except the top   

plate1 shift this down to the bottom1   
and place three empty plates above it1  
and you can join the upper work to the  
lower by the sample of the latter left  
in its place to start you4   ,,how ,,to 
,,make ,,the ,,most ,,of ,a ,,room4     
,the great point is to be able to get   
away as far as you can from your work4  
,and ,i advise you1 if your room is     
small1 to have a fair-sized mirror 7a   
cheval-glass7 and place it at the far   
end of your room opposite the easel     
where you are painting1 and then1       
standing close by the side of your      
easel1 look at your work in the mirror4 
,this will double the distance at which 
you see it1 and at the same time present
 it to you reversed2 which is no        
disadvantage1 for you then see          
everything under a fresh aspect and so  
with a fresh eye4 ,of course1 by the use
 of two mirrors1 if they be large       
enough1 you can put your work away to   
any distance4 ,you must have seen this  
in a restaurant where there were        

mirrors1 and where you have had         
presented to you an endless procession  
of your own head1 first front then back1
 going away into the far distance4      
,,how ,,to ,,handle ,,cartoons4  ,well1 
it's really like insulting your         
intelligence6 ,and if ,i hadn't seen    
fellows down on their hands and knees   
rolling and unrolling cartoons along the
 dirty floor1 and sprawling all over the
 studio so that everybody had to get out
 of the way into corners1 ,i wouldn't   
spend paper and ink to tell you that by 
standing the roll upright and spinning  
it gently round with your hands1 freeing
 first one edge and then another1 you   
can easily and quietly unroll and sort  
out a bundle of a dozen cartoons1 each  
twenty feet long1 on the space of a     
small hearth-rug2 but so it is 7fig4    
#gj71 and in just the same way you can  
roll them up again4   ,,neatness ,,and  
,,cleanliness4  ,you should have drawers
 in the tables1 and put the palettes    
away in these with the colour neatly    

covered over with a basin when you leave
 work4 ,dust is a great enemy in a      
stained-glass shop1 and it must be kept 
at arm's length4   ,,you ,,must ,,tear  
,,off ,,the ,,selvage ,,edge ,,of ,,your
 ,,tracing ,,cloth1 otherwise the       
tracing cloth being all cockled at the  
edge1 which1 however1 is not very       
noticeable1 will not lie flat1 and you  
will be puzzled to know why it is that  
you cannot get your cut-line straight2  
tear off the edge1 and it lies perfectly
 flat1 without a wrinkle4   ,,how ,,to  
,,dry ,a ,,big ,,brush ,,or ,,badger    
,,after ,,it ,,is ,,washed4  ,i expect  
you'd try to dry it in front of the     
fire1 and there'd be a pretty           
eight-shilling frizzle6 ,but the way is 
this3 ,first sweep the wet brush        
downwards with all your force1 just as  
you shake the worst of the wet off a    
dripping umbrella1 then take the handle 
of the brush between the palms of your  
hands1 with the hair pointing downwards1
 and rub your hands smartly together1   

with the handle between them1 just as an
 ,italian waiter whisks up the          
chocolate4 ,this sends the hair all out 
like a ,catherine-wheel1 and dries the  
brush with quite astonishing rapidity4  
,come now6 you'd never have thought of  
that8  ,illustration3 ,,fig4 #gj4       
99       99       99       99       99  
,and why have ,i reserved these hints   
till now8 surely these are things of the
 work-bench1 practical matters1 and     
would have come more conveniently in    
their own place8 ,why have ,i--do you   
ask--after arousing your attention to   
the great principles of art1 gone back  
again all at once to these little       
matters8  ,dear reader1 ,i have done so 
deliberately to emphasise the ,first of 
principles1 that the right learning of  
any craft is the learning it under a    
master1 and that all else is makeshift2 
to drive home the lesson insisted on in 
the former volumes of this series of    
handbooks1 and gathered into the        
sentence quoted as a motto on the       

fly-leaf of one of them1 that ,an art   
can only be learned in the workshop of  
those who are winning their bread by it4
  ,these little things we have just been
 speaking of occurred to me after the   
practical part was all written2 and ,i  
determined1 since it happened so1 to put
 them by themselves1 to point this very 
lesson4 ,they are just typical instances
 of hundreds of little matters which    
belong to the bench and the workshop1   
and which cannot all be told in any     
book2 and even if told can never be so  
fully grasped as they would be if shown 
by master to pupil4 ,years--centuries of
 practice have made them the            
commonplaces of the shops2 things told  
in a word and learnt in an instant1 yet 
which one might go on for a whole       
lifetime without thinking of1 and for   
lack of which our lifetime's work would 
suffer4  ,man's work upon earth is all  
like that4 ,the things are there under  
his very nose1 but he never discovers   
them till some accident shows them2 how 

many centuries of sailing1 think you1   
passed by before men knew that the tides
 went with the moon8  ,why then write a 
book at all1 since it is not the best   
way8  ,speaking for myself only1 the    
reasons appear to be3 ,first1 because   
none of these crafts is at present      
taught in its fulness in any ordinary   
shop1 and ,i would wish to give you at  
least a longing to learn yours in that  
fulness2 and1 second1 because it seems  
also very advisable to interest the     
general reader in this question of the  
complete teaching of the crafts to      
apprentices4 ,to insist on the value and
 necessity of the daily and hourly      
lessons that come from the constant     
presence1 handling1 and use of all the  
tools and materials1 all the apparatus  
and all the conditions of the craft1 and
 from the interchange of ideas amongst  
those who are working1 side by side1    
making fresh discoveries day by day as  
to what materials will do under the     
changes that occur in conditions that   

are ever changing4  ,however1 one must  
not linger further over these little    
matters1 and it now becomes my task to  
return to the great leading principles  
and try to deal with them1 and the first
 cardinal principle of stained-glass    
work surely is that of ,,colour4        
,,chapter ,,xvi  ,,of ,,colour   ,but   
how hopeless to deal with it by way of  
words in a book where actual colour     
cannot be shown6  ,nevertheless1 let us 
try4         99       99       99       
99       99  444 ,one thinks of morning 
and evening2 444 of clouds passing over 
the sun2 of the dappled glow and        
glitter1 and of faint flushes cast from 
the windows on the cathedral pavement2  
of pearly white1 like the lining of a   
shell2 of purple bloom and azure haze1  
and grass-green and golden spots1 like  
the budding of the spring2 of all the   
gaiety1 the sparkle1 and the charm4     
,and then1 as if the evening were       
drawing on1 comes over the memory the   
picture of those graver harmonies1 in   

the full glow of red and blue1 which go 
with the deep notes of the great organ1 
playing requiem or evening hymn4  ,of   
what use is it to speak of these things8
 ,the words fall upon the ear1 but the  
eye is not filled4  ,all stained-glass  
gathers itself up into this one subject2
 the glory of the heavens is in it and  
the fulness of the earth1 and we know   
that the showing forth of it cannot be  
in words4  ,is it any use1 for instance1
 to speak of these primroses along the  
railway bank1 and those silver buds of  
the alder in the hollow of the copse8   
,one thinks of a hint here and a hint   
there2 the very sentences come in       
fragments4 ,yet one thing we may say    
securely3 that the practice of          
stained-glass is a very good way to     
learn colour1 or as much of it as can   
come by learning4  ,for1 consider3--  ,a
 painter has his colour-box and palette2
  ,and if he has a good master he may   
learn by degrees how to mix his colour  
into harmonies2  ,doing a little first1 

cautiously2  ,trying the problem in one 
or two simple tints2 learning the       
combinations of these in their various  
degrees of lighter or darker3           
,exhausting1 as much as he can1 the     
possibilities of one or two pigments1   
and then adding another and another2    
,but always with a very limited number  
of actual separate ones to draw upon2   
,all the infinity of the whole world of 
colour being in his own hands1 and the  
difficulty of dealing with it laid as a 
burden upon his own shoulders1 as he    
combines1 modifies1 mixes1 and dilutes  
them4  ,he perhaps has eight or ten     
spots of pure colour1 ranged round his  
palette2 and all the rest depends upon  
himself4  ,this gives him1 indeed1 one  
side of the practice of his art2 and if 
he walks warily1 yet daringly1 step by  
step1 learning day by day something more
 of the powers that lie in each single  
kind of paint1 and as he learns it      
applying his knowledge1 bravely and     
industriously1 to add strength to       

strength1 brightness to brightness1     
richness to richness1 depth to depth1 in
 ever clearer1 fuller1 and more gorgeous
 harmony1 he may indeed become a great  
painter4  ,but a more timid or indolent 
man gets tired or afraid of putting the 
clear1 sharp tints side by side to make 
new combinations of pure and vivid      
colour4  ,and even a man industrious1   
alert1 and determined may lose his way  
and get confused amongst the infinity of
 choice1 through being badly taught1 and
 especially through being allowed at    
first too great a range1 too wide a     
choice1 too lavish riches4  ,a man so   
trained1 so situated1 so tempted1 stands
 in danger of being contented to repeat 
old receipts and formulas over and over1
 as soon as he has acquired the         
knowledge of a few4  ,or1 bewildered    
with the lavishness of his means and    
confused in his choice1 tends to fall   
into indecision1 and to smear and dilute
 and weaken4  ,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    
owe1 on the one side1 the fashion of    
calling irresolute and undecided tints  
art colours2 and1 on the other hand1 the
 garishness of our modern exhibitions   
compared with galleries of old          
paintings4 ,for ,titian's burning       
scarlet and crimson and palpitating     
blue2 and ,veronese's gold and green and
 white and rose are certainly not art   
colours2 and ,i think we must feel the  
justice and truth of ,ruskin's words    
spoken regarding a picture of           
,linnell's3--  ,and what a relief it is 
for any wholesome human sight1 after    
sickening itself among the blank horror 
of dirt1 ditchwater1 and malaria1 which 
the imitators of the ,french schools    
have begrimed our various ,exhibition   
walls with1 to find once more a bit of  
blue in the sky and a glow of brown in  
the coppice1 and to see that ,hoppers in
 ,kent can enjoy their scarlet and      
purple--like ,empresses and ,emperors4  

7,ruskin1 ,royal ,academy ,notes1       
#ahge47  ,from this irresolution and    
indecision and the dull-colour school   
begotten of it on the one hand1 and from
 garishness on the other1 stained-glass 
is a great means of salvation2 for in   
practising this art the absolute        
judgment must1 day by day1 be exercised 
between this and that colour1 there     
present before it2 and the will is      
braced by the necessity of constant     
choice and decision4 ,in short1 by many 
of the modern1 academical methods of    
teaching painting1 and especially by the
 unfortunate arrangement1 where it      
exists1 of a pupil passing under a      
succession of different masters1 ,i fear
 the colour-sense is perplexed and      
blunted2 while by stained-glass1 taught1
 as all art should be1 from master to   
apprentice1 while both make their bread 
by it1 the colour-sense would be        
gradually and steadily cultivated and   
would have time to grow4  ,this at least
 seems certain3 that all painters who   

have also done stained-glass1 or indeed 
any other decorative work in colour1 get
 stronger and braver in painting from   
its practice4 ,so worked ,titian1       
,giorgione1 ,veronese2 and so in our    
days worked ,burne-,jones1 ,rossetti1   
,madox-,brown1 ,morris2 and if ,i were  
to advise and prate about what is1      
perhaps1 not my proper business1 ,i     
would say1 even to the student of       
oil-painting1 ,begin with burnt-umber1  
trying it in every degree with white2   
transparent over opaque and opaque over 
transparent2 trying how near you can get
 to purple and orange by contrast 7and  
you will get nearer than you think72    
then add sienna at one end and black at 
the other to enlarge the range2--and    
then get a set of glass samples4  ,i    
have said that stained-glass is a great 
means of salvation1 from irresolution   
and indecision on the one hand and from 
garishness on the other2 but it is only 
a means--the fact of salvation lies     
always in one's own hands--for we must1 

,i fear1 admit that garishness and      
irresolution are not unknown in         
stained-glass itself1 in spite of the   
resources and safeguardings we have     
attributed to the material4 ,speaking1  
therefore1 now to stained-glass painters
 themselves1 we might say that these    
faults in their own art1 as too often   
practised in our days1 arise1 strange as
 it may seem1 from ignorance of their   
own material1 that very material the    
knowledge of which we have just been    
recommending as a safeguard against     
these very faults to the students of    
another art4  ,and this brings us back  
to our subject4  ,for the foregoing     
discussion of painters' methods has all 
been written to draw a comparison and   
emphasise a contrast4  ,a contrast from 
which you1 student of stained-glass1 ,i 
hope may learn much4  ,for as we have   
tried to describe the methods of the    
painter in oil or water colours1 and so 
point out his advantages and            
disadvantages1 so we would now draw a   

picture of the glass-painter at work2 if
 he works as he should do4  ,for the    
painter of pictures 7we said7 has his   
colour-box of a few pigments1 from which
 all his harmonies must come by mixing  
them and diluting them in various       
proportions1 dealing with infinity out  
of a very limited range of materials1   
and required to supply all the rest by  
his own skill and memory4  ,coming each 
day to his work with his palette clean  
and his colours in their tubes2         
,beginning1 as it were1 all over again  
each time2 and perhaps with his heart   
cold and his memory dull4  ,but the     
glass-painter has his specimens of glass
 round him2 some hundreds1 perhaps1 of  
all possible tints4  ,he has1 with      
these1 to compose a subject in colour2  
,there is no getting out of it or       
shirking it2  ,he places the bits side  
by side1 with no possibility 7which the 
palette gives7 of slurring or diluting  
or dulling them2 he must choose from the
 clear hard tints2  ,and he has the     

whole problem before him2  ,he removes  
one and substitutes another2  ,this     
looks better2 ,that is a pleasant       
harmony2 ,ah6 but this makes it sing6   
,he gets them into groups1 and combines 
them into harmonies1 tint with tint1    
group with group3  ,if he is wise he has
 them always by him2  ,always ready to  
arrange in a movable frame against the  
window2  ,he cuts little bits of each2  
he waxes them1 or gums them1 into groups
 on sheets of glass2  ,he tries all his 
effects in the glass itself2 he sketches
 in glass4  ,if he is wise he does this 
side by side with his water-colour      
sketch1 making each help the other1 and 
thinking in glass2 even perhaps making  
his water-colour sketch afterwards from 
the glass4  ,is it not reasonable8  ,is 
it not far more easy1 less dangerous8   
,he has not to rake in his cold and     
meagre memory to fish out some poor     
handful of all the possible harmonies2  
,to repeat himself over and over again4 
,he has all the colours burning round   

him2 singing to him to use them2        
sounding all their chords4  ,is it not  
the way8 ,is it not common sense8       
,tints6 pure tints6 ,what great things  
they are4  ,i remember an old joke of   
the pleasant ,du ,maurier1 a drawing    
representing two fashionable ladies     
discussing the afternoon's occupation4  
,one says3 ,it's quite too dull to see  
colours at ,madame ,st4 ,aldegonde's2   
suppose we go to the ,old ,masters'     
,exhibition6  ,rather too bad6 but the  
ladies were not so altogether frivolous 
as might at first appear4 ,i am afraid  
,punch meant that they were triflers who
 looked upon colour in dress as         
important1 and colour in pictures as a  
thing which would do for a dull day4    
,but they were not quite so far astray  
as this6 ,there are other things in     
pictures besides colour which can be    
seen with indifferent light4 ,but to    
match clear tint against clear tint1 and
 put together harmonies1 there is no    
getting away from the problem6 ,it is   

all sheer1 hard exercise2 you want all  
your light for it2 there is no slurring 
or diluting1 no glazing or scumbling1   
and it should form a part of the        
teaching1 and yet it never does so1 in  
our academies and schools of art4 ,a    
curious matter this is1 that a painter's
 training leaves this great resource of 
knowledge neglected1 leaves the whole   
thing to memory4 ,out of all the        
infinite possible harmonies only getting
 what rise in the mind at the moment    
from the unseen4 ,while ladies who want 
to dress beautifully look at the things 
themselves1 and compare one with        
another4 ,and how nicely they dress4 ,if
 only painters painted half as well4 ,if
 the pictures in our galleries only     
looked half as harmonious as the crowd  
of spectators below them6 ,i would have 
it part of every painter's training to  
practise some craft1 or at least that   
branch of some craft1 which compels the 
choosing and arranging1 in due          
proportions for harmony1 of clear1 sharp

 glowing colours in some definite       
material1 from a full and lavish range  
of existing samples4 ,it is true that   
here and there a painter will arise who 
has by nature that kind of instinct or  
memory1 or whatever it is1 that seems to
 feel harmonies beforehand1 note by     
note1 and add them to one another with  
infallible accuracy2 but very few       
possess this1 and for those who lack ,i 
am urging this training4 ,for it is a   
case of           the little more and   
how much it is1      ,and the little    
less and what worlds away4  ,millais    
hung a daring crimson sash over the     
creamy-white bed-quilt1 in the glow of  
the subdued night-lamp1 in his picture  
of ,asleep1 and we all thought what a   
fine thing it was4 ,but we have not     
thought it so fine for the whole art    
world to burst into the subsequent      
imitative paroxysm of crashing discords 
in chalk1 lip-salve1 and skim-milk1     
which has lasted almost to this day4    
,at any rate1 ,i throw out this hint for

 pupils and students1 that if they will 
get a set of glass samples and try      
combinations of colour in them1 they    
will have a bracing and guiding         
influence1 the strength of which they   
little dream of1 regarding one of the   
hardest problems of their art4  ,this   
for the student of painting in general3 
but for the glass-painter it is         
absolutely essential--the central point1
 the breath-of-life of his art4  ,to    
live in it daily and all day4  ,to be   
ever dealing with it thus4  ,to handle  
with the hands constantly4  ,to try this
 piece1 and that piece1 the little more 
and the little less4  ,this is the      
be-all and end-all1 the beginning and   
the end of the whole matter1 and here   
therefore follow a few hints with regard
 to it4  ,and there is one rule of such 
dominating importance that all other    
hints group themselves round it2 and    
yet1 strangely enough1 ,i cannot        
remember seeing it anywhere written     
down4  ,take three tints of glass--a    

purple1 let us say1 a crimson1 and a    
green4  ,let it be supposed that1 for   
some reason1 you desire that this should
 form a scheme of colour for a window1  
or part of a window1 with1 of course1 in
 addition1 pure white1 and probably some
 tints more neutral1 greenish-whites and
 olives or greys1 for background4  ,you 
choose your purple 7and1 by-the-bye1    
almost the only way to get a            
satisfactory one1 except by a happy     
accident now and then1 is to double     
gold-pink with blue2 this is the only   
way to get a purple that will vibrate1  
palpitating against the eye like the    
petal of a pansy in the sun74 ,well1 you
 get your purple1 and you get your      
green--not a sage-green1 or an          
art-green1 but a cold1 sharp green1 like
 a leaf of parsley1 an aquamarine1 the  
tree in the ,eve window at ,fairford1   
grass in an orchard about sunset1 or a  
railway-signal lamp at night4  ,your    
crimson like a peony1 your white like   
white silk2 and now you are started4    

,you put slabs of these--equal-sized    
samples1 we will suppose--side by side1 
and see if they will do4  ,and they     
don't do at all4  ,take away the red4   
,the green and the purple do well       
enough1 and the white4  ,but you want   
the red1 you say4  ,well1 put back a    
tenth part of it4  ,and how now8  ,add a
 still smaller bit of pale pink4  ,and  
how now8  ,do you see what it all means8
 ,it means the rule we spoke of1 and    
which we may as well1 therefore1 now    
announce3  ,,harmony ,,in ,,colour      
,,depends ,,not ,,only ,,upon ,,the     
,,arranging ,,of ,,right ,,colours      
,,together1 ,,but ,,the ,,arranging ,,of
 ,,the ,,right ,,quantities ,,and ,,the 
,,right ,,degrees ,,of ,,them           
,,together4  ,to which may be added     
another1 a propos of our bit of pale    
pink4  ,,the ,,harshest ,,contrasts1    
,,even ,,discords1 ,,may ,,often ,,be   
,,brought ,,into ,,harmony ,,by ,,added 
,,notes4  ,i believe that these are the 
two1 and ,i would even almost say the   

only two1 great leading principles of   
the science of colour1 as used in the   
service of ,art2 and we might learn     
them1 in all their fulness1 in a country
 walk1 if we were simple enough to like 
things because we like them1 and let the
 kind nurse1 ,nature1 take us by the    
hand4 ,this very problem1 to wit3 ,did  
you never see a purple anemone8 against 
its green leaves8 with a white centre8  
and with a thin ring of crimson shaded  
off into pink8 ,and did you never wonder
 at its beauty1 and wonder how so simple
 a thing could strike you almost        
breathless with pure physical delight   
and pleasure8 ,no doubt you did2 but you
 probably may not have asked yourself   
whether you would have been equally     
pleased if the purple1 green1 and red   
had all been equal in quantity1 and the 
pale pink omitted4  ,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 along1 and was the pet  
fancy of an assistant--readily accepted4
  ,the window in question is small and  
in nowise remarkable1 but it was in the 
course of a ride taken to see it in its 
place1 on one of those glorious mornings
 when ,spring puts on all the pageantry 
of ,summer1 that the thoughts with which
 we are now dealing1 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 fountain1 were borne in upon the
 writer with more than usual force4  ,to
 take in fully and often the glowing    
life and strength and renewal direct    
from ,nature is part of every man's     
proper manhood1 still more then of every
 artist's artistry and student's        
studentship4  ,and truly 'tis no great  
hardship to go out to meet the salutary 
discipline when the country is beautiful
 in mid-,april1 and the road good and   

the sun pleasant4 ,the ,spring air sets 
the blood racing as you ride1 and when  
you stop and stand for a moment to enjoy
 these things1 ankle-deep in roadside   
grass1 you can seem to hear the healthy 
pulses beating and see the wavy line of 
hills beating with them1 as you look at 
the sun-warmed world4  ,it is good      
sometimes to think where we are in the  
scheme of things1 to realise that we are
 under the bell-glass of this balmy air1
 which shuts us in1 safe from the       
pitch-dark spaces of infinite cold1     
through which the world is sweeping at  
eighteen miles a second2 while we1 with 
all our little problems to solve and    
work to do1 are riding warm by this     
fireside1 and the orange-tip butterflies
 with that curious pertinacity of flight
 which is speed without haste are       
keeping up their incessant1 rippling    
patrol1 to and fro along the length of  
every sunny lane1 above the ditch-side  
border of white-blossomed keck6  ,what  
has all this to do with stained-glass8  

,everything1 my boy6 ,be a human6 ,for  
you have got to choose your place in    
things1 and to choose on which side you 
will work4  ,a choice which1 in these   
days1 more than ever perhaps before1 is 
one between such things as these and the
 money-getting which cares so little for
 them4 ,i have tried to show you one    
side by speaking of a little part of    
what may be seen and felt on a spring   
morning1 along a ridge of untouched     
hills in pleasant ,hertfordshire3#a if  
you want to see the other side of things
 ride across to ,buntingford1 and take  
the train back up the ,lea ,valley4     
,look at ,stratford 7and smell it7 and  
imagine it spreading1 as no doubt it    
will1 where its outposts of oil-mill and
 factory have already led the way1 and  
think of the valley full up with slums1 
from ,lea ,bridge to ,ponders ,end6 ,for
 the present writer can remember--and   
that not half a lifetime back--,edmonton
 and ,tottenham1 ,brondesbury and ,upton
 ,park1 sweet country villages where    

quiet people lived and farmed and       
gardened amidst the orchards1 fields1   
and hawthorn lanes4  ,here now live1 in 
mile after mile of jerry-building1 the  
hands who1 never taught any craft or    
work worthy of a man1 spend their lives 
in some little single operation that1 as
 it happens1 no machine has yet been    
invented to perform2 month after month1 
year after year1 painting1 let us say1  
endless repeats of one pattern to use as
 they are required for the borders of   
pious windows in the churches of this   
land4  ,this is the other side of       
things1 much commended by what is looked
 on as robust common sense2 and with    
this you have--nothing to do4 ,your     
place is elsewhere1 and if it needs be  
that it seems an isolated one1 you must 
bear it and accept it4 ,nature and your 
craft will solve all2 live in them1     
bathe in them to the lips2 and let      
nothing tempt you away from them to     
measure things by the standard of the   
mart4  ,let us go back to our sunny     

hillside4 ,it is good for us to be here1
 for this also is ,holy ,ground2 and you
 must indeed be much amongst such things
 if you would do stained-glass1 for you 
will never learn all the joy of it in a 
dusty shop4  ,so hard to get out of     
,london8  ,but get a bicycle then2--only
 sit upright on it and go slow--and get 
away from these bricks and mortar1 to   
where we can see things like these6     
those dandelions and daisies against the
 deep1 green grass2 the blazing candles 
of the sycamore buds against the purple 
haze of the oak copse2 and those willows
 like puffs of grey smoke where the     
stream winds4 ,did you ever8 ,no1 you   
never6 ,well--do it then6  ,but indeed1 
having stated our principles of colour1 
the practice of those principles and the
 influence of nature and of nature's    
hints upon that practice are infinite1  
both in number and variety4 ,the flowers
 of the field and garden2 butterflies1  
birds1 and shells2 the pebbles of the   
shore2 above all1 the dry seaweeds1     

lying there1 with the evening sun       
slanting through them4 ,these last are  
exceedingly like both in colour and     
texture1 or rather in colour and the    
amount of translucency1 to fine old     
stained-glass2 so also are dead leaves4 
,but1 in short1 the thing is endless4   
,the wine when it is red 7or amber1 as  
the case may be71 even the whisky and   
water1 and whisky without water1 side by
 side1 make just those straw and        
ripe-corn coloured golden-yellows that  
are so hard to attain in stained-glass  
7impossible indeed by means of          
yellow-stain71 and yet so much to be    
desired and sought after4  ,will you    
have more hints still8 ,well1 there are 
many tropical butterflies1 chiefly among
 the ,pierinf1 with broad spaces of     
yellow dashed with one small spot or    
flush of vivid orange or red4 ,now you  
know how terrible yellow and red may be 
made to look in a window2 for you have  
seen ruby robes in conjunction with     
yellow-stain1 or the still more horrible

 combination where ruby has been acided 
off from a yellow base4 ,but it is a    
question of the actual quality of the   
two tints and also of their quantity4   
,what ,i have spoken of looks horrible  
because the yellow is of a brassy tone1 
as stain so often is1 especially on     
green-white glasses1 and the red        
inclining to puce--jam-colour4 ,it is no
 use talking1 therefore1 of red and     
yellow--we must say what red and what   
yellow1 and how much of each4 ,a        
magenta-coloured dahlia and a lemon put 
together would set1 ,i should think1 any
 teeth on edge2 yet ripe corn goes well 
with poppies1 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 spot1 it would be an ugly object    
instead of one of the delights of ,god4 
,it is interesting1 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 sunrise1
 not seen but felt from where you stand 
on the pavement below4 ,i want the      
reader to fully grasp this question of  
quantity1 so ,i will instance the flower
 of the mullein which contains almost   
the very tints of the lemon1 and the    
dahlia ,i quoted1 and yet is beautiful  
by virtue of its quantities3 which may  
be said to be of a lemon yellow and yet 
can bear 7ay6 can it not87 the little   
crimson stamens in the heart of it and  
its sage-green leaves around4  ,and     
there is even something besides tint and
 quantity4 ,the way you distribute your 
colour matters very much4 ,some in      
washes1 some in splashes1 some in spots1
 some in stripes4 ,what will not do in  
one way will often be just right in the 
other3 yes1 and the very way you treat  
your glass when all is chosen and placed
 together--matt in one place1 film in   
another1 chequering1 cross-hatching1    
clothing the raw glass with texture and 
bringing out its nature and its life4   

,do not be afraid2 for the things that  
yet remain to do are numberless4 ,do you
 like the look of deep vivid            
vermilion-red1 upon dark cold green8    
,look at the hip-loaded rose-briar      
burning in the last rays of a red       
,october sunset6 ,you get physical      
pleasure from the sight2 the eye seems  
to vibrate to the harmony as the ear    
enjoys a chord struck upon the strings4 
,therefore do not fear4 ,but mind1 it   
must be in nature's actual colour1 not  
merely green and red3 for ,i once saw   
the head of a celebrated tragic actress 
painted by a ,dutch artist who1 to make 
it as deathly as he could1 had placed   
the ashen face upon a background of     
emerald-green with spots of actual red  
sealing-wax4 ,the eye was so affected   
that the colours swung to and fro1      
producing in a short time a nausea like 
sea-sickness4 ,that is not pleasure4    
,the training of the colour-sense1 like 
all else1 should be gradual2 springing  
as it were from small seed4 ,be         

reticent1 try small things first4 ,you  
are not likely to be asked to do a great
 window all at once1 even if you have   
the misfortune to be an independent     
artist approaching this new art without 
a gradual training under the service of 
others4 ,try some simple scheme from the
 things of ,nature4 ,hyacinths look well
 with their leaves3 therefore that green
 and that blue1 with the white of ,april
 clouds and the black of the tree-stems 
in the wood are colours that can be used
 together4  ,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 artist4 ,one     
seems after a time to see natural       
objects with numbers attached to them   
corresponding with the numbers of one's 
glasses in the racks3 butterflies flying
 about labelled ,no4 #ej1 deep1 or      
#ge;a1 pale1 or a bit of #abc1 special  
streaky in the sunset4 ,but if one does 
not obtrude this so as to bore one's    
friends1 the little personal discomfort1

 if it exists1 is a very small price to 
pay for the delight of living in this   
glorious fairyland of colour4  ,do not  
think it beneath your dignity or as if  
you were shirking some vital artistic   
obligation1 to take hints from these    
natural objects1 or from ancient or     
modern glass1 in a perfectly frank and  
simple manner2 nay1 even to match your  
whole colour scheme1 tint for tint1 by  
them if it seems well to you4 ,you may  
get help anywhere and from anything1 and
 as much as you like2 it will only be so
 much more chance for you2 so much      
richer a store to choose from1 so much  
stronger resource to guide to good end2 
for after all1 with all the helps you   
can get1 much lies in the doing4 ,do    
what you like then--as a child3 but be  
sure you do like it3 and if the window  
wants a bit of any particular tint1 put 
it there1 meaning or no meaning4 ,if    
there is no robe or other feature to    
excuse and account for it in the spot   
which seems to crave for it1--put the   

colour in1 anywhere and anyhow--in the  
background if need be--a sudden orange  
or ruby quarry or bit of a quarry1 as if
 the thing were done in purest          
waywardness4 ,you would like a bit there
 if there were an excuse for it8 ,then  
there is an excuse--the best of         
all--that the eye demands it4 ,do it    
fearlessly4  ,but to work in this way   
7it hardly need be said7 you must watch 
and work at your glass yourself2 for    
these hints come late on in the work1   
when colour1 light and shade1 and design
 are all fusing together into a harmony4
 ,you can no more forecast these final  
accidents1 which are the flower and     
crown and finish of the whole1 than you 
could forecast the lost ,chord2--       
,which came from the soul of the organ1 
,and entered into mine4  ,it comes from 
the soul of the window4  ,we all know   
the feeling--the climaxes1 exceptions1  
surprises1 suspensions1 in which harmony
 delights2 the change from the last bar 
of the overture to the first of the     

opening recitative in the ,messiah1 the 
chord upon which the victor is crowned  
in ,the ,meistersingers1 the #eith and  
#fjth bars in ,handel's ,every ,valley4 
7,i hope some of us are old-fashioned   
enough to be unashamed of still         
believing in ,handel67  ,or if it may be
 said that these are hardly examples of 
the kind of accidental things ,i have   
spoken of1 being rather1 indeed1 the    
deliberately arranged climax to which   
the whole construction has been leading1
 ,i would instance the #abth 7complete7 
bar in the overture to ,tannhduser1 the 
#bjth and #bbnd bar in ,chopin's        
,funeral ,march1 the change from the    
minor to major in ,schubert's ,romance  
from ,rosamunde1 and the #bdth bar in   
his ,serenade 7,staendchen71 the #acth  
and following bars of the ,crescendo in 
the ,largo ,appassionato of ,beethoven's
 ,op4 #b4 ,or if you wish to have an    
example where all is exception1 like one
 of the south nave windows in ,york     
,minster1 the opening of the ,sonata    

,appassionata1 ,op4 #eg4  ,now how can  
you forecast such things as these6  ,let
 me draw another instance from actual   
practice4 ,i was once painting a figure 
of a bishop in what ,i meant to be a    
dark green robe1 the kind of black1 and 
yet vivid1 green of the summer leafage  
of the oak2 for it was ,st4 ,boniface   
who cut down the heathen oak of ,frisia4
 ,but the orphreys of his cope were to  
be embroidered in gold upon this green1 
and therefore the pattern had first to  
be added out in white upon a            
blue-flashed glass1 which yellow stain  
over all would afterwards turn into     
green and gold4 ,and when all was       
prepared and the staining should have   
followed1 my head man sent for me to    
come to the shop1 and there hung the    
figure with its dark green robe with    
orphreys of deep blue and silver4  ,i   
thought you'd like to look at it before 
we stained it1 said he4  ,,stain ,,it6  
,i said4 ,i wouldn't touch it2 not for  
sixpence three-farthings6  ,there was a 

sigh of relief all round the shop1 and  
the reply was1 ,well1 so we all thought6
  ,just so2 therefore the figure        
remained1 and so was erected in its     
place4 ,now suppose ,i had had men who  
did what they were told1 instead of     
being encouraged to think and feel and  
suggest8  ,a serious word to you about  
this question of staining4 ,it is a     
resource very easily open to abuse--to  
excess4 ,be careful of the danger1 and  
never stain without first trying the    
effect on the back of the easel-plate   
with pure gamboge1 and if you wish for a
 very clear orange-stain1 mix with the  
gamboge a little ordinary red ink4 ,it  
is too much the custom to pick out every
 bit of silver canopy work with dottings
 and stripings of yellow4 ,a little     
sometimes warms up pleasantly what would
 be too cold--and the old men used it   
with effect3 but the modern tendency1 as
 is the case in all things merely       
imitative1 is to overdo it4 ,for the old
 men used it very differently from those

 who copy them in the way ,i am speaking
 of1 and1 to begin with1 used it chiefly
 on pure white glass4 ,much modern      
canopy work is done on greenish-white1  
upon which the stain immediately becomes
 that greenish-yellow that ,i have      
called brassy4 ,a little of this can be 
borne1 when side by side with it is     
placed stain upon pure white4 ,the      
reader will easily find1 if he looks for
 them1 plenty of examples in old glass1 
where the stain upon the white glass has
 taken even a rosy tinge exactly like   
that of a yellow crocus seen through its
 white sheath4 ,it is perhaps owing     
partly to patina on the old glass1 which
 scumbles it2 but ,i have myself        
sometimes succeeded in getting the same 
effect by using yellow-stain on pure    
white glass4 ,a whole window1 where the 
highest light is a greenish white1 is to
 me very unpleasant1 and when in        
addition yellow-stain is used1          
unbearable4 ,this became a fashion in   
stained-glass when red-lead-coloured    

pigments1 started by ,barff's formula1  
came into general use4 ,they could not  
be used on pure white glass1 and        
therefore pure white glass was discarded
 and greenish-white used instead4 ,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 trade4  ,there is another  
question of ideals in the treatment of  
colour in stained-glass about which a   
word must be said4  ,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       
painted1 and this to some extent is a   
just criticism4 ,but ,i cannot go the   
length of thinking that all             
matt-painting should be avoided1 and    
outline only used2 or that stained-glass
 material can1 except under very unusual
 conditions and in exceptional          
situations1 be independent of this      

resource4 ,as to the                    
slab-glasses--,early-,english1 ,norman1 
or stamped-circles--which are chiefly   
affected by this question1 the texture  
and surface upon which their special    
character depends is sometimes a very   
useful resource in work seen against1 or
 partly against1 background of trees or 
buildings2 while against an entirely    
borrowed light perhaps1 sometimes1 it   
can almost dispense with any painting4  
,the grey shadows that come from the    
background play about in the glass and  
modify its tones1 doing the work of     
painting1 and doing it much more        
beautifully4 ,but this advantage cannot 
always be had1 for it vanishes against  
clear sky4 ,it is all1 therefore1 a     
question of situation and of aspect1 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  
nursed1 so to speak1 and its qualities  
brought out and its beauty heightened by

 any and every means1 just as if it were
 a jewel to be cut 7or left uncut7 or   
foiled 7or left unfoiled7--as ,benvenuto
 ,cellini would treat1 as he tells you  
he did treat1 precious stones4 ,there is
 a fashion now of thinking that gems    
should be uncut4 ,well1 gems are hardly 
a fair comparison in discussing         
stained-glass2 for in glass what we aim 
at is the effect of a composition and   
combination of a multitude of things1   
while gems are individual things1 for   
the most part1 to be looked at          
separately4 ,but ,i would not lay down a
 rule even about gems4 ,certainly the   
universal1 awkward1 faceting of all     
precious stones--which is a relic of the
 mid-,victorian period--is a vulgarity  
that one is glad to be rid of2 but if   
one wants for any reason the special    
sparkle1 here or there1 which comes from
 it1 why not use it8 ,i would use it in 
stained-glass--have done so4 ,if ,i have
 got my window already brilliant and the
 whites pure white1 and still want1 over

 and above all this1 my ,star of the    
,nativity1 let us say1 to sparkle out   
with a light that cannot be its own1    
shall ,i not use a faceted jewel of     
glass1 forty feet from the eye1 where   
none can see what it is but only what it
 does1 just because it would be a gross 
vulgarity to use it where it would      
pretend to be a diamond8  ,the safe     
guide 7as far as there can be a guide   
where ,i have maintained that there     
should not be a rule7 is1 surely1 to    
generally get the depth of colour that  
you want by the glass itself1 if you    
can1 and therefore with that aim to deal
 with rich1 full-coloured glass and to  
promote its manufacture4 ,but this being
 once done and the resource carried to  
its full limit1 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 artist1 and necessary to get the     
effect of colour and texture that you   
are aiming at1 in the thing seen as a   

whole4 ,as to the exaggeration of making
 accidental streaks in the glass do duty
 for folds of drapery1 and manufacturing
 glass 7as has been done7 to meet this  
purpose1 ,i hold the thing to be a gross
 degradation and an entire misconception
 of the relation of materials to art4   
,you may also lay this to mind1 as a    
thing worthy of consideration1 that all 
old glass was painted1 and that no      
school of stained-glass has ever existed
 which made a principle of refusing this
 aid4 ,i would never argue from this    
that such cannot exist1 but it is a     
thing to be thought on4  ,throw your    
net1 then1 into every sea1 and catch    
what you can4 ,learn what purple is1 in 
the north ambulatory at ,york2 what     
green is1 in the east window of the     
same1 in the ante-chapel of ,new        
,college1 ,oxford1 and in the ,adam and 
,eve window in the north aisle at       
,fairford2 what blue and red are1 in the
 glorious east window of the nave at    
,gloucester1 and in the glow and gloom  

of ,chartres and ,canterbury and ,king's
 ,college1 ,cambridge4 ,and when you    
have got all these things in your mind1 
and gathered lavishly in the field of   
,nature also1 face your problem with a  
heart heated through with the memory of 
them all1 and with a will braced as to a
 great and arduous task1 but one of rich
 reward4 ,for remember this 7and so let 
us draw to an end71 that in any large   
window the spaces are so great and the  
problems so numerous that a few colours 
and groupings of colour1 however well   
chosen1 will not suffice4 ,set out the  
main scheme of colours first3 those that
 shall lead and preponderate and convey 
your meaning to the mind and your       
intended impression to the eye4 ,but if 
you stop here1 the effect will be hard  
and coarse and cold-hearted in its      
harmonies1 a lot of banging notes like a
 band all brass1 not out of tune        
perhaps1 but craving for the infinite   
embroidery of the strings and wood4     
,when1 therefore1 the main relations of 

colour have been all set out and decided
 for your window1 turn your attention to
 small differences1 to harmonies round  
the harmonies4 ,make each note into a   
chord1 each tint into a group of tints1 
not only the strong and bold1 but also  
the subtle and tender2 do not miss the  
value of small modifications of tint    
that soften brilliance into glow4 ,study
 how ,nature does it on the petals of   
the pansy or sweet-pea4 ,you think a    
pansy is purple1 and there an end8 but  
cut out the pale yellow band1 the orange
 central spot1 the faint lilacs and     
whites in between1 and where is your    
pansy gone8         99       99       99
       99       99  ,and here ,i must   
now leave it to you4 ,but one last      
little hint1 and do not smile at its    
simplicity4  ,for the problem1 after    
all1 when you have gathered all the     
hints you can from nature or the past1  
and collected your resources from       
however varied fields1 resolves itself  
at last into one question--,how shall ,i

 do it in glass8 ,and the practical     
solving of this problem is in the       
handling of the actual bits of coloured 
glass which are the tools of your craft4
 ,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  
kaleidoscope4 ,a sixpenny one1 pulled to
 pieces1 will give you the knowledge of 
how to make it2 and you will find a     
,bath-,oliver biscuit-tin1 or a         
large-sized millboard postal-roll will  
make an excellent instrument4 ,but the  
former is best1 because you also then   
have the lid and the end4 ,if you cut   
away all the end of the lid except a rim
 of one-eighth of an inch1 and insert in
 its place with cement a piece of       
ground-glass1 and then1 inside this1    
have another lid of clear glass cemented
 on to a rim of wood or millboard1 you  
can1 in the space between the two1 place
 chips of the glasses you think of      
using2 and1 replacing the whole on the  

instrument1 a few minutes of turning    
with the hand will give you1 not        
hundreds1 but thousand of changes1 both 
of the arrangement1 and1 what is far    
more important1 of the proportions of   
the various colours4 ,you can thus in a 
few moments watch them pass through an  
almost infinite succession of changes in
 their relation to each other1 and form 
your judgment on those changes1 choosing
 finally that which seems best4 ,and ,i 
really think that the fact of these     
combinations being presented to us1 as  
they are by the action of the           
instrument1 arranged in ordered shapes1 
is a help to the judgment in deciding on
 the harmonies of colour4 ,it is natural
 that it should be so4 ,order is        
,heaven's first law4 ,and it is right   
that we should rejoice in things ordered
 and arranged1 as the savage in his     
string of beads1 and reasonable that we 
should find it easier to judge them in  
order rather than confused4  ,each in   
his place4 ,how good a thing it is6 how 

much to be desired6 how well if we      
ourselves could be so1 and know of the  
pattern that we make6 ,for our lives are
 like the broken bits of glass1 sadly or
 brightly coloured1 jostled about and   
shaken hither and thither1 in a seeming 
confusion1 which yet we hope is         
somewhere held up to a light in which   
each one meets with his own1 and holds  
his place2 and1 to the ,eye that        
watches1 plays his part in a universal  
harmony by us1 as yet1 unseen4  #a ,west
 of the road between ,welwyn and        
,hitchin4     ,,chapter ,,xvii  ,,of    
,,architectural ,,fitness   ,come1 in   
thought1 reader1 and stand in quiet     
village churches1 nestling amongst trees
 where rooks are building2 or in gaps of
 the chalk downs1 where the village     
shelters from the wind2 or in stately   
cathedrals1 where the aisles echo to the
 footstep and the sound of the chimes   
comes down1 with the memory of the      
centuries which have lived and died4    
,here the old artists set their handmark

 to live now they are gone1 and we who  
see it today see1 if our eye be single1 
with what sincerity they built1 carved1 
or painted their heart and life into    
these stones4 ,in such a spirit and for 
such a memorial you too must do your    
work1 to be weighed by the judgment of  
the coming ages1 when you in turn are   
gone1 in the same balance as            
theirs--perhaps even side by side with  
it4  ,and will you dare to venture8     
,have no fear if you also bring your    
best4 ,but if we enter on work like this
 as to a mere market for our wares1 and 
with no other thought than to make a    
brisk business with those that buy and  
sell2 we well may pray that some        
merciful scourge of small cords drive us
 also hence to dig or beg 7which is more
 honourable71 lest worse befall us6     
,and ,i do not say these things because 
this or that place is ,god's house4 ,all
 places are so1 and the first that was  
called so was the bare hillside2 but    
because you are a man and have indeed   

here arrived1 as there the lonely       
traveller did1 at the arena of your     
wrestling4 ,but1 granted that you mean  
to hold your own and put your strength  
into it1 ,i have brought you to these   
grave walls to consult with them as to  
the limits they impose upon your        
working4  ,and perhaps the most         
important of all is already observed by 
your being here1 for it is important    
that you should visit1 whenever         
possible1 the place where you are to do 
work2 if you are not able to do this1   
get all the particulars you can as to   
aspect and surroundings4 ,and yet a     
reservation must be made1 even upon all 
this2 for everything depends upon the   
way we use it1 and if you only have an  
eye to the showing off of your work to  
advantage1 treating the church as a mere
 frame for your picture1 it would be    
better that your window should misfit   
and have to be cut down and altered1 or 
anything else happen to it that would   
help to put it back and make it take    

second place4 ,it is so hard to explain 
these things so that they cannot be     
misconstrued2 but you remember ,i quoted
 the windows at ,st4 ,philip's1         
,birmingham1 as an example of noble     
thought and work carried to the pitch of
 perfection and design4 ,but that was in
 a classic building1 with large1 plain1 
single openings without tracery4 ,do you
 think the artist would have let himself
 go1 in that full and ample way1 in a   
beautiful ,gothic building full of      
lovely architectural detail8 ,not so3   
rather would he have made his pictures  
hang lightly and daintily in the air    
amongst the slender shafts1 as in ,st4  
,martin's ,church in the same town1 at  
,jesus ,college and at ,all ,saints'    
,church1 ,cambridge1 at ,tamworth2 and  
in ,lyndhurst1 and many another church  
where the architecture1 to say truth1   
had but slender claims to such respect4 
99       99       99       99       99  
,in short1 you must think of the        
building first1 and make your windows   

help it4 ,you must observe its scale and
 the spacing and proportions of its     
style1 and place your own work1 with    
whatever new feeling and new detail may 
be natural to you1 well within those    
circumscribing bounds4  ,but here we    
find ourselves suddenly brought sharp   
up1 face to face with a most difficult  
and thorny subject1 upon which we have  
rushed without knowing it4 ,must we     
observe then 7you say7 the style of the 
building into which we put our work1 and
 not have a style of our own that is    
native to us8  ,this is contrary to all 
you have been preaching6 ,the old men   
did not so4 ,did they not add the       
fancies of their own time to the old    
work1 and fill with their dainty1       
branching tracery the severe1           
round-headed1 ,norman openings of       
,peterborough and ,gloucester8 ,did     
fifteenth-century men do                
thirteenth-century glass when they had  
to refill a window of that date8 ,no4   
,nor must you4 ,never imitate1 but graft

 your own work on to the old1           
reverently1 and only changing from it so
 far forth as you1 like itself1 have    
also a living tradition1 springing from 
mastery of craft--naturally1            
spontaneously1 and inevitably4  ,whether
 we shall ever again have such a        
tradition running throughout all the    
arts is a thing that cannot possibly be 
foretold4 ,but three things we may be   
quite sure of4  ,first1 that if it comes
 it will not be by way of any imitative 
revival of a past style2  ,second1 that 
it will be in harmony with the          
principles of ,nature2 and  ,third1 that
 it will be founded upon the crafts1 and
 brought about by craftsmen working in  
it with their own hands1 on the         
materials of architecture1 designing    
only what they themselves can execute1  
and giving employment to others only in 
what they themselves can do4  ,a word   
about each of these three conditions4   
,in the course of the various attempted 
revivals in architecture that have taken

 place during the past sixty years1 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 architecture4 ,it     
would1 indeed1 no doubt be better1 if we
 must speak in a dead language1 to agree
 to use only one1 instead of our present
 confusion of tongues3 but what1 after  
all1 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 repeated8 ,such things  
never take firm root or establish       
healthy growth which lives and goes on  
of its own vitality4 ,they never succeed
 in obtaining a natural1 national       
sympathy and acceptance4 ,the movement  
is a scholarly and academic one1 and the
 art so remains4 ,the reaction against  
it is always a return to materials1 and 
almost always the first result of this  
is a revival of simplicity4 ,people get 

tired of being surrounded with elaborate
 mouldings and traceries and other      
architectural features1 which are not   
the natural growth of their own day but 
of another day long since dead1 which   
had other thoughts and moods1 feelings  
and aspirations4 ,let us have           
straightforward masonry and simple      
openings1 and ornament them with        
something from ,nature4  ,so in the very
 midst of the pampered and enervated    
over-refinement of ,roman decay1        
,constantine did something more than    
merely turn the conquering eagle back1  
against the course of the heavens1 for  
which ,dante seems to blame him1#b when 
he established his capital at           
,byzantium2 for there at once upon the  
new soil1 and in less than a single     
century1 sprang to life again all the   
natural modes of building and decoration
 that1 despised as barbaric1 had been   
ignored and forgotten amid the ,roman   
luxury and sham4  ,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 revival2 taking even very much  
the same forms4 ,we went back1 at the   
time of the ,gothic revival1 to the     
forgotten ,gothic art of stained-glass2 
now tired1 as it would seem1 of the     
insincerity and mere spirit of imitation
 with which it and similar arts have    
been practised1 a number of us appear to
 be ready to throw it aside1 along with 
scholarly mouldings and traceries1 and  
build our arts afresh out of the ground1
 as was done by the ,byzantines1 with   
plain brickwork1 mosaic1 and matched    
slabs of marble4 ,definite examples in  
recent architecture will occur to the   
reader4 ,but ,i am thinking less of     
these--which for the most part are      
deliberate and scholastic revivals of a 
particular style1 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 simplicity1 sincerity1 and

 common sense in the arts of building   
generally4 ,signs are not wanting of a  
revived interest in building--a revived 
interest in materials for their own     
sake1 and a revived practice of         
personally working in them and          
experimenting with them4 ,one calls to  
mind examples of these things1 growing  
in number daily--plain and strong       
furniture made with the designer's own  
hands and without machinery1 and enjoyed
 in the making--made for actual places  
and personal needs and tastes2 houses   
built in the same spirit by architects  
who condescend to be masons also2 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-life1 and   
which gave us cottages1 barns1 and sheds
 throughout the length and breadth of   
the land2 simple things for simple      
needs1 built by simple men1 without     
self-consciousness1 for actual use and  

pleasant dwelling2 traditional          
construction and the habits of making   
belonging to the country-side4 ,these   
still linger in the time-honoured ways  
of making the waggon and the cart and   
the plough2 but they have vanished from 
architecture and building except in so  
far as they are being now1 as ,i have   
said1 consciously and deliberately      
revived by men who are going back from  
academic methods1 to found their arts   
once more upon the actual making of     
things with their own hand and as their 
hand and materials will guide them4     
,this was what happened in the time to  
which ,i have referred3 in the dawn of  
the ,christian era and of a new         
civilisation2 and it has special        
interest for us of today1 because it was
 not a case of an infant or savage race1
 beginning all things from seed2 but the
 revival1 as in ,sparta1 centuries      
before it1 of simplicity and sincerity  
of life1 in the midst of enervation1    
luxury1 and decay4  ,this seems our hope

 for the future4  ,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  
made1 how built1 hammered1 painted1 cut1
 stitched2 casting aside theories and   
academical thought1 and founding itself 
upon simplicity1 and sincerity1 and     
materials4 ,and the architect who       
condescends1 or1 as we should rather    
say1 aspires1 to be a builder and a     
master-mason1 true director of his      
craft1 will1 if things go on as they    
seem now going1 find in the near future 
a band around him of other workers so   
minded1 and will have these bright tools
 of the accessory crafts ready to his   
hand4 ,this it is1 if anything1 that    
will solve all the vexed questions of   
style1 and lead1 if anything will1 to   
the art of the times to be4 ,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 architecture1 and
 a race of architects who could design  
in every style because they could build 
in no style2 knew by practical handling 
and tooling nothing of the real natures 
and capacities of stone or brick or wood
 or glass2 received no criticism from   
their materials2 whereas these should   
have daily and hourly moulded their work
 and formed the very breath of its life1
 warning and forbidding on the one hand1
 suggesting on the other1 and so        
directing over all4  ,i have thought    
fit1 dear student1 to touch on these    
great questions in passing1 that you may
 know where you stand2 but our real     
business is with ourselves3 to make     
ourselves so secure upon firm standing  
ground1 in our own particular province1 
that when the hour arrives1 it may find 
in us the man4 ,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 glass4    

,what1 then1 in detail1 are the rules   
that must guide us in placing windows in
 ancient buildings8 ,but first--may we  
place windows in ancient buildings at   
all8 ,no1 say some2 because we have no  
right to touch the past2 it is          
'restoration1' a word that has covered1 
in the past1 they say 7and we must agree
 with them71 a mass of artistic crime   
never to be expiated1 and of loss never 
to be repaired4 ,yes1 say others1       
because new churches will be older in   
half-an-hour-- half-an-hour older2 for  
the world has moved1 and where will you 
draw the line8 ,also1 glass has to be   
renewed1 you must put in something1 or  
some one must4  ,let each decide the    
question for himself2 but1 supposing you
 admit that it is permissible1 what are 
the proper restrictions and conditions8 
,you must not tell a lie1 or match old  
work1 joining your own on to it as if   
itself were old4  ,shall we work in the 
style of the ,new art1 then--l'art      
,nouveau8 the style of the last new     

poster8 the art-tree1 the art-bird1 the 
art-squirm1 and the ace of spades form  
of ornament8  ,heaven in mercy defend us
 and forbid it6  ,canopies are          
venerable2 thirteenth-century panels and
 borders are venerable1 the great       
traditional vestments are so1 and       
liturgy1 and symbolism1 and ceremony4   
,these are not things of one age alone1 
but belong to all time4 ,get1 wherever  
possible1 authority on all these points4
  ,must we work in a style1 then--a     
,gothic style8  ,no4  ,what rule1 then8 
,it is hard to formulate so as to cover 
all questions1 but something thus3--    
,take forms1 and proportions1 and scale 
from the style of the church you are to 
work in4  ,add your own feeling to it   
from--  7#a7 ,the feeling of the day1   
but the best and most reverent feeling4 
7#b7 ,from ,nature4  7#c7 ,from 7and the
 whole conditioned by7 materials and the
 knowledge of craft4  ,finally1 let us  
say that you must consider each case on 
its merits1 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 be1  
while old stained-glass1 of course1     
should always be sacred to you1 a thing 
to be left untouched4 ,even where new   
work seems justifiable and to be        
demanded1 proceed as if treading on holy
 ground4 ,do not try crude experiments  
on venerable and beautiful buildings1   
but be modest and reticent2 know the    
styles of the past thoroughly and add   
your own fresh feeling to them          
reverently4 ,and in thought do not think
 it necessary to be novel in order to be
 original4 ,there is quite enough       
originality in making a noble figure of 
a saint1 or treating with reverent and  
dignified art some actual theme of      
,scripture or tradition1 and working    
into its detail the sweetness of nature 
and the skill of your hands1 without    
going into eccentricity for the sake of 
novelty1 and into weak allegory to show 
your originality and independence1 tired

 with the world-old truths and laws of  
holy life and noble character4 ,and this
 leads us to the point where we must    
speak of these deep things in the great 
province of thought4  #b ,paradise1     
canto vi4 #a4     ,,chapter ,,xviii     
,,of ,,thought1 ,,imagination1 ,,and    
,,allegory   ,the first thing one should
 demand of a man who calls himself an   
artist is that he has something to say1 
some truth to teach1 some lesson to     
enforce4 ,don't you think so8  ,thus    
once said to me an artist of respectable
 attainment4  ,i don't care a hang for  
subject2 give me good colour1           
composition1 fine effects of light1     
skill in technique1 that's all one      
wants4 ,don't you think so8  ,thus once 
said to me a member of a                
window-committee1 himself also an       
artist4  ,to both ,i answered1 and would
 answer with all the emphasis           
possible--,no6  ,the first duty of an   
artist1 as of every other kind of       
worker1 is to know his business2 and1   

unless he knows it1 all the truths he   
wishes to teach1 and the lessons he     
wishes to enforce1 are but degraded and 
discredited in the eyes of men by his   
bungling advocacy4  ,on the other hand1 
the artist who has trained himself to   
speak with the tongues of angels and    
after all has nothing to say1 is also1  
to me1 an imperfect being4 ,what follows
 is written1 as the whole book is       
written1 for the young student1 just    
beginning his career and feeling the    
pressure and conflict of these          
questions4 ,for such ,i must venture to 
discuss points which the wise and the   
experienced may pass by4  ,the present  
day is deluged with allegory2 and the   
first thing three students out of four  
wish to attempt when they arrive at the 
stage of original art is the            
presentation1 by figures and emblems1 of
 some deep abstract truth1 some problem 
of the great battle of life1 some force 
of the universe that they begin to feel 
around them1 pressing upon their being4 

,forty years ago such a thing was hardly
 heard of4 ,in the sketching-clubs at   
the ,academies of that day1 the         
historical1 the concrete1 or the        
respectably pious were all that one ever
 saw4 ,we can hardly realise it1 the art
 of the late sixties4 ,the              
pre-,raphaelite brotherhood1 as such1 a 
thing of the past1 and seemingly leaving
 few imitators4 ,burne-,jones just heard
 of as a strange1 unknown artist1 who   
wouldn't exhibit his pictures1 but who  
had done some queer new kind of         
stained-glass windows at ,lyndhurst1    
which one might perhaps be curious to   
see when we went 7as of course we must7 
to worship ,leighton's great            
altar-piece4 ,nay1 ten years later1 at  
the opening of the ,grosvenor ,gallery1 
the new1 imaginative1 and allegorical   
art could be met with a large measure of
 derision1 and ,punch could write1      
regarding it1 an audacious and          
contemptuous parody of the ,palace of   
,art2 while1 abroad1 ,botticelli's      

,primavera hung over a door1 and the    
attendants at the ,uffizii were puzzled 
by requests1 granted grudgingly 7if     
granted71 to have his other pictures    
placed for copying and study6 ,times    
have altogether changed1 and we now see 
in every school competition--often set  
as the subject of such--abstract and    
allegorical themes1 demanding for their 
adequate expression the highest and     
deepest thought and the noblest mood of 
mind and views of life4  ,it is         
impossible to lay down any hard and fast
 rule about these things1 for each case 
must differ4 ,there is such a thing as  
genius1 and where that is there is but  
small question of rules or even of youth
 or age1 maturity or immaturity4 ,and   
even apart from the question of genius  
the mind of childhood is a very precious
 thing1 and the thoughts of youth are   
long1 long thoughts4 ,nay1 the mere fact
 of youth with its trials1 is a great   
thing2 we shall never again have such a 
chance1 such fresh1 responsive hearts1  

such capacity for feeling--for          
suffering--that school of wisdom and    
source of inspiration6 ,it is well to   
record its lessons while they are fresh1
 to jot down for ourselves1 if we can1  
something of the passing hours2 to store
 up their thoughts and feelings for     
future expression perhaps1 when our     
powers of expression have grown more    
worthy of them2 but it is not well to   
try to make universal lessons out of1 or
 universal applications of1 what we     
haven't ourselves learned4 ,our own     
proper lesson at this time is to learn  
our trade2 to strengthen our weak hands 
and train the ignorance of our mind to  
knowledge day by day1 strenuously1 and  
only spurred on by the deep stirrings of
 thought and life within us1 which      
generally ought to remain for the       
present unspoken4  ,a great point of    
happiness in this dangerous and critical
 time is to have a definite trade2      
learnt in its completeness and practised
 day by day1 step by step1 upwards from 

its elements1 in constant subservience  
to wise and kind mastership4 ,this      
indeed is a golden lot1 and one rare in 
these days2 and perhaps we must not look
 to be so shielded4 ,this was the sober 
and happy craftsmanship of the ,middle  
,ages1 and produced for us all that     
imagery and ornature1 instinct with     
gaiety and simplicity of heart1 which   
decorates1 where the hand of the        
ruthless restorer has spared it1 the    
churches and cathedrals of ,europe4     
,but in these changeful days it would be
 rash indeed to forecast where lies the 
sphere of duty for any individual life4 
,it may lie in the reconstruction by    
solitary1 personal experiment1 of some  
forgotten art or system1 the quiet      
laying of foundation for the future     
rather than building the monument of    
today4 ,or perhaps the self-devoted life
 of the seer may be the ,age's chief    
need1 and it is not a ,giotto that is   
wanted for the twentieth century but a  
,dante or a ,blake1 with the            

accompanying destiny of having to prove 
as they did--                   si come 
sa di sale      ,lo pane altrui1 e com'h
 duro calle      ,lo scendere e'l salir 
per l'altrui scale4#c  ,but1 however    
these things be1 whether working happily
 in harmony with the scheme of things   
around us1 and only concerned to give it
 full expression1 or not2 whether we are
 the fortunate apprentices of a         
well-taught trade1 gaining secure and   
advancing knowledge day by day1 or      
whether we are lonely experimentalists1 
wringing the secret from reluctant      
,nature and ,art upon some untrodden    
path2 there is one last great principle 
that covers all conditions1 solves all  
questions1 and is an abiding rock which 
remains1 unfailing foundation on which  
all may build2 and that is the constant 
measuring of our smallness against the  
greatness of things1 a thing which1 done
 in the right spirit1 does not daunt1   
but inspires4 ,for the greatness of all 
things is ours for the winning1 almost  

for the asking4  ,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 veil1 and he would be an ambitious  
man who would expect to set the mark    
higher1 in type of beauty or depth of   
feeling1 than they have placed it for   
us2 but all must hope to do so1 even if 
they do not expect it2 for the great    
themes are not exhausted or ever to be  
exhausted2 and the storehouse of the    
great thought and action of the past is 
ever open to us to clothe our nakedness 
and enrich our poverty2 we need only ask
 to have4  ,ah6 said ,coningsby1 ,i     
should like to be a great man4  ,the    
stranger threw at him a scrutinising    
glance4 ,his countenance was serious4   
,he said in a voice of almost solemn    
melody--  ,nurture your mind with great 
thoughts4 ,to believe in the heroic     
makes heroes4#d  ,all the great thoughts
 of the world are stored up in books1   
and all the great books of the world1 or

 nearly all1 have been translated into  
,english4 ,you should make it a         
systematic part of your life to search  
these things out and1 if only by a page 
or two1 try how far they fit your need4 
,we do not enough realise how wide a    
field this is1 how great an undertaking1
 how completely unattainable except by  
carefully husbanding our time from the  
start1 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 books4      
,ruskin's words on this subject1 almost 
harsh in their blunt common sense1 bring
 the matter home so well that ,i cannot 
refrain from quoting them4#e  ,do you   
know1 if you read this1 that you cannot 
read that--that what you lose today you 
cannot gain to-morrow8 ,will you go and 
gossip with your housemaid1 or your     
stable-boy1 when you may talk with      
queens and kings2 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 
here1 and audience there1 when all the  
while this eternal court is open to you1
 with its society wide as the world1    
multitudinous as its days1 the chosen1  
and the mighty1 of every place and time8
 ,into that you may enter always2 in    
that you may take fellowship and rank   
according to your wish2 from that1 once 
entered into it1 you can never be       
outcast but by your own fault2 by your  
aristocracy of companionship there1 your
 own inherent aristocracy will be       
assuredly tested1 and the motives with  
which you strive to take high place in  
the society of the living1 measured1 as 
to all the truth and sincerity that are 
in them1 by the place you desire to take
 in this company of the ,dead4  ,this is
 the great world of ,,books that is open
 to you2 and how shall you find your way
 in it1 in these days1 amongst the      
plethora of the second and third and    
fourth rate1 shouting out at you and    
besieging your attention on every stall8

 ,it is no more possible to give you    
entire guidance towards this than to    
give complete advice on any other       
problem of life2 your own nature must be
 your guide1 choosing the good and      
refusing the evil in the degree in which
 itself is good or evil4 ,but one may   
name some landmarks1 set up some        
guide-posts1 and the best of all        
guidance surely is not that of a        
guide-post1 but that of a guide1 a      
kindly hand of one who knows the way1 to
 take your hand4  ,do you ask for such a
 guide8 ,a man of our own day1 in full  
view of all its questions from the      
loftiest to the least1 and heart and    
soul engaged in them1 with deep and     
sympathetic wisdom born of his own      
companionship with all the great        
thoughts of the ages8 ,one surely need  
not hesitate a moment in naming as the  
one for our special needs the writer we 
have just quoted4  ,scattered up and    
down the whole of his works is constant 
reference to and commentary upon the    

great themes of all ages1 the great     
creeds of all peoples4  ,queen of the   
,air1 ,aratra ,pentelici1 ,ariadne      
,florentina1 ,the ,mornings in          
,florence1 ,st4 ,mark's ,rest1 ,the     
,oxford ,inaugural ,lectures1 ,the      
,bible of ,amiens1 ,fors ,clavigera4    
,with these as portals you can enter by 
easy steps into the whole universe of   
great things3 the divine myth and       
symbolism of the old pagan world 7as we 
call it7 and of more recent             
,christendom2 all the makers of ancient 
,greece and ,italy and of our own       
,england2 worship and kingship and      
leadership1 and the high thought and    
noble deed of all times4 ,and clustering
 in groups round these centres is the   
world of books4 ,all ,theology1         
,philosophy1 ,poetry1 ,sacred ,history2 
,homer1 ,plato1 ,virgil1 the ,bible1 and
 the ,breviary4 ,the great doctors and  
saints1 kings and heroes1 poets and     
painters1 ,gerome and ,dominic and      
,francis2 ,st4 ,louis and               

,coeur-de-,lion2 ,dante1 ,st4 ,jerome1  
,chaucer1 and ,froissart2 ,botticelli1  
,giotto1 ,angelico2 the ,golden ,legend2
 and many another ancient or modern     
legend and story or passage from the    
history of some great and splendid life1
 or illuminating hint upon the beauties 
of liturgy and symbolism4 ,they1 and a  
hundred other things1 are all gathered  
up and introduced to us in ,ruskin's    
books2 and we are shown them from the   
exact standpoint from which they are    
most likely to appeal to us1 and be of  
use4 ,there never was a great world made
 so easy and pleasant of entrance for   
the adventuring traveller2 you have only
 to enter and take possession4  ,do you 
incline towards myth and symbolism and  
allegory--the expression of abstract    
thought by beautiful figures8 ,read the 
myths of ,greece expounded to you in    
their exquisite spirituality in the     
,queen of the ,air4 ,or is your bent    
devotion and the devout life1 expressed 
in thrilling story and gorgeous colour8 

,read1 say1 the life of ,st4 ,catherine 
or of ,st4 ,george in the ,golden       
,legend4 ,or are you in love1 and would 
express its spring-time beauty8         
,translate into your own native language
 of form and colour ,the ,romaunt of the
 ,rose4  ,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 character1 whether real  
or fabled1 round which at first you may 
group your thought and allegory4 ,listen
 to them1 and try to formulate and      
illustrate their meaning1 not to        
announce your own4 ,do not set puzzles1 
or set things that will be puzzling1    
without the highest and deepest reasons 
and the apostleship urgently laid upon  
you so to do--but let your allegory     
surround some definite subject1 so that 
men in general can see it and say1 ,yes1
 that is so and so1 and go away         
satisfied rather than puzzled and       
affronted2 leaving the inner few for    

whom you really speak1 the hearts that1 
you hope1 are waiting for your message1 
to find it out 7and you need have no    
fear that they will do so71 and to say1 
,yes1 that means so and so1 and it is a 
good thought4  ,for1 remember always    
that1 even if you conceive that you have
 a mission laid upon you to declare     
,truth1 it is most sternly conditioned  
by an obligation1 as binding as itself  
and of as high authority1 to set forth  
,beauty3 the holiness of beauty equally 
with the beauty of holiness4 ,no amount 
of good intent can make up for lack of  
skill2 it is your business to know your 
business4 ,youth always would begin with
 allegory1 but the ambition of the good 
intention is generally in exactly the   
reverse proportion to the ability to    
carry it out in expression4 ,but the    
true allegory that appeals to all is the
 presentment of noble natures and of    
noble deeds4 ,where1 for most people at 
any rate1 is the allegory in the        
,theseus or the ,venus of ,milo8 ,yet is

 not the whole race of man the better   
for them8  ,work1 therefore1 quietly and
 continually at the great themes ready  
set for you in the story of the past and
 understanded of the people1 while you  
are patiently strengthening and maturing
 your powers of art in safety1 sheltered
 from yourself1 and sheltered from the  
condemnation due to the too presumptuous
 assumption of apostleship4 ,for it is  
one thing to stand forth and say1 ,i    
have a message to deliver to the world1 
and quite another to say1 ,there is such
 a message1 and it has fallen to me to  
be its mouthpiece2 woe is me1 because ,i
 am a man of unclean lips4 ,it is       
needless1 therefore--nay1 it is         
harmful--to be always breaking your     
heart against tasks beyond your         
strength4 ,work in some little province2
 get foothold and grow outwards from it2
 go on from weakness to strength1 and   
then from strength to the stronger1     
doing the things you can do while you   
practise towards the things you hope to 

do1 and illustrating impersonal themes  
until the time comes for you to try your
 own individual battle in the great     
world of thought and feeling2 till1     
mature in strength equal to the         
portrayal of great natures1 the ,angels 
of ,god as shown forth by you may be    
recognised as indeed ,spirit1 and ,his  
,ministers as flaming ,fire4  ,there is 
even yet one last word1 and that is1 in 
all the minor symbolism surrounding your
 subjects1 to observe a due proportion4 
,for you may easily be tempted to allow 
some beautiful little fancy1 not        
essential to the subject1 to find       
expression in a form or symbol that will
 thrust itself unduly on the attention1 
and will only puzzle and distract4      
,never let little things come first1 and
 never let them be allowed at all to the
 damage1 or impairing1 or obscuring of  
the simplicity and dignity of the great 
things2 remembering always that the     
first function of a window is to have   
stately and seemly figures in beautiful 

glass1 and not to arrest or distract the
 attention of the spectator with        
puzzles4 ,given the great themes        
adequately expressed1 the little fancies
 may then cluster round them and will be
 carried lightly1 as the victor wears   
his wreath2 while1 on the other hand1 if
 these be lacking no amount of symbolism
 or attribute will supply their place4  
,cucullus non facit monachum1 as the old
 proverb says--,it is not the hood that 
makes the monk1 but the ascetic face you
 depict within it4 ,indeed1 rather      
beware of trusting even to the ordinary1
 well-recognised symbols in common use1 
and being misled by them to think you   
have done something you have not done2  
and rather withhold these until the     
other be made sure4 ,get your figures   
dignified and your faces beautiful2 show
 the majesty or the sanctity that you   
are aiming at in these alone1 and your  
saint will be recognised as saintly     
without his halo of glory1 and your     
angel as angelic without his tongue of  

flame4         99       99       99     
99       99  ,in my own practice1 when  
drawing from the life1 ,i make a great  
point of keeping back all these         
ornaments and symbols of attribute1     
until ,i feel that my figure alone      
expresses itself fully1 as far as my    
powers go1 without them4 ,no ornament   
upon the robe1 or the crosier1 or the   
sword2 above all1 no circle round the   
head1 until--the figure standing out at 
last and seeming to represent1 as near  
as may be1 the true pastor or warrior it
 claims to represent--the moment arrives
 when ,i say1 ,yes1 ,i have done all ,i 
can1--now he may have his nimbus6  #c   
how tastes of salt      ,the bread of   
others1 and how is hard the passage     
,to go down and to go up by other's     
stairs4                                 
--,paradise1 xvii4 #eh4  #d ,coningsby1 
,book iii4 ch4 i4  #e ,sesame and       
,lilies1 ,lecture #a4     ,,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 v4 ,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       
,rules4   ,having now described1 as well
 as ,i can1 the whole of your           
equipment--of hand1 and head1 and       
heart--your mental and technical weapons
 for the practice of stained-glass1     
there now follow a few simple hints to  

guide you in the use of them2 how best  
to dispose your forces1 and on what to  
employ them4 ,this must be a very broken
 and fragmentary chapter1 full of little
 everyday matters1 very different to the
 high themes we have just been trying to
 discuss--and relating chiefly to your  
conduct of the thing as a business1 and 
your relationships with the interests   
that surround you2 modes of procedure1  
business hints1 practical matters4 ,i am
 sorry1 just as you were beginning 7,i  
hope7 to be warmed to the subject1 and  
fired with the high ambitions that it   
suggests1 to take and toss you into the 
cold world of matter-of-fact things2 but
 that is life1 and we have to face it4  
,open the door into the cold air and let
 us bang at it straight away6  ,now     
there is one great and plain question   
that contains all the rest2 you do not  
see it now1 but you will find it facing 
you before you have gone very far4 ,the 
great question1 ,must ,i do it all      
myself1 or may ,i train pupils and      

assistants8  ,let us first amplify the  
question and get it fairly and fully    
stated4 ,then we shall have a better    
chance of being able to answer it       
wisely4  ,i have described or implied   
elsewhere the usual practice in the     
matter amongst those who produce        
stained-glass on a large scale4 ,in     
great establishments the work is divided
 up into branches3 designers1           
cartoonists1 painters1 cutters1 lead    
workers1 kiln-men3 none of whom1 as a   
rule1 know any branch of the work except
 their own4  ,obviously one of the      
principal contentions of this book is   
against the idea that such division1 as 
practised1 is an ideal method4  ,on the 
other hand1 you will gather that the    
writer himself uses the service of      
assistants4  ,while in the plates at the
 end are examples of glass where        
everything has been done by the artists 
themselves 7,plates ,i41 ,,ii41 ,,iii41 
,,iv41 ,,vii474  ,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 leading1 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 ideal2 whether
 it were not the only right plan1 after 
all1 to do the whole oneself2 to sit    
down to the bench with one's drawing1   
and pick out the glass1 piece by piece1 
on its merits1 carefully considering    
each bit as it passed through hand2     
cutting it and trimming it              
affectionately to preserve its beauties1
 and1 later1 leading it into its place  
with thicker or thinner lead1 in the    
same careful spirit4 ,but ,i do not     
think so4 ,i fancy the truth to be that 
the whole business should be opened up  
to all1 and afterwards each should      
gravitate to his place by natural       
fitness4 ,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     
window2 quantity being in this matter   
even essential to quality4 ,i think we  
must look for more monumental figures1  
achieved by the delegation of minor     
craft matters1 in short1 by             
co-operation4 ,nevertheless1 ,i have    
never felt less certainty in pronouncing
 on any question of my craft than in    
this particular matter2 whether1 to get 
the best attainable results1 one should 
do the whole of the work oneself4 ,on   
the other hand1 ,i never felt more      
certainty in pronouncing on any question
 of the craft1 than now in laying down  
as an absolute rule and condition of    
doing good work at all3 that one should 
be able to do the whole of the work     
oneself4 ,that is the key to the whole  
situation1 but it is not the whole key2 
for following close upon it comes the   
rule that springs naturally out of it2  
that1 being a master oneself1 one must  
make it one's object to train all       

assistants towards mastership also3 to  
give them the whole ladder to climb4    
,this at least has been the case with   
the work of my own which is shown in the
 other collotypes4 ,there has been      
assistance1 but every one of those      
assisting has had the opportunity to    
learn to make1 and according to the     
degree of his talent is actually able to
 make1 the whole of a stained-glass     
window himself4 ,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 draw1 and      
perform all the other offices pertaining
 to stained-glass noted in the foregoing
 pages4  ,speaking generally1 ,i care   
not whether a man calls himself ,brown1 
or ,brown and ,co41 or1 co-operating    
with others1 works under the style of   
,brown1 ,jones and ,robinson1 so long as
 he observe four things4  7#a7 ,not to  
direct what he cannot practise2  7#b7   
,to make masters of apprentices1 or aim 
at making them2  7#c7 ,to keep his hand 

of mastery over the whole work          
personally at all stages2 and  7#d7 ,to 
be prepared sometimes to make sacrifices
 of profit for the sake of the ,art1    
should the interests of the two clash4  
,such an one we must call an artist1 a  
master1 and a worthy craftsman4 ,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 artists4 ,under this influence
 not only is the subdivision of labour  
which places each successive operation  
in separate hands accepted as a matter  
of course1 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 art4 ,to men so trained1 so   
employed1 all counsels of perfection are
 foolishness2 all idea of tentative     
work1 experiment1 modification while in 

progress1 is looked upon as mere        
delusion4 ,to them work consists of a   
series of never-varied formulas1 all    
fitting into each other and combined to 
aim at producing a definite result1 the 
like of which they have produced a      
thousand times before and will produce a
 thousand times again4  ,with us1 once  
said1 to a friend of the writer1 a man  
so trained1 it's a matter of judgment   
and experience4 ,it's all nonsense this 
talk about seeing work at a distance and
 against the sky1 and so forth1 while as
 to the ever taking it down again for   
retouching after once erecting it1 that 
could only be done by an amateur4 ,we   
paint a good deal of the work on the    
bench1 and never see it as a whole until
 it's leaded up2 but then we know what  
we want and get it4  ,we know what we   
want6 ,to what a pass have we come that 
such a thing could be spoken by any one 
engaged in the arts6 ,were it wholly and
 universally true1 nothing more would be
 needed in condemnation of wide fields  

of modern practice in the architectural 
and applied arts1 for1 most assuredly it
 is a sentence that could never be      
spoken of any one worthy of the name of 
artist that ever lived4 ,whence would   
you like instances quoted8 ,literature8 
,painting8 ,sculpture8 ,music8 ,their   
name is legion in the history of all    
these arts1 and in the lives of the     
great men who wrought in them4  ,for a  
taste--  ,did ,michael ,angelo know what
 he wanted when1 half-way through his   
figure1 he found the block not large    
enough1 and had to make the limb too    
short8  ,did ,beethoven know1 when he   
evolved a movement in one of his        
concerted pieces out of a quarrel with  
his landlady8 and another1 from singing 
or rather roaring up and down the scale1
 until at last he said1 ,i think ,i have
 found a motive--as one of his          
biographers relates8 ,tennyson1 when he 
corrected and re-corrected his poems    
from youth to his death8 ,duerer1 the   
precise1 the perfect1 able to say1 ,it  

cannot be better done1 yet re-engraving 
a portion of his best-known plate1 and  
frankly leaving the rejected portion    
half erased8#f ,titian1 whose custom it 
was to lay aside his pictures for long  
periods and then criticise them1        
imagining that he was looking at them   
with the eyes of his worst enemy8       
,there is not1 ,i suppose1 in the       
,english language a more perfect poem   
than ,lycidas4 ,it purports to have been
 written in a single day1 and its       
wholeness and unity and crystalline     
completeness give good colour to the    
thought that it probably was so4        
,thus sang the uncouth swain to the oaks
 and rills1        ,while the still morn
 went out with sandals gray2      ,he   
touched the tender stops of various     
quills1        ,with eager thought      
warbling his ,doric lay3      ,and now  
the sun had stretched out all the hills1
        ,and now was dropt into the     
western bay3      ,at last he rose1 and 
twitched his mantle blue2               

,to-morrow1 to fresh woods and pastures 
new4  ,yet1 regarding it1 the delightful
 ,charles ,lamb writes3#g--  ,i had     
thought of the ,lycidas as of a         
full-grown beauty1--as springing with   
all its parts absolute1--till1 in evil  
hour1 ,i was shown the original copy of 
it1 together with the other minor poems 
of its author1 in the library of        
,trinity1 kept like something to be     
proud of4 ,i wish they had thrown them  
in the ,cam1 or sent them1 after the    
later cantos of ,spenser1 into the      
,irish ,channel4 ,how it staggered me to
 see the fine things in their           
ore6--interlined1 corrected1 as if their
 words were mortal1 alterable1          
displaceable at pleasure2 as if they    
might have been otherwise1 and just as  
good2 as if inspiration were made up of 
parts1 and those fluctuating1           
successive1 indifferent6 ,i will never  
go into the workshop of any great artist
 again1 nor desire a sight of his       
picture1 till it is fairly off the      

easel2 no1 not if ,raphael were to be   
alive again1 and painting another       
,galatea4  ,but the real truth of the   
case is that whatever inspiration may   
be1 and whether or not made up of parts1
 it1 or man's spirit and will in all    
works of art1 has to deal with things so
 made up2 and not only so1 but also as  
described by the other words here       
chosen3 fluctuating1 successive1 and    
indifferent4 ,you have to deal with the 
whole sum of things all at once2 the    
possible material crowds around the     
artist's will1 shifting1 changing1      
presenting at all stages and in all     
details of a work of art1 infinite and  
continual choice4 ,nothing1 we are told1
 is single1 but all things have         
relations with each other4 ,how much    
more1 then1 is it true that every bit of
 glass in a window is the centre of such
 relations with its brother and sister  
pieces1 and that nothing is final until 
all is finished8 ,a work of art is like 
a battle2 conflict after conflict1      

manoeuvre after manoeuvre1 combination  
after combination4 ,the general does not
 pin himself down from the outset to one
 plan of tactics1 but watches the field 
and moulds its issues to his will1      
according to the yielding or the        
resistance of the opposing forces1      
keeping all things solvent until the    
combinations of the strife have woven   
together into a soluble problem1 upon   
which he can launch the final charge    
that shall bring him back with victory4 
,so also is all art1 and you must hold  
all things in suspense4 ,aye6 the last  
touch more or less of light or shade or 
colour upon the smallest piece1 keeping 
all open and solvent to the last1 until 
the whole thing rushes together and     
fuses into a harmony4 ,it is not to be  
done by judgment and experience1 for all
 things are new1 and there are no two   
tasks the same2 and it is impossible for
 you from the outset to know what you   
want1 or to know it at any stage until  
you can say that the whole work is      

finished4  ,but if we work on these     
methods we shall only get such a small  
quantity of work done1 and it will be so
 costly done on a system like that you  
speak of6 ,make my assistants masters1  
and so rivals6 put a window in1 and take
 it out again1 forsooth6 ,what remedy or
 answer for this8  ,well--setting aside 
the question of the more or less        
genius--there are only two solutions    
that ,i can see3--an increase in        
industry or a possible decrease in      
profit1 though much may be accomplished 
in mitigation of these hard conditions1 
if they prove too hard1 by a good and   
economical system of work1 and by       
time-saving appliances and methods4     
,but1 after all1 you were not looking   
out for an easy task1 were you1 in this 
world of stress and strain to have the  
privileges of an artist's life without  
its penalties8 ,why1 look you1 you must 
remember that besides the business of   
saving your soul1 which you may share in
 common with every one else1 you have   

the special privilege of enjoying for   
its own sake your personal work in the  
world4  ,and you must expect to pay for 
that privilege at some corresponding    
personal cost2 all the more so in these 
days when your lot is so exceptional a  
fortune1 and when to enjoy daily work   
falls to so few4 ,nevertheless1 when ,i 
say enjoy ,i do not mean that art is    
easy or pleasant in the way that ease is
 pleasant2 there is nothing harder2 and 
the better the artist1 probably the     
harder it is4 ,but you enjoy it because 
of its privileges2 because beauty is    
delightful2 because you know that good  
art does high and unquestioned service  
to man1 and is even one of the ways for 
the advancing of the kingdom of ,god4   
,that should be pleasure enough for any 
one1 and compensation for any pains4    
,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 hope4  ,in this spirit1 then1

 and within these limitations1 must you 
guide your own work and claim the       
co-operation of others1 and arrange your
 relationships with them1 and the limits
 of their assistance and your whole     
personal conduct and course of          
procedure3--  ,to be yourself a master4 
,to train others up to mastery4  ,to    
keep your hand over the whole4  ,to work
 in a spirit of sacrifice4  ,these      
things once firmly established1         
questions of procedure become simple4   
,but a few detached hints may be given4 
,i shall string them together just as   
they come4  ,an ,economy of ,time in the
 ,studio4--,have a portion of your      
studio or work-room wall lined with thin
 boarding--picture-backing of #a_/h inch
 thick is enough1 and this is to pin    
things on to4 ,the cartoon is what you  
are busy upon1 but you must think in    
glass all the time you are drawing it4  
,have therefore1 pinned up1 a number of 
slips of paper--a foolscap half-sheet   
divided vertically into two long strips 

,i find best4  ,on these write down     
every direction to the cutter1 or the   
painter1 or the designer of minor       
ornament1 the moment it comes into your 
mind1 as you work at the charcoal       
drawing4 ,if you once let the moment    
pass you will never remember these      
things again1 but you will have them    
constantly forced back upon your memory1
 by the mistranslations of your         
intention which will face you when you  
first see your work in the glass4 ,this 
practice is a huge saving of time--and  
of disappointment4 ,but you also want   
this convenient wall space for a dozen  
other needs2 for tracings and shiftings 
of parts1 and all sorts of essays and   
suggestions for alteration4  ,that we   
should work always4--,i hope it is not  
necessary to urge the importance of     
work4 ,it is not of much use to work    
only when we feel inclined2 many people 
very seldom do feel naturally inclined4 
,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 conquest4 ,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 nervousness1 drooping      
eyelids1 and a general inclination to   
scream4 ,at such a time1 ,i fear1 one   
sometimes falls back on rather low and  
sordid motives to act as a spur to the  
lethargic will4 ,i think of the         
shortness of the time1 the greatness of 
the task1 but also of all those hosts of
 others who1 if ,i lag1 must pass me in 
the race4 ,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 ,jones4  
,and at such a time it is my habit to   
say or think1 ,aha6 ,i bet ,jones is on 
his back under a plane tree6--or        
thoughts to that effect--and grasp the  

charcoal firmer4  ,it is habits and     
dodges and ways of thinking such as     
these that will gradually cultivate in  
you the ability to stand and deliver1 as
 they say in the decorative arts4 ,for1 
speaking now to the amateur 7if any     
such1 picture-painter or student1 are   
hesitating on the brink of an art new to
 them71 you must know that these arts   
are not like picture-painting1 where you
 can choose your own times and seasons3 
they are always done to definite order  
and expected in a definite time2 and    
that brings me to speak of the very     
important subject of ,clients4  ,of     
,clients and ,patrons4--,it must1 of    
course1 be left to each one to establish
 his own relations with those who ask   
work of him2 but a few hints may be     
given4  ,you will get many requests that
 will seem to you unreasonable and      
impossible of carrying out--some no     
doubt will really be so2 but at least   
consider them4 ,remember what we said a 
little way back--not to be set on your  

own allegory1 but to accept your subject
 from outside and add your poetic       
thought to it4 ,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    
client3 treat the whole thing as raw    
material1 and all surrounding questions 
as factors in one general problem4 ,here
 also ,ruskin has a pregnant word of    
advice--as indeed where has he not8--,a 
great painter's business is to do what  
the public ask of him1 in the way that  
shall be helpful and instructive to     
them4#h ,you cannot always do what      
people ask1 but you can do it more often
 than a headstrong man would at first   
think4  ,i was once doing a series of   
small square panels1 set at intervals in
 the height of some large1 tall windows1
 and containing ,scripture subjects1 the
 intermediate spaces being filled with  
grisaille work4 ,the subjects1 of       
course1 had to be approximately on one  
scale1 and several of them became very  

tough problems on account of this       
restriction4 ,however1 all managed to   
slip through somehow till we came to    
,jacob's ,ladder1 and there ,i stood    
firm1 or perhaps ,i ought rather to say 
stuck fast4 ,how is it possible1 ,i said
 to my client1 that you can have a      
picture of the ',fall' in one panel with
 ,eve's figure taking up almost the     
whole height of it1 and have a similar  
panel with ',angels ,ascending and      
,descending' up and down a ladder8      
,there are only two ways of doing it--to
 put the ladder far off in a landscape1 
which would reduce it to insignificance1
 and besides be unsuitable in glass2 or 
to make the angels the size of dolls4   
,don't you see that it's impossible8    
,no1 he didn't see that it was          
impossible4 ,what he wanted was ,jacob's
 ,ladder2 the possibility or otherwise  
was nothing to him4 ,he said 7what      
you'll often hear said1 reader1 if you  
do stained-glass71 ,i don't1 of course1 
know anything about art1 and ,i can't   

say how this could be done2 that is the 
artist's province4  ,it was in my       
younger days1 and ,i'm afraid ,i must   
have replied to the effect that it was  
not a question of art but of common     
reason1 and that the artist's province  
did not extend to making bricks without 
straw or making two and two into five2  
and the work fell through4 ,but had ,i  
the same thing to deal with now ,i      
should waste no words on it1 but run the
 ladder right up out of the panel into  
the grisaille above2 an opportunity for 
one of those delightful naive exceptions
 of which old art is so full--like1 for 
instance1 the west door of ,st4 ,maclou 
at ,rouen1 where the crowd of falling   
angels burst out of the tympanum1 bang  
through the lintel1 defying architecture
 as they defied the first great         
,architect1 and continue their fall     
amongst the columns below4 ,angels      
,descending1 by-the-bye1 with a         
vengeance6 ,and if the bad ones1 why not
 the good8 ,i might just as well have   

done it1 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 are4 ,anyway1       
remember this--for ,i have invariably   
found it true--that the chief difficulty
 of a work of art is always its chief   
opportunity4 ,a thing can be looked at  
in a thousand and one ways1 and         
something dauntingly impossible will    
often be the very thing that will shake 
your jogtrot cart out of its rut1 make  
you whip up your horses1 and get you    
right home4  ,,but  ,observe this--that 
all these wishes of the client should be
 most strictly ascertained beforehand2  
all possibility of midway criticism and 
alteration prevented4 ,thresh the thing 
well out in the preliminary stages and  
start clear2 as long as it is raw       
material1 all in solution1 all hanging  
in the balance--you can do anything4 ,it
 is like clay in the hands of the       
potter1 and you can make the vessel as  

you please3 ,out of the same lump making
 one vessel to honour and another to    
dishonour4 ,but when the work is        
half-done1 when colour is calling out to
 colour1 and shape to shape1 and thought
 to thought1 throughout the length and  
breadth of the work2 when the ideas and 
the clothing of them are all fusing     
together into one harmony2 when1 in     
short1 the thing is becoming that       
indestructible1 unalterable unity which 
we call a ,work of ,art3--then1 indeed1 
to be required to change or to          
reconsider is a real agony of           
impossibility2 tearing the glowing web  
of thought1 and form1 and fancy into a  
destruction never to be reconstructed1  
and which no piecing or patching will   
mend4  ,there are many minor points1 but
 they are really so entirely matters of 
experience1 that it hardly seems worth  
while to dwell upon them4 ,start with   
recognising the fact that you must try  
to add business habits and sensible and 
economical ways to your genius as an    

artist2 in short1 another whole side to 
your character2 and keep that ever in   
view1 and the details will fall into    
their places4  ,have ,everything in     
,order4--,every letter relating to a    
current job should be findable at a     
moment's notice in an office letter     
basket1 rather wider than a sheet of    
foolscap paper1 and with sides high     
enough to allow of the papers standing  
upright in unfolded sheets1 each group  
of them behind a card taller than the   
tallest kind of ordinary document1 and  
bearing along the top edge in large red 
letters--,roman capitals for choice--the
 name of the work3 and it need hardly be
 said that these should be arranged in  
alphabetical order4 ,for minor matters  
too small for such classification it is 
well to have1 in the front place in the 
basket1 cards dividing the alphabet     
itself into about four parts1 so that   
unarranged small matters can be still   
kept roughly alphabetical4 ,when the    
work is done1 transfer all documents to 

separate labelled portfolios--a folded  
sheet of the thickest brown paper1 such 
as they put under carpets1 is very      
good--and store them away for reference4
 ,larger portfolios for all templates1  
tracings1 or architects' details or     
drawings relating to the work4 ,if you  
have not a good system with regard to   
the ordering of these things1 believe me
 the mere administration of a very      
moderate amount of work will take you   
all your day4  ,so also with            
measurement4   ,,on ,,accuracy ,,in     
,,measurement4  ,in one of ,turgenieff's
 novels a ,russian country proverb is   
quoted--,measure thrice1 cut once4 ,it  
is a golden rule1 and should be         
inscribed in the heart of every worker1 
and ,i will add one that springs out of 
it--,never trust a measurement unless it
 has been made by yourself1 or for      
yourself--to your order4  ,the          
measurements on architects' designs1 or 
even working drawings1 can never be     
trusted for the dimensions of the built 

work4 ,even the builders' templates1 by 
which the work was built1 cannot be1 for
 the masons knock these quite enough    
out1 in actual building1 to make your   
work done by these guides a misfit4     
,have your own measurements taken again4
 ,above all1 beware of trusting to the  
supposed verticals or horizontals in    
built work1 especially in tracery4 ,a   
thing may be theoretically and          
intentionally at a certain angle1 but   
actually at quite a different one4 ,if  
level is important1 take it yourself    
with spirit-level and plumb-line4  ,with
 regard to accuracy of work in the shop1
 where it depends on yourself and the   
system you observe1 ,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       
cartoons4  ,rules to be ,observed in    
,setting out ,forms for ,cartoons4  ,in 
every case of setting out any form1 or  
batch of forms1 for new windows the     
truth of the first long line ruled must 

be tested by stretching a thread4  ,if  
the lath is proved to be out1 it must at
 once be sent to a joiner to be         
accurately 'shot1' and the accuracy of  
both its edges must then be tested with 
a thread4  ,the first right angle made  
7for the corner of the form7 must also  
be tested by raising a perpendicular1   
with a radius of the compasses not less 
than #f inches and with a needle-pointed
 pencil1 and by the subjoined formula   
and no other4  ,from a given point in a 
given straight line to raise a          
perpendicular4 ,let ,a ,b be the given  
straight line 7this must be the long    
side of the form1 and the point ,b must 
be one corner of the base-line73 it is  
required to raise from the point ,b a   
line perpendicular to the line ,a ,b4   
,illustration3 ,,fig4 #ga4  7#a7        
,prolong the line ,a ,b at least #f     
inches beyond ,b 7if there is not room  
on the paper1 it must be pinned on to a 
smooth board1 and a piece of paper      
pinned on1 so as to meet the edge of it1

 and continue it to the required        
distance74  7#b7 ,with the centre ,b    
7the compass leg being in all cases     
placed with absolute accuracy1 using a  
lens if necessary to place it7 describe 
the circle ,c ,d ,e4  7#c7 ,with the    
centres ,c and ,e1 and with a radius of 
not less than #i inches1 describe arcs  
intersecting at ,f and ,g4  7#d7 ,join  
,f ,g4  ,then1 if the work has been     
correctly done1 the line ,f ,g will pass
 through the point ,b1 and be           
perpendicular to the line ,a ,b4 ,if it 
does not do so1 the work is incorrect1  
and must be repeated4  ,when the base   
and the springing-line are drawn on the 
form1 the form must be accurately       
measured from the bottom upwards1 and   
every foot marked on both sides4 ,such  
markings to be in fine pencil-line1 and 
to be drawn from the sides of the form  
to the extreme margin of the paper1 and 
you are not to trust your eye by laying 
the lath flat down and ticking off      
opposite the inch-marks1 but you are to 

stand the lath on its edge1 so that the 
inch-marks actually meet the paper1 and 
then tick opposite to them4  ,also if   
there are any bars in the window to be  
observed1 the places of these must be   
marked1 and it must be made quite clear 
whether the mark is the middle of the   
bar or its edge2 and all this marking   
must be done lightly1 but very          
carefully1 with a needle-pointed pencil4
  ,in every case where the forms are set
 out from templates1 the accuracy of the
 templates must be verified1 and in the 
event of the base not being at right    
angles with the side1 a true horizontal 
must be made from the corner which is   
higher than the other 7the one therefore
 which has the obtuse angle7 and marked 
within the untrue line2 and all         
measurements1 whether of feet1 bars1 or 
squaring-out lines1 or levels for       
canopies1 bases1 or any other divisions 
of the light1 must be made upwards      
,,from ,,this ,,true ,,level ,,line4    
,these rules1 ,i suppose1 have saved me 

on an average an hour a day since they  
were drawn up2 and1 mark you1 an hour of
 waste and an hour of worry a day--which
 is as good as saving a day's work at   
the least4  ,an artist must dream2 you  
will not charge me with undervaluing    
that2 but a decorator must also wake1   
and have his wits about him6 ,start1    
therefore1 in all the outward ordering  
of your career with the three plain     
rules3--  7#a7 ,to have everything      
orderly2  7#b7 ,to have everything      
accurate2  7#c7 ,to bring everything and
 every question to a point1 at the time1
 and clinch it4  #f ,ariadne            
,florentina1 p4 #ca4  #g ,a ,saturday's 
,dinner4  #h ,aratra ,pentelici1 p4     
#bec4     ,,chapter ,,xx  ,a ,,string   
,,of ,,beads   ,is there anything more  
to say8  ,a whole world-full1 of course2
 for every single thing is a part of all
 things4 ,but ,i have said most of my   
say2 and ,i could now wish that you were
 here that you might ask me aught else  
you want4  ,a few threads remain that   

might be gathered up--parting words1    
hints that cannot be classified4 ,i must
 string them together like a row of     
beads2 big and little mixed2 we will try
 to get the big ones more or less in the
 middle if we can4  ,grow everything    
from seed4  ,all seeds that are living  
7and therefore worth growing7 have the  
power in them to grow4  ,but so many    
people miss the fact that1 on the other 
hand1 nothing else will grow2 and that  
it is useless in art to transplant      
full-grown trees4  ,this is the key to  
great and little miseries1 great and    
little mistakes4  ,were you sorry to be 
on the lowest step of the ladder8 ,be   
glad2 for all your hopes of climbing are
 in that4  ,and this applies in all     
things1 from conditions of success and  
methods of getting work up to the       
highest questions of art and the steps  
to ,parnassus1 by which are reached the 
very loftiest of ideals4  ,i must not   
linger over the former of these two     
things or do more than sum it up in the 

advice1 to take anything you can get1   
and to be glad1 not sorry1 if it is     
small and comes to you but slowly4      
,simple things1 and little things1 and  
many things1 are more needed in the arts
 today than complex things and great and
 isolated achievements4 ,if you have    
nothing to do for others1 do some little
 thing for yourself3 it is a seed1      
presently it will send out a shoot of   
your first commission1 and that will    
probably lead to two others1 or to a    
larger one2 but pray to be led by small 
steps2 and make sure of firm footing as 
you go1 for there is such a thing as    
trying to take a leap on the ladder1 and
 leaping off it4  ,so much for the seed 
of success4  ,the seed of craftsmanship 
,i have tried to describe in this book4 
,the seed of ornament and design1 it is 
impossible to treat of here2 it would   
require as large a book as this to      
itself3 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 pupils1 and put them 
before you without comment1 hoping they 
may be of some slight use4 7,see figs4  
#gb and #gc47  ,but though ,i said that 
nothing will grow but seed1 it does not1
 of course1 follow that every seed will 
grow1 or1 if it does1 that you yourself 
will reap the exact harvest you expect1 
or even recognise it in its fruitage as 
the growth of what you have sown4       
,expect to give much for little1 to lose
 sight of the bread cast on the waters1 
not even sure that you will know it     
again even if you find it after many    
days4 ,you never know1 and therefore do 
not count your scalps too carefully or  
try to number your ,israel and ,judah4  
,neither1 on the other hand1 allow your 
seed to be forced by the hothouse of    
advertising or business pushing1 or     
anything which will distract or distort 
that quiet gaze upon the work by which  
you love it for its own sake1 and judge 
it on its merits2 all such sidelights   
are misleading1 since you do not know   

whether it is intended that this or that
 shall prosper or both be alike good4   
,how many a man one sees1 earnest and   
sincere at starting1 led aside off the  
track by the false lights of publicity  
and a first success4 ,art is peace4 ,do 
things because you love them4 ,if purple
 is your favourite colour1 put purple in
 your window2 if green1 green2 if       
yellow1 yellow4 ,flowers and leaves and 
buds because you love them4 ,glass      
because you love it4 ,it is not that you
 are to despise either fame or wealth4  
,honestly acquired both are good4 ,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 ,,time1 and   
you cannot afford to withdraw any time  
from your work in order to acquire them4
  ,illustration3 ,,fig4 #gb4 ,design    
consists of arrangement4 ,let us        
practise arrangement separately1 and on 
its simplest terms4 ,take the simplest  
possible arranged form1 and make all    

ornament spring from this1 without1 for 
a considerable time changing its        
character1 or making any additions of a 
different character to it4 ,if we are   
not then to do this what resource have  
we8 we may change its direction4        
,proceed then to do so1 observing a few 
very simple rules4 #a4 ,do the work in  
single stitches #b4  to each arm of the 
cross in turn4 #c keep a record of each 
step2 that is1 as soon as you have got  
any definite developement from your     
original form1 put that down on paper   
and leave it1 drawing it over again and 
developing from the second drawing4 ,the
 fourth rule is the most important of   
all3 #d4 ,keep on the spot as much as   
possible1 i4e4 take a number of single  
steps from the point you have arrived   
at1 not a number of consecutive steps   
leading farther from it4 ,for example3 b
 here is a single step from a1 you do   
one thing4 ,i do not want you to go on  
developing from it fig4 b as c1 d  e    
until you have gone back to fig4 a and  

made all the immediately possible steps 
to be taken from it1 one of wh4 is      
shown1 fig f4  ,illustration3 a         
,illustration3 b  ,illustration3 c      
,illustration3 c  ,illustration3 d      
,illustration3 e  ,illustration3 f      
,illustration3 ,,fig4 #gc4 ,seed of     
design as applied to ,craft  ,material4 
,suppose you have three simple openings4
 7fig4 'a'47 garret windows1 or passage 
windows1 we will suppose1 each with a   
central horizontal bar3 and suppose you 
have a number of pieces of glass to use 
up already cut to one gauge1 and that   
six of these fill a window1 can you get 
any little variety by arrangement on the
 following terms4 #a4 ,treating both    
upper and lower ranges alike #b4        
,allowing yourself to halve them1       
vertically only4 #c4 ,not wasting any   
glass4 #d4 ,not halving more than two in
 each light4 ,how is this1 fig4 b8 you  
despise it8 so absurdly simple8 ,it is  
the key to all simple ornament in leaded
 glass4 ,exhaust all the possible       

varieties1 there are at least nine4 ,do 
them4 ,that's all4  ,illustration3 ,a   
,illustration3 ,b  ,illustration        
,illustration   ,in these days and in   
our huge cities there are so many       
avenues open to celebrity1 through      
,society1 the ,press1 ,exhibition1 and  
so forth1 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 aware1 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 them4 ,it     
becomes almost a profession in itself to
 keep oneself notorious4  ,to spend     
large slices out of one's time in the   
mere putting forward of one's work1     
showing it apart from doing it1         
necessary as this sometimes is1 is a    
thing to be done grudgingly2 still more 
so should one grudge to be called from  
one's work here1 there1 and everywhere  
by the social claims which crowd round  

the position of a public man4         99
       99       99       99       99    
,there are strenuous things enough for  
you in the work itself without wasting  
your strength on these4 ,we will speak  
of them presently2 but a word first upon
 originality4  ,don't strive to be      
original2 no one ever got ,heaven's gift
 of invention by saying1 ,i must have   
it1 and since ,i don't feel it ,i must  
assume it and pretend it2 follow rather 
your master patiently and lovingly for a
 long time2 give and take1 echo his     
habits as ,botticelli echoed ,filippo   
,lippi's1 but improve upon them2 add    
something to them if you can1 as he also
 did1 and pass then on1 as he also did1 
to the little                           
,filippo--,filippino--making him a truer
 and sweeter heart than his father1 out 
of the well of truth and sweetness with 
which ,botticelli's own heart was       
brimming4 ,do this1 but at the same time
 expect with happy patience1 as a boy   
longs for his manhood1 yet does not try 

to hasten it and does not pretend to    
forestall it1 the time when some fresh  
idea in imagination1 some fresh method  
in design1 some fresh process in        
craftsmanship1 will come to you as a    
reward of patient working--and come by  
accident1 as all such things do1 lest   
you should think it your own and miss   
the joy of knowing that it is not yours 
but ,heaven's4  ,and when this comes1   
guard it and mature it carefully4 ,do   
not throw it out too lavishly broadcast 
with the ostentation of a generous      
genius having gifts to spare4 ,share it 
with proved and worthy friends1 when    
they notice it and ask you about it1 but
 in the meanwhile develop and cultivate 
it as a gardener does a tree4 ,and this 
leads me to the most important point of 
all--namely1 the value1 the             
all-sufficing value1 of one new step on 
the road of ,beauty4 ,if such is really 
granted you1 consider it as enough for  
your lifetime4 ,one such thing in the   
history of the arts has generally been  

enough for a century2 how much more1    
then1 for a generation4  ,for indeed    
there is only one rule for fine work in 
art1 that you should put your whole     
strength1 all the powers of mind and    
body into every touch4 ,nothing less    
will do than that4 ,you must face it in 
drawing from the life4 ,try it in its   
acutest form1 not from the posed1       
professional model1 who will sit like a 
stone2 try it with children1 two years  
old or so2 the despair of it1 the       
exhaustion3 and then1 in a flash1 when  
you thought you had really done         
somewhat1 a still more captivating1     
fascinating gesture1 which makes all you
 have done look like lead4 ,can you     
screw your exhaustion up again1         
sacrifice all you have done1 and face   
the labour of wrestling with the new    
idea8 ,and if you do8 ,you are sick with
 doubt between the new and the old4 ,you
 ask your friends2 you probably choose  
wrong2 your judgment is clouded by the  
fatigue of your previous toil4  ,but you

 have gained strength4 ,that is the real
 point of the thing4 ,it is not what you
 have done in this instance1 but what   
you have become in doing it4 ,next time1
 fresh and strong1 you will dash the    
beautiful sudden thought upon the paper 
and leave it1 happy to make others      
happy1 but only through the pains you   
took before1 which are a small price to 
pay for the joy of the strength you have
 gained4  ,this is the rule of great    
work4 ,puzzle and hesitation and        
compromise can only occur because you   
have left some factor of the problem out
 of count1 and this should never be4    
,your business is to take all into      
account and to sacrifice everything1    
however fascinating and tempting it may 
be in itself1 if it does not fit in as  
part of an harmonious whole4 ,remember  
in this case1 when loth to make such    
sacrifice1 the old saying that there's  
as good fish in the sea as ever came    
out4 ,brace yourself to try for         
something still better4 ,recast your    

composition4 ,if it is defective1 the   
defect all comes from some want of      
strenuousness as you went along4 ,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 attitude4 ,every       
student knows the feeling4 ,so in your  
composition3 you may get impossible     
levels1 impossible relations between the
 subject and the surrounding canopy3    
perhaps one coming in front of the other
 at one point and the reverse at another
 point4 ,you drew the thing dreamily3   
you were not alert enough4 ,and now you 
must waste what you had got to love1    
because though it's so pretty it is not 
fitting4  ,but sometimes it will happen 
that some line of your composition is   
thus hacked off by no fault of yours1 by
 some mismeasurement of a bar by your   
builder1 or some change of mind or whim 
of your client1 who likes it all but----
 7some vital feature74 ,as we have said1

 this is not quite a fair demand to be  
made upon the artist1 but it will       
sometimes occur1 whatever we do4 ,pull  
yourself together1 and1 before you stand
 out about it and refuse to change1     
consider4 ,try the modification1 and try
 it in such an aroused and angry spirit 
as shall flame out against the          
difficulty with force and heat4 ,let the
 whole thing be as fuel of fire1 and the
 reward will be given4 ,the chief       
difficulty may become--it is more than  
an even chance that it does become--the 
chief glory1 and that the composition   
will be like the new-born ,phoenix1     
sprung from the ashes of the old and    
thrice as fair4  ,then also strike while
 the iron is hot1 and work while you're 
warm to it4 ,when you have done the main
 figure-study and slain its difficulty  
you feel braced up1 your mind clear1 and
 you see your way to link it in with the
 surroundings4 ,will you let it all get 
cold because it is toward evening and   
you are physically tired1 when another  

hour would set the whole problem right  
for next day's work2 now1 while you are 
warm1 while the beauty of the model you 
have drawn from is still glowing in you 
with a thousand suggestions and         
possibilities8 ,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 all4  ,it is after a day's    
work such as this that one feels the    
true delight of the balm of ,nature4    
,for conquered difficulty brings new    
insight through the feeling of new      
power2 and new beauties are seen because
 they are felt to be attainable1 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 home4  ,it is     
after work like this1 feeling the       
stirrings of some real strength within  
you1 promising power to deal with       
nature's secrets by-and-by1 that you see
 as never before the beauty of things4  
,the keen eyes that have been so busy   

turn gratefully to the silver of the sky
 with the grey1 quiet trees against it  
and the watery gleam of sunset like pale
 gold1 low down behind the boughs1 where
 the robin1 half seen1 is flitting from 
place to place1 choosing his rest and   
twittering his good-night2 and you think
 with good hope of your life that is    
coming1 and of all your aspirations and 
your dreams4 ,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 you1 as the glow which is fading
 renews itself day by day in the ,east1 
bringing the daily task with it4  ,you  
feel that you are able to meet it1 and  
that all is well2 that there are quiet  
and good things in store1 and that this 
constant renewal of the glories of day  
and night1 this constant procession of  
morning and evening as the world rolls  
round1 has become almost a special      
possession to you1 to which only those  
who pay the price have entrance1 an     

inheritance of your own as a reward of  
your endeavour and acquired power1 and  
leading to some purposed end that will  
be peace4         99       99       99  
99       99  ,stained-glass1            
stained-glass1 stained-glass6 ,at night 
in the lofty church windows the bits    
glow and gloom and talk to one another  
in their places2 and the pictured angels
 and saints look down1 peopling the     
empty aisles and companioning the lamp  
of the sanctuary4         99       99   
99       99       99  ,the beads worth  
threading seem about all threaded now1  
and the book appears to be done4 ,thus  
we have gone on then1 making it as it   
came to hand1 blundering1 as it seems to
 me1 on the borders of half a dozen     
literary or illiterate styles1 the pen  
not being the tool of our proper craft2 
but on the whole saying somehow what we 
meant to say3 laughing when we felt     
amused1 and being serious when the      
subject seemed so1 our object being     
indeed to make workers in stained-glass 

and not a book about it4 ,is it worth   
while to try and put a little clasp to  
our string of beads and tie all         
together8  ,there was a little boy 7was 
he six or seven or eight871 and his seat
 on ,sunday was opposite the door in the
 fourteenth-century chancel of the      
little ,norman country church4 ,there   
the great1 tall windows hung in the air 
around him1 and he used to stare up at  
them with goggle-eyes in the way that   
used to earn him household names1       
wondering which he liked best4 ,and for 
months one would be the favourite1 and  
for months another would supplant it2   
his fancy would change1 and now he liked
 this--now that4 ,only the stone        
tracery-bars1 for there was no          
stained-glass to spoil them4 ,the broad1
 plain flagstones of the floor spread   
round him in cool1 white spaces1 in     
loved unevenness1 honoured by the       
foot-tracks which had worn the stone    
into little valleys from the door and   
through the narrow1 ,norman chancel-arch

 up towards the altar rails1 telling of 
generations of feet1 long since at rest1
 that had carried simple lives to seek  
the place as the place of their help or 
peace4  ,plain rush-plaited hassocks and
 little brass sconces where1 on lenten  
nights1 in the unwarmed church1         
glimmered the few candles that lit the  
devotion of the strong1 rough sons of   
the glebe1 hedgers and ditchers1 who    
came there after daily labour to spell  
out simple prayer and praise4 ,but it   
was best on the summer ,sunday mornings1
 when the great spaces of blue1 and the 
towering white clouds looked down       
through the diamond panes2 and the      
iron-studded door1 with the wonderful   
big key1 which his hands were not yet   
strong enough to turn1 stood wide open2 
and outside1 amongst the deep grass that
 grew upon the graves1 he could see the 
tortoise-shell butterflies sunning      
themselves upon the dandelions4 ,then it
 was that he used to think the outside  
the best1 and fancy 7with perfect truth1

 as ,i believe7 that angels must be     
looking in1 just as much as he was      
looking out1 and gazing down1           
grave-eyed1 upon the little people      
inside1 as he himself used to watch the 
red ants busy in their tiny mounds upon 
the grass plot or the gravel path2 and  
he wondered sometimes whether the       
outside or the inside was ,god's ,house 
most3 the place where he was sitting1   
with rough1 simple things about him that
 the village carpenter or mason or      
blacksmith had made1 or the beautiful   
glowing world outside4 ,and as he       
thought1 with the grave mind of a child1
 about these things1 he came to fancy   
that the eyes that looked out through   
the silver diamond-panes which kept out 
the wind and rain1 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 
loved2 awful eyes that were at home     
where hung the sun himself in his       
distances and the stars in the great    

star-spaces2 where ,orion and the       
,pleiades glittered in the winter       
nights1 where ,mazzaroth was brought    
forth in his season1 and where through  
the purple skies of summer evening was  
laid out overhead the assigned path     
along which moved ,arcturus with his    
sons4     ,,appendix ,i  ,,some         
,,suggestions ,,as ,,to ,,the ,,study   
,,of ,,old ,,glass   ,every one who     
wants to study glass should go to ,york 
,minster4 ,go to the extreme west end1  
the first two windows are of plain      
quarries most prettily leaded1 and      
showing how pleasant plain-glazing may  
be1 with silvery glass and a child-like 
enjoyment of simple patterning1         
unconscious of high art4 ,but look at   
the second window on the north side4    
,what do you see8 ,you see a yellow     
shield8 ,exactly4 ,every one who looks  
at that window as he passes at a quick  
walk must come away remembering that he 
had seen a yellow shield4 ,but stop and 
look at it4 ,don't you like it--,i do6  

,why8--well1 because it happens to be by
 good luck just right1 and it is a very 
good lesson of the degree in which      
beauty in glass depends on              
juxtaposition4 ,i had thought of it as a
 particularly beautiful bit of glass in 
quality and colour--but not at all6 it  
is textureless and rather crude4 ,i had 
thought of it as old--not at all3 it is 
probably eighteenth-century4 ,but look  
what it happens to be set in--the       
mixture of agate1 silver1 greenish and  
black quarries4 ,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 half4 ,in short1 you could
 have it so placed that you would like  
it no better1 that it would be no       
better1 than the bit of builder's       
glazing in the top quatrefoil of the    
next window1 which looks like1 and ,i   

fancy is1 of almost the very same glass1
 but clumsily mixed1 and1 fortunately1  
dated for our instruction1 #aggi4  ,i do
 not know any place where you can get   
more study of certain properties of     
glass than in the city of ,york4 ,the   
cathedral alone is a mine of wealth4    
,the nave windows are near enough to see
 all necessary detail4 ,there is        
something of every period4 ,and with    
regard to the nave and clerestory       
windows1 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 right4 ,you can be   
quite frank and simple about it all4    
,for instance1 my own favourite window  
is the fifth from the west on the south 
side4 ,the old restorer has coolly      
slipped down one whole panel below its  
proper level in a shower of rose-leaves 
7which were really1 ,i believe1         
originally a pavement71 and1 frankly1 ,i
 don't know 7and don't care7 whether    
they are part of his work in the late   

eighteenth century or the original glass
 of the late fourteenth4 ,i rather      
incline to think that they came out of  
some other window and are bits of       
fifteenth-century glass4 ,the same with 
the chequered shield of ,vernon in the  
other light4 ,i daresay it is a bit of  
builder's glazing--but isn't it jolly8  
,and what do you think of the colour of 
the little central circle half-way up   
the middle light8 ,isn't it a flower8   
,and look at the petal that's dropped   
from it on to the bar below6 or the     
whole of the left-hand light2 well1 or  
the middle light1 or the right-hand     
light8 ,if that's not colour ,i don't   
know what is4 ,i doubt if it was any    
more beautiful when it was new1 perhaps 
not so beautiful4 ,compare it1 for      
example1 with the window in the same    
wall 7,i think next to it on the west1  
which has been restored74 ,the window   
exactly opposite seems one of the least 
retouched1 and the least interesting2 if
 you think the yellow canopies          

disagreeable in colour don't be ashamed 
to say so3 they are not unbeautiful     
exactly1 ,i think1 but1 personally1 ,i  
could do with less of them4 ,yet ,i     
should not be surprised to be assured   
that they are all genuine               
fourteenth-century4 ,in the north       
transept is the celebrated ,five        
,sisters1 the most beautiful bit of     
thirteenth-century grisaille perhaps in 
existence4 ,that is where we get our    
patterns for kamptulicon from2 but we   
don't make kamptulicon quite like it4   
,if you want a sample of                
nineteenth-century thirteenth-century   
work you have only to look over your    
left shoulder4  ,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 new1 while the right-hand
 one of all is a little abbot who is    
nearly all old and has shrunk behind a  

tomb1 wondering1 as it seems to me1 how 
those fellows got in1 and making up his 
mind whether he's going to stand being  
bullied by the new ,st4 ,peter4 ,in the 
south transept opposite1 all the five   
eastern windows are fifteenth-century1  
and some of them very well preserved1   
while those in the southern wall are    
modern4 ,the great east window has a    
history of its own quite easily         
ascertainable on the spot and worthy of 
research and study4 ,then go into the   
north ambulatory1 look at the third of  
the big windows4 ,well1 the right-hand  
light2 look at the bishop at the top in 
a dark red chasuble1 note the bits of   
dull rose colour in the lower dress1 the
 bit of blackish grey touching the      
pastoral staff just below the edge of   
the chasuble1 look at the bits of sharp 
strong blue in the background4 ,now ,i  
believe these are all accidents--bits   
put in in releading2 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 roof1 if you don't think this   
window goes with it and is music also1  
you must be wrong1 ,i think1 in eye or  
ear4 ,but indeed this part of the church
 and all round the choir aisles on both 
sides is a perfect treasure-house of    
glass4  ,if you want an instance of what
 ,i said 7p4 #bab7 as to added notes    
turning discord into harmony1 look at   
the patched east window of the south    
choir aisle4 ,mere jumble--probably no  
selection--yet how beautiful6 like beds 
of flowers4 ,did you ever see a bed of  
flowers that was not beautiful8--often  
and often1 when the gardener had        
carefully selected the plants of his    
ribbon-bordering2 but ,i would have you 
think of an old-fashioned cottage       
garden1 with its roses and lilies and   
larkspur and snapdragon and             
marigolds--those are what windows should
 be like4  ,in addition to the minster1 
almost every church in the city has some
 interesting glass2 several of them a   

great quantity1 and some finer than any 
in the cathedral itself4 ,and here ,i   
would give a hint4 ,never pass a church 
or chapel of any sort or kind1 old or   
new1 without looking in4 ,you cannot    
tell what you may find4  ,and a second  
hint4 ,do not make written pencil notes 
regarding colour1 either from glass or  
nature1 for you'll never trouble to     
puzzle them out afterwards4 ,take your  
colour-box with you4 ,the merest dot of 
tint on the paper will bring everything 
back to mind4  ,space prevents our      
making here anything like a complete    
itinerary setting forth where glass may 
be studied2 it must suffice to name a   
few centres1 noting a few places in the 
same district which may be visited from 
them easily4 ,i name only those ,i know 
myself1 and of course the list is very  
slight4  ,,york4 ,and all churches in   
the city4  ,,gloucester4 ,tewkesbury1   
,cirencester4  ,,birmingham4 7,for      
,burne-,jones glass47 ,shrewsbury1      
,warwick1 ,tamworth1 ,malvern4  ,,wells4

  ,,oxford4 ,much glass in the city1 old
 and new4 ,fairford4  ,,cambridge4 ,much
 glass in the city1 old and new4        
,,canterbury4  ,,chartres4 7,if there is
 still any left unrestored47 ,st4       
,pierre in the same town4  ,,sens4      
,,troyes4 ,,auxerre4  ,of the last two  
,i have only seen some copies4 ,for     
glass by ,rossetti1 ,burne-,jones1 and  
,madox-,brown1 consult their lives4     
,there are many well-known books on the 
subject of ancient glass1 ,winston1     
,westlake1 c41 which give fuller details
 on this matter4     ,,appendix ,,ii    
,,on ,,the ,,restoring ,,of ,,ancient   
,,windows   ,let us realise what is     
done4  ,and let us consider what ought  
to be done4  ,a window of ancient glass 
needs releading4 ,the lead has decayed  
and the whole is loose and shaky4 ,the  
ancient glass has worn very thin1 pitted
 almost through like a worn-out thimble 
with little holes where the alkalis have
 worked their way out4 ,it is as fragile
 and tender as an old oil-painting that 

needs to be taken off a rotten canvas   
and re-lined4 ,if you examine a piece of
 old glass whose lead has had time to   
decay1 you will find that the glass     
itself is often in an equally tender    
state4 ,the painting would remain for   
years1 probably for centuries yet1 if   
untouched1 just as dust1 without any    
attachment at all1 will hang on a       
vertical looking-glass4 ,but if you     
scrape it1 even only with the           
finger-nail1 you will generally find    
that that is sufficient to bring        
much--perhaps most--of the painting off1
 while both sides of the glass are      
covered with a patina of age which is   
its chief glory in quality and colour1  
and which1 or most of which1 a wet      
handkerchief dipped in a little dust and
 rubbed smartly will remove4  ,in short1
 here is a work of art as beautiful and 
precious as a picture by ,titian or     
,holbein1 and probably1 as being the    
chief glory of some stately cathedral1  
still more precious1 which ought only to

 be trusted to the gentle hands of a    
cultivated and scientific artist1       
connoisseur1 and expert4 ,the glass     
should all be handled as if it were old 
filigree silver4 ,if the lead is so     
perished that it is absolutely          
impossible to avoid taking the glass    
down1 it should be received on the      
scaffold itself1 straight from its place
 in the stone1 between packing-boards   
lined with sheets of                    
wadding--cotton-wool--attached to the   
boards with size or paste1 and with1 of 
course1 the fluffy side outwards4 ,these
 boards1 section by section1 should be  
finally corded or clamped ready for     
travelling before being lowered from the
 scaffold2 if any pieces of the glass   
get detached they should be carefully   
packed in separate boxes1 each labelled 
with a letter corresponding to one      
placed on the section as packed1 so that
 there may be no chance of their place  
ever being lost1 and when all is done   
the whole window will be ready to be    

gently lowered1 securely packed for     
removal1 to the pavement below4 ,the    
ideal thing now would be to hire a room 
and do the work on the spot2 but if this
 is impossible on account of expense and
 the thing has to bear a journey1 the   
sections1 packed as above described1    
should be themselves packed1 two or     
three together1 as may be convenient1 in
 an outer packing-case for travelling4  
,it should be insured1 for then a       
representative of the railway must      
attend to certify the packing1 and also 
extra care will be taken in transit4    
,arrived at the shop1 the window should 
be laid out carefully on the bench and  
each bit re-leaded into its place1 the  
very fragile pieces between two bits of 
thin sheet-glass4  ,unless this last    
practice is adopted throughout1 the     
ordinary process of cementing must be   
omitted and careful puttying substituted
 for it4 ,while if it is adopted the    
whole must be puttied before cementing1 
otherwise the cement will run in between

 the various thicknesses of glass4 ,it  
would be an expensive and tedious and   
rather thankless process1 for the       
repairer's whole aim would be to hide   
from the spectator the fact that        
anything whatever had been done4  ,what 
does happen at present is this4 ,a      
country clergyman1 or1 in the case of a 
cathedral1 an architectural surveyor1   
neither of whom know by actual practice 
anything technically of stained-glass1  
hand the job over to some one           
representing a stained-glass            
establishment4 ,this gentleman has      
studied stained-glass on paper1 and     
knows as much about cutting or leading  
technically and by personal practice1 as
 an architect does of masonry1 or       
stone-carving--neither more nor less4   
,that is to say1 he has made            
sketch-books full of water-colour or    
pencil studies1 and endless notes from  
old examples1 and has never cut a bit of
 glass in his life1 or leaded it4       
,well1 he assumes the responsibility1   

and the client reposes in the blissful  
confidence that all is well4  ,is all   
well8  ,the work is placed in the charge
 of the manager1 and through him it     
filters down as part of the ordinary1   
natural course of events into the       
glazing-shop4 ,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 trade4 ,they know      
perfectly well that nobody above them   
knows as much as they1 or1 indeed1      
anything at all of their craft4         
,division of labour has made them       
glaziers1 as it has made the gentlemen  
above stairs1 who do the cartoons or the
 painting1 artists4 ,these last know    
nothing of glazing1 why should glaziers 
know anything of art8 ,it is perfectly  
just reasoning2 they do their very best1
 and what they do is this4 ,they take   
out the old1 tender glass1 with the     
colour hardly clinging to it1 and they  
put it into fresh leads1 and then they  

solder up the joints4 ,and1 by way of a 
triumphant wind-up to a good1 solid1    
,english1 common-sense job1 with no     
art-nonsense or fads about it1 they     
proceed to scrub the whole on both sides
 with stiff grass-brushes 7ordinarily   
sold at the oil-shops for keeping       
back-kitchen sinks clean71 using with   
them a composition mainly consisting of 
exactly the same materials with which a 
housemaid polishes the fender and       
fire-irons4 ,that is a plain1 simple1   
unvarnished statement of facts4 ,you may
 find it difficult of belief1 but this  
is what actually happens4 ,this is what 
you are having done everywhere1         
guardians of our ancient buildings4     
,you'll soon have all your old windows  
quite as good as new4 ,it's a merry     
world1 isn't it8     ,,appendix ,,iii   
,hints for the ,curriculum of a         
,technical ,school for                  
,stained-,glass--,examples for          
,painting--,examples of                 
,drapery--,drawing      from            

,nature--,ornamental ,design4           
,examples for ,painting4--,i have       
already recommended for outline work the
 splendid reproductions of the ,garter  
,plates at ,windsor4 ,it is more        
difficult to find equally good examples 
for painting2 for if one had what one   
wished it would be photographed from    
ideal painted-glass or else from        
cartoons wisely prepared for glass-work4
 ,but1 in the first case1 if the        
photographs were from the best ancient  
glass--even supposing one could get     
them--they would be unsatisfactory for  
two reasons4 ,first1 because ancient    
glass1 however well preserved1 has lost 
or gained something by age which no     
skill can reproduce2 and secondly1      
because however beautiful it is1 all but
 the very latest 7and therefore not the 
best7 is immature in drawing4 ,it is not
 wise to reproduce those errors4 ,the   
things themselves look beautiful and    
sincere because the old worker drew as  
well as he could2 but if we1 to imitate 

them1 draw less well than we can1 we are
 imitating the accidents of his         
production1 and not the method and      
principle of it3 the principle was to   
draw as well as he could1 and we1 if we 
wish to emulate old glass1 must draw as 
well as we can4 ,for examples of ,heads 
nothing can be better than photographs  
from ,botticelli and other early        
,tuscan1 and from the early ,siennese   
painters4 ,also from ,holbein1 and      
chiefly from his drawings4 ,there is a  
flatness and firmness of treatment in   
all these which is eminently suited to  
stained-glass work4 ,hands also may be  
studied from the same sources1 for      
though ,botticelli does not always draw 
hands with perfect mastery1 yet he very 
often does1 and the expression of them1 
as of his heads1 is always dignified and
 full of sweetness and gentleness of    
feeling2 and as soon as we have learnt  
our craft so as to copy these properly1 
the best thing is to draw hands and     
heads for ourselves4  ,examples of      

,drapery4--,to me there is no drapery so
 beautiful and appropriate for          
stained-glass work in the whole world of
 art1 ancient or modern1 as that of     
,burne-,jones1 and especially in his    
studies and drawings and cartoons for   
glass2 and if these are not accessible1 
at least we may pose drapery as like it 
as we can1 and draw it ourselves and    
copy it4 ,but ,i would1 at any rate1    
earnestly warn the student against the  
crinkly-crankly drapery imitated from   
,duerer and his school1 which fills up  
the whole panel with wrinkles and       
turnovers 7the linings of a robe which  
give an opportunity for changing the    
colour71 and spreads out right and left 
and up and down till the poor bishop    
himself 7and in nine cases out of ten it
 is a bishop1 so that he may be mitred  
and crosiered and pearl-bordered7       
becomes a mere peg to hang vestments on1
 and is made short and dumpy for that   
end4  ,there is a great temptation and a
 great danger here4 ,this kind of work1 

where every inch of space is filled with
 ornament and glitter1 and change and   
variety and richness1 is indeed in many 
ways right and good for stained-glass2  
which is a broken-up thing2 where large 
blank spaces are to be avoided1 and     
where each little bit of glass should   
look cared for and thought of1 as a     
piece of fine jewellery is put together 
in its setting2 and if craftsmanship    
were everything1 much might be said for 
these methods4 ,there is indeed plenty  
of stained-glass of the kind more       
beautiful as craftsmanship than anything
 since the ,middle ,ages1 much more     
beautiful and cunning in workmanship    
than ,burne-,jones1 and yet which is    
little else but vestments and curtains  
and diaper--where there is no lesson    
taught1 no subject dwelt on1 no         
character studied or portrayed4 ,if we  
wish it to be so--if we have nothing to 
teach or learn1 if we wish to be let    
alone1 to be soothed and lulled by mere 
sacred trappings1 by pleasant colours   

and fine and delicate sheen and the     
glitter of silk and jewels--well and    
good1 these things will serve2 but if   
they fail to satisfy1 go to ,st4        
,philip's1 ,birmingham1 and see the     
solemnities and tragedies of ,life and  
,death and ,judgment1 and all this will 
dwindle down into the mere upholstery   
and millinery that it is4  ,drawing from
 ,nature4--,there is a side of drawing  
practice almost wholly neglected in     
schools1 which consists1 not in training
 the eye and hand to correctly measure  
and outline spaces and forms1 but in    
training the finger-ends with an ,h4,b4 
pencil point at the end of them to      
illustrate texture and minute detail4   
,it is necessary to look at things in a 
large way1 but it is equally necessary  
to look at them in a small way2 to be   
able to count the ribs on a blade of    
grass or a tiny cockle-shell1 and to    
give them in pencil1 each with its own  
light and shade4 ,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 first4 ,a     
single grain of wheat1 not a whole ear  
of corn2 some tiny seed1 tiny shell2 but
 whatever is chosen1 to be pursued with 
a needle-pointed pencil to the very     
verge of lens-work4 ,i must yet again   
quote ,ruskin4 ,you have noticed1 he    
says1#i that all great sculptors1 and   
most of the great painters of ,florence1
 began by being goldsmiths4 ,why do you 
think the goldsmith's apprenticeship is 
so fruitful8 ,primarily1 because it     
forces the boy to do small work and mind
 what he is about4 ,do you suppose      
,michael ,angelo learned his business by
 dashing or hitting at it8  ,ornamental 
,design4--,it is impossible here to     
enter into a description of any system  
of teaching ornament4 ,at p4 #bid ,i    
have given just as much as two pages can
 give of the seed from which such a     
thing may spring4 ,in some of the       
collotypes from the finished glass the  
patterns on quarry or robe which spring 

from this seed may be traced--very      
imperfectly1 but as well as the scale   
and the difficulties of photography and 
the absence of colour will allow4  ,what
 ,i find best1 in commencing with any   
student1 is to start four practices     
together1 and keep them going together  
step by step1 side by side1 through the 
course1 one evening for each1 or some   
like division4  ,technical              
,work4--,cutting1 glazing1 c4  ,painting
 ,work4--,by graduated examples1 from   
simple outline up to a head of          
,botticelli4  ,ornament1 as described2  
and  ,drawing from ,nature1 in the      
spirit and methods we have spoken of4   
,moulding the whole into a system of    
composition and execution1 tempered and 
governed as it goes along by judiciously
 chosen reading and reference to        
examples1 ancient or modern4  #i        
,ariadne ,florentina1 p4 #ajh4          
,,notes ,,on ,,the ,,collotype ,,plates 
,it is obvious that stained-glass cannot
 be adequately shown in                 

book-illustration4  ,for instance1 we   
cannot have either the scale of it or   
the colour--two rather vital exceptions4
 ,these collotypes are1 therefore1 put  
forth as mere diagrams for the use of   
students1 to call their attention to    
certain definite points and questions of
 treatment1 and no more pretending than 
if they were black-board drawings to    
give adequate pictures of what glass can
 be or should be4  ,this is one reason1 
too1 for the omission of all attempt to 
reproduce ancient glass4 ,it was felt   
that it should not be subjected to the  
indignity of such very imperfect        
representation1 and especially as so    
many much larger books on the subject   
exist1 where at least the scale is not  
so ill-treated4  ,but1 besides1 if one  
once began illustrating old glass1 one  
would immediately seem to be setting    
standards for present-day guidance1 and 
this could only be done 7if done7 with  
many annotations and exceptions and with
 a much larger range of examples than is

 possible here4  ,the following         
illustrations1 therefore1 show the      
attempts of a group of workers who have 
endeavoured to carry into practice the  
principles set forth in this book4 ,it  
has not been found possible in all cases
 to get photographs from the actual     
glass--always a very difficult thing to 
do4 ,the illustrations can be seen much 
better by the aid of a moderately strong
 reading-lens4  ,,plate ,i4--,part of   
,east ,window1 ,st4 ,anselm's1          
,woodridings1 ,pinner1 by ,louis ,davis4
 ,the design1 cartoons1 and cut-line    
made1 all the glass chosen and painted1 
and the leading superintended by the    
artist4  ,illustration3 ,i4--,part of   
,window4 ,st4 ,anselm's1 ,woodridings1  
,pinner4  ,,plate ,,ii4--,another       
portion of the same window1 by the same4
 ,scenes from the ,life of ,st4 ,anselm4
 ,executed under the same conditions as 
the above4 ,the freehand drawing and the
 varying thickness of the leads in the  
quarry work should be noted4            

,illustration3 ,,ii4--,part of ,window4 
,st4 ,anselm's1 ,woodridings1 ,pinner4  
,,plate ,,iii4--,window in ,st4 ,peter's
 ,church1 ,clapham ,road--,blessed are  
they that ,mourn1 by ,reginald          
,hallward4 ,the whole of the work in    
this instance1 including cutting1       
leading1 c41 is done by the artist      
himself4 ,as an instance of how little  
photography can do1 it is worth while to
 describe such a small item as the      
scroll above the figure4 ,this is of    
glass most carefully selected 7or most  
skilfully treated with acid71 so that   
the ground work varies from             
silvery-white to almost a pansy-purple1 
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 copying4 ,it is
 work like this and the preceding that  
is referred to on p4 #bff4              
,illustration3 ,,iii4--,window4 ,st4    
,peter's ,church1 ,clapham4  ,,plate    

,,iv4--,central part of ,window in      
,cobham ,church1 ,kent1 by ,reginald    
,hallward4 ,executed under the same     
conditions as the preceding4            
,illustration3 ,,iv4--,part of ,window4 
,cobham ,church1 ,kent4  ,,plate        
,v4--,part of ,window in ,ardrahan      
,church1 ,galway--,st4 ,robert by       
,selwyn ,image4 ,from the cartoon4 ,see 
p4 #hc4  ,illustration3 ,v4--,part of   
,window4 ,ardrahan1 ,galway4  ,,plate   
,,vi4--,two ,designs for ,domestic      
,glass1 by ,miss ,m4 ,j4 ,newill4 ,from 
the cartoons4  ,illustration3           
,,vi4--,from ,cartoons for ,domestic    
,glass4  ,,plate ,,vii4--,the ,dream of 
,st4 ,kenelm1 by ,h4 ,a4 ,payne4 ,the   
author had the pleasure of watching this
 work daily while in progress4 ,it was  
done entirely by the artist's own hand1 
by way of a specimen masterpiece of     
craftsmanship1 and the aim was to use to
 the full extent every resource of the  
material4  ,illustration3               
,,vii4--,window4 ,the ,dream of ,st4    

,kenelm4  ,,plate ,,viii4--,six         
,quarries--,day and ,night1 ,the ,spirit
 on the ,face of the ,waters1 ,creation 
of ,birds and ,fishes1 ,eden1 and ,the  
,parable of the ,good ,seed1 by ,pupils 
of ,h4 ,a4 ,payne1 ,birmingham ,school  
of ,art4 ,these lose very much by       
reduction1 and should be seen with a    
lens magnifying #b-a_/b diameters4 ,they
 are the designs of the pupils          
themselves 7boys in their teens71 and   
are examples of bold outline untouched  
after tracing4 ,they are more elaborate 
than would be desirable for ordinary    
quarry glazing2 being intended for      
interior work on a screen1 to be seen   
close at hand with borrowed light4      
,illustration3 ,,viii4--,quarries4      
7,size of originals1 #d-a_/b by #d ins47
  ,,plate ,,ix4--,micro-photographs4 #a4
 ,a piece of outline that has fried in  
the kiln4 ,magnified #bj diameters4 ,see
 p4 #ajd4  #b4 ,a small ,diamond seen   
from above4 ,magnified #aj-a_/b         
diameters4 ,the white horizontal line is

 the cutting edge4  #c4 ,a larger       
,diamond that has been reset4 ,that is  
to say1 re-ground3 the diagonal marks   
like a ,st4 ,andrew's ,cross show the   
grinding down of the old facets by which
 the new cutting edge has been produced4
 ,magnified #aj-a_/b diameters4  #d4    
,no4 #b seen from the side4 ,magnified  
#aj-a_/b diameters2 the cutting edge    
faces towards the left4  ,illustration3 
,,ix4--,micro-photographs from details  
connected with ,glass ,work4  ,,plate   
,x4--,micro-photographs of              
,glass-cutting ,very difficult to       
explain4 ,a is a sheet of glass seen in 
section multiplied #ae-a_/b diameters4  
,the black marks along the top edge are 
diamond-cuts1 good and bad1 coming      
straight towards the spectator4 ,the two
 outside ones are very bad cuts1 far too
 violent1 and have split off the surface
 of the glass4 ,of the two inner ones   
the left-hand one is an ideally good    
cut1 no disturbance of the surface      
having occurred2 the right-hand a fairly

 good one1 but a little unnecessarily   
hard4 ,passing over ,b for the          
present--,c is a similar piece of glass 
also magnified #ae-a_/b diameters1 with 
wheel-cuts seen endwise 7coming towards 
the spectator74 ,the one on the left is 
a very bad cut1 the surface of the glass
 having actually split off in flakes1   
the next to it is a perfect cut where   
the surface is intact1 and note that    
though not a quarter so much pressure   
has been employed1 the split downward   
into the glass is deeper and sharper    
than in the violent cut to the left1 as 
is also the case with the two other     
moderately good cuts to the right4  ,d1 
,e--,wheel-cuts4 ,in these we are       
looking down upon the surface of the    
glass4 ,they are bad cuts1 multiplied   
#bj diameters2 the direction of the cut 
is from left to right4 ,in the upper    
figure the flake of glass is split      
completely off but is still lying in its
 place4 ,in the lower one the left-hand 
half is split1 and the right-hand only  

partially so1 remaining so closely      
attached to the body of the glass as to 
show 7and in an especially beautiful and
 perfect manner7 the rainbow-tinted     
,newton's rings which accompany the     
phenomenon of ,interference1 for an     
explanation of which ,i must refer the  
reader to an encyclopaedia or some work 
on optics4 ,good cuts seen from above   
are simply lines like a hair upon the   
glass1 but the diamond-cut is a coarser 
hair than the wheel-cut4  ,if you now   
hold the illustration upside down1 what 
then becomes the top edge of section ,c 
shows a wheel-cut seen sideways along   
the section of the glass which it has   
divided1 the direction of this cut being
 from left to right4  ,in the same way  
section ,a seen upside down gives the   
appearance of a diamond-cut1 also from  
left to right1 and multiplied #ae-a_/b  
diameters1 while ,b held in the same    
position gives the same cut multiplied  
#gh diameters4 ,the nature of these     
things is discussed at p4 #dh4  ,in     

their natural colour1 and under strong  
light1 they are very beautiful objects  
under the microscope4 ,even a           
#aj-;diameter ,steinheil lens1 or still 
better its ,english equivalent1 a       
,nelson lens1 will show them fairly1 and
 some such instrument1 opening out a new
 world of beauty beyond the power of    
ordinary vision1 ought1 one would think1
 to be one of the possessions of every  
artist and lover of ,nature4  ,the      
illustrations that follow are from the  
work of the author and his pupils       
conjointly4 ,those in which no design   
has been added are for clearness' sake  
described as by the author2 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   
supervision4 ,all design of diaper1     
canopy1 lettering1 and quarries is so1  
in all the examples selected4           
,illustration3 ,x4--,micro-photographs4 
,diamond and ,wheel ,cuts seen in       
,section and ,plan4  ,,plate            

,,xi4--,from ,gloucester                
,cathedral--,st4 ,boniface by the author
 and his pupils4  ,illustration3        
,,xi4--,part of ,window4 ,gloucester    
,cathedral4  ,,plate ,,xii4--,from the  
same--,the ,stork of ,iona and ,the     
,infant ,church1 by the same4 ,canopies 
from ,oak and ,ivy4  ,illustration3     
,,xii4--,part of ,window4 ,gloucester   
,cathedral4  ,,plate ,,xiii4--,portion  
of a ,window in progress 7destined for  
,ashbourne ,church71 by the author4     
,this has been specially photographed on
 the easel1 to show how near1 by the use
 of false leadlines1 c41 the work can be
 got1 during its progress1 to approach  
to its actual conditions when finished4 
,illustration3 ,,xiii4--,portion of     
,unfinished ,window1 photographed from  
,work on the ,easel4  ,,plate           
,,xiv4--,drawings from ,nature1 by the  
author's pupils4 ,pieced together from  
various drawings by three different     
hands2 made in preparation for design of
 ,oak canopy4 ,see p4 #cbd and ,plate   

,,xi4  ,illustration3 ,,xiv4--,drawings 
from ,nature1 in ,preparation for       
,design4  ,,plate ,,xv4--,part of ,east 
,window of ,school ,chapel1 ,tonbridge1 
by the author4 ,from the cartoon3 the   
figure playing the dulcimer is          
underneath the manger1 above which is   
seated the ,virgin and ,child4          
,illustration3 ,,xv4--,part of ,window4 
,tonbridge ,school ,chapel1 photographed
 from the ,cartoon4  ,,plate            
,,xvi4--,figure of one of the ,choir of 
,dominations4 ,from ,gloucester1 by the 
author and his pupils4  ,illustration3  
,,xvi4--,part of ,window4 ,gloucester   
,cathedral4  ,the names of the pupils   
whose work appears in ,plate ,,viii4 are
 ,j4 ,h4 ,saunders and ,r4 ,j4          
,stubington4 ,in ,plate ,,xiv4 ,a4 ,e4  
,child1 ,k4 ,parsons1 and ,j4 ,h4       
,stanley2 and in the ,plates ,,xi4 to   
,,xvi4 ,j4 ,brett1 ,l4 ,brett1 ,a4 ,e4  
,child1 ,p4 ,r4 ,edwards1 ,m4           
,hutchinson1 ,k4 ,parsons1 ,j4 ,h4      
,stanley1 ,j4 ,e4 ,tarbox1 and ,e4 ,a4  

,woore4 ,the cuts in the text are by ,k4
 ,parsons and ,e4 ,a4 ,woore4           
,,glossary   ,antiques1 coloured glasses
 made in imitation of the qualities of  
ancient glass4  ,banding1 putting on the
 copper ties by which the glazed light  
is attached to the supporting bars4     
,base1 7#a7 the light-tinted glass1     
white1 greenish or yellow1 on which the 
thin film of ruby or blue is imposed in 
flashed glasses2 7#b7 the support of the
 niche on which the figure stands in    
canopy work4  ,borrowed light1 a light  
not coming direct from daylight1 but    
from the interior light of a building as
 in the case of a screen of glass4 7,the
 result is similar when a window is seen
 against near background of trees or    
buildings47  ,calm 7of lead71 the strip 
of lead1 #c to #d feet long1 as used for
 leading up the glass4  ,canopy or      
tabernacle work1 the architectural      
framing in imitation of a carved niche  
in which the figure is placed4 ,the     
vertical supports 7sometimes used alone 

to frame in the whole light7 are called 
shafting4  ,cartoon1 the design of the  
window1 full size1 on paper4  ,chasuble1
 the outermost sacrificial vestment of a
 bishop or priest4  ,cope1 the outermost
 ceremonial and processional vestment of
 a bishop or priest4  ,core 7of lead71  
the crossbar of the ,h section as shown 
in fig4 #cd4  ,crocketting1 the         
ornamenting of any architectural member 
at intervals with sculptured bosses or  
crockets4  ,cullet1 the waste cuttings  
of glass4 ,generally used over again in 
greater or less quantity as an          
ingredient in the making of new glass4  
,cut-line1 the tracing 7containing the  
lead lines only7 by which the work is   
cut and glazed4  ,flux1 the solvent     
which assists the melting of the        
metallic pigments in the kiln4 ,various 
materials are used1 e4g4 silica and     
lead1 but unfortunately borax also is   
used1 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 ingredient4 7,see p4      
#aab74  ,form1 the sheet of continuous  
cartridge or cartoon paper on which the 
dimensions1 c41 are marked out for      
drawing the cartoon4  ,gauge1 7#a7 the  
shaped piece of paper by which the      
diamond is guided in cutting2 7#b7 the  
standard of size and shape in any piece 
of repeated work 7as quarry-glazing74   
,grisaille 7from ,fr4 gris1 grey71 work 
where a pattern1 generally geometrical1 
in narrow coloured bands1 is            
superimposed on a background of whitish1
 grey1 or greenish glass diapered with  
painted work in outline or slight       
shading4  ,groseing1 the biting away the
 edge of the glass with pliers to make  
it fit4 ,with regard to this word and to
 the term calm1 ,i have never found any 
one who could give a reason for the name
 or an authority as to its spelling1 the
 various spellings suggested for the    
latter word including ,karm1 ,calm1     
,carm1 ,kaim1 and even ,qualm6 ,but     

while writing this book ,i in lucky hour
 consulted the treatise of ,theophilus1 
and was delighted to find both words4   
,the term he applies to the leads is    
,calamus 7a reed71 while his term for   
what we should call pliers is ,grosarium
 ferrum 7groseing iron74 ,so that this  
question is set at rest for ever4       
,glaziers must henceforth accept the    
classic spellings ,calm and ,groseing1  
and one may suppose they will be proud  
to learn that these everyday terms of   
their craft have been in use for #ijj   
years1 and are older than ,westminster  
,abbey4  ,lath1 the ruler1 #c to #h feet
 long1 and marked with inches1 c41 used 
in setting out the forms4  ,lathykin1   
doubtless old ,english a little lath1   
described p4 #acg4  ,lasting-nails1     
described p4 #ada4  ,leaf 7of lead71 the
 two uprights of the ,h section 7fig4   
#cd74  ,muller1 a piece of granite or   
glass1 flat at the base1 for grinding   
pigment1 c4  ,obtuse1 an angle having a 
wider opening than a right-angle or     

perpendicular4  ,orphreys 7aurifrigia1  
from ,lat4 aurum1 gold71 the bands of   
ornament on ecclesiastical vestments4   
,patina1 the film produced on various   
substances by chemical action           
7oxidation1 sulphurisation1 c471 either 
artificially1 as in bronze sculpture1 or
 by age1 as in glass4  ,plating1 the    
doubling of one glass with another in   
the same lead4  ,quarries1 the diamond1 
square1 or other shaped panes used in   
plain-glazing4  ,reamy1 wavy or streaky 
glass4 7,see p4 #agi47  ,scratch-card1 a
 wire brush to remove tarnish from lead 
before soldering 7p4 #add74  ,setting1  
fixing a charcoal or chalk drawing on   
the paper by means of a spray of        
fixative4  ,shafting1 see ,canopy4      
,shooting 7in carpentry71 the planing   
down of an edge to get it truly         
straight4  ,squaring-out1 enlarging 7or 
reducing7 any design by drawing from    
point to point across proportional      
squares4  ,stippling1 described p4 #ajj4
  ,stopping-knife1 the knife by which   

the glass and lead are manipulated in   
leading-up4  ,tabernacle work1 see      
,canopy4  ,template1 the form in paper1 
card1 wood1 or zinc1 of shaped openings1
 by which the correct figure is set out 
on the cartoon-form4          ,,index   
,accidental qualities in glass1 value   
of1 #aad       ,accuracy in setting out 
forms1 #bhf       ,accuracy of          
measurement1 #aae1 #bhe       ,accuracy 
of work in the shop1 rules for1 formula 
for right        angles1 #bhf           
,aciding1 #acj       ,action1 violent1  
to be avoided1 #agc       ,advertising1 
#bic       ,allegory1 #bdh              
,allegory1 true allegory the presentment
 of noble natures1 #bfj       ,ancient  
buildings1 sacredness of1 #bde          
,ancient glass1 #aga1 #cad1 #cba1 #cbh  
,antique glasses1 #ca                   
,architectural fitness1 #bcd            
,architecture1 harmony with1 #agd       
,architecture1 stained-glass accessory  
to1 #afh       ,architecture1           
subservient to1 #aee1 #bcf              

,armour1 by use of aciding in flashed   
blue glass1 #aca       ,art colours1    
#bja       ,artist1 right claim to the  
title1 #bfi       ,asleep1 ,millais'    
picture of1 #bji       ,assistants1 to  
be trained to mastership1 #bfh          
,auxerre1 centre for study of glass1    
#cae        ,backing1 #abf              
,badger1 #gb1 #gd       ,badger1 how to 
dry1 #aic       ,banding1 #aea          
,barff's formula for pigment1 #bbf      
,bars1 #aea1 #aei1 #afg       ,bars and 
lead lines1 #aff1 #agf       ,beads1 a  
string of1 #aij       ,beethoven1       
colour1 #bbd1 #bga       ,bicycle1 use  
of1 #baf       ,birds1 #bag             
,birmingham1 ,burne-,jones windows1     
#bcf1 #cbd       ,boniface1 ,st41 a     
question of staining1 #bbd       ,books1
 #bee1 #beg       ,borax1 untrustworthy 
as flux1 #cgj       ,borrowed light1    
#bbg 7and ,glossary7       ,botticelli1 
#fd1 #gh1 #bej1 #big1 #cbb       ,brown1
 ,madox1 #bjc       ,brush1 how to fill1
 #eh       ,builders' glazing1 #ahj     

,buntingford1 ride from1 #baf           
,burne-,jones1 #aca1 #bjc1 #bcf1 #bej1  
#cbd       ,burning1 #abi       ,burnt  
umber1 #bjc       ,butterfly1 #bag      
,byzantium of the crafts1 #bdc          
,byzantine revival1 #bda        ,calm of
 lead1 #acg 7and ,glossary7             
,cambridge1 ,burne-,jones windows1 #bcg 
,cambridge1 centre for study of glass1  
#cad       ,cambridge1 ,king's ,college1
 for blue and red1 #bcj       ,canopies1
 #bde       ,canopy1 #agg1 #cjj         
,canterbury1 centre for study of glass1 
#cad       ,canterbury1 for blue and    
red1 #bcj       ,cartoons1 #hc1 #aib    
,cathedrals1 #agh1 #ahj1 #bae1 #bcj1    
#bcd1 #bch1 #bdf1 #bhb1 #cad            
,cellini1 #bbh       ,cement and        
cementing1 #adg       ,centres for study
 of glass1 #cad1 #cae       ,chartres1  
centre for study of glass1 #bcj1 #cad   
,chartres1 for blue and red1 #bcj       
,chief difficulty 7in art7 the chief    
opportunity1 #cja       ,chopin1 #bbc   
,cirencester windows1 #ahj              

,cleanliness1 #fg1 #afd1 #aic           
,clients1 #bgi       ,collotypes1 notes 
on1 #cbg-ccf       ,colour1 #aih-bca    
,comfort in work1 #fg       ,commission1
 one's first1 #bib       ,conditions1   
importance of ascertaining at           
commencement1 #bhc       ,conduct1      
general1 #bfd       ,constantine and    
,byzantium1 #bdj       ,co-operation1   
#afc1 #bfe1 #bfh1 #bgd-f                
,corn-colour1 #bag-bah                  
,countercharging1 #id       ,covering up
 the pigment1 #afd       ,craft1        
complete teaching of1 #agd1 #aig        
,craftsman1 right claims to the title1  
#bfi       ,craftsmanship1 revival of1  
#bdc        ,middle ,ages1 #beb         
,cullet1 value of1 #aei                 
,curriculum1 #cba-cbf       ,cut-in     
glass1 #di       ,cut-line1 #he1 #hi    
,cutter and cartoonist1 #dd             
,cutting1 #cg1 #db1 #dg1 #hg1 #afb      
,cutting1 advanced1 #hc                 
,cutting-knife1 #ach                    
,cutting-wheel 7see ,wheel-cutter7      

,dahlia1 colour of1 #bah       ,dante or
 ,blake1 perhaps needed today1 #bec     
,dante on ,constantine1 #bdj            
,dappling1 #afc       ,dentist1         
precision of a1 #fg       ,design1 #afg1
 #age1 #cbe       ,diamond1 #cc1 #hh1   
#cca       ,difficulty conquered brings 
new insight and new power1 #cjb         
,difficulty1 the chief opportunity in a 
work of art1 #bhb       ,directing      
assistants1 clearness in1 promptness in1
 #bgg       ,discords harmonised by     
added notes1 #bab       ,distance1      
effect of1 #ajb1 #aib       ,division of
 labour1 #agj1 #bfi       ,docketing of 
papers1 system of1 #bhd       ,dodges1 a
 few little1 #ahb       ,doubling glass1
 #acb       ,drapery1 #bcj1 #cbb        
,drawing from ,nature1 #cbd             
,drawing1 ,ruskin's advice on fineness  
in work1 #cbe       ,du ,maurier1 #bjg  
,duerer1 revision of his work1 #bga     
,dutch artist's portrait of actress1    
#bbj        ,early ,english glass1 #ca1 
#bbg       ,easels1 #ahf1 #aia          

,eccentricity to be avoided1 #bdg       
,economy1 #aef1 #aeh       ,egyptians1  
#ahb       ,english wastefulness1 #aef  
,etching 7see ,aciding7       ,examples 
for painting1 #cba       ,examples for  
stained-glass work1 ,holbein1 #cbb      
,expression1 influence of distance on1  
#ajb        ,faceting of stones and     
glass1 #bbh1 #ccb       ,fairford1 green
 in ,eve window1 #baa1 #bcj             
,fairford1 old glass in1 #cad           
,false lead lines1 #aff       ,fame and 
wealth good1 but not at expense of work1
 #bif       ,fancy1 safe guide in1 #bei 
,film1 #id1 #aja       ,fine work in    
art1 #bih-cjc       ,finish in work1    
precision and cleanliness1 #fg          
,firing1 #aje-aai       ,first duty of  
an artist1 #bdh       ,five ,sisters    
window1 #agh1 #caa       ,fixing1 #ace1 
#aea       ,flashed glass1 #cc          
,flatness1 desirable1 obtained by       
leading1 #agf       ,flowers1 #bag      
,flux1 #cgj       ,forms1 accuracy of1  
#bhf-bhi       ,fresh methods and ideas 

come accidentally1 #bih       ,freshness
 of work1 advantage of1 #aaf            
,fried work1 how to remove1 #ajd        
,frying1 #ajd        ,garish colour1    
#bjb       ,garter plates1 #fa1 #fb1    
#gj1 #ga       ,gas-kiln1 #ajh-aj       
,gauge for cutting1 how to make1 #hh    
,general conduct1 #bfd       ,giotto1   
#beb       ,giorgione1 #bjc             
,glass1 ancient1 #cbh       ,glass1 how 
made1 #cb       ,glass1 how to wax up on
 plate1 #ie       ,glass in relation to 
stonework1 #acd       ,glass1 ,munich1  
#hd1 #agf       ,glass1 ,norman1 #bbg   
,glass1 old1 #cjh1 #cae       ,glass1   
painted1 #hd       ,glass-painter's     
methods described1 #bje                 
,glass-painting compared with mezzotint1
 #ha       ,glass-painting compared with
 oil-painting1 #bjj       ,glass1       
,prior's1 #ca       ,glass1 value of    
accidental qualities in1 #aad           
,glasses1 antique1 #ca       ,glazing1  
#aea1 #ahj       ,glossary1 #cfi        
,gloucester for blue and red1 #bcj      

,gloucester1 centre for study of glass1 
#cad       ,god's house1 #bce           
,gold pink1 value of1 #afj       ,good  
,shepherd1 #agb       ,gothic revival1  
the1 #bci       ,groseing1 #dc 7and     
,glossary7       ,groseing tool1        
substitute for1 #ee       ,grozeing 7see
 ,groseing7       ,gum-arabic1 #eh      
,gum1 quality and quantity of1 #gg      
,handel1 #bbc       ,handling leaded    
lights1 #adf       ,hand-rest1 #fa      
,harmony in colour1 the great rule of1  
#baa       ,harmony1 universal1 #bcd    
,harmony with architecture1 #agd        
,heaton's kiln-feeder1 #ahd             
,hertfordshire1 ride through1 #bae      
,holbein1 #fd1 #gh1 #caf1 #cbb          
,hollander1 thrift of1 #aeg       ,hurry
 to be avoided1 #afe       ,hyacinths   
and leaves1 colour of1 #bba             
,image1 ,selwyn1 #hc       ,imagination1
 #bdh1 #bei       ,industry1 #fe1 #bgh  
,in situ1 to try work1 #age             
,inspiration1 nature of1 discussed1 #bgc
       ,italian1 thrift of1 #aeg        

,jacob's ladder1 difficulty1 #bhj       
,joints1 good and bad1 #adj             
,jugglery1 craft1 to be avoided1 #agd   
,kaleidoscope1 #bcb       ,kiln-feeder1 
a clumsy1 #ahc       ,kilns1 #aje       
,king1 portrait of1 #ajb       ,knives1 
cutting and stopping1 #ach1 #adb        
,knocking up1 #add        ,labour and   
material1 cost of1 #afb       ,lamb1    
,charles1 on ,milton's ,lycidas1 #bgb   
,large work1 difficulty of1 #gg         
,l',art ,nouveau1 #bde       ,lasting   
nails1 #ada       ,lathykin1 #acg 7and  
,glossary7       ,lea ,valley1          
description of1 #bae       ,lead1 #hi   
,lead1 calm of1 #acg 7and ,glossary7    
,lead1 #ij1 #acb1 #acg       ,lead-line1
 #hd1 #agb       ,lead-lines1 false1    
#aff       ,lead-mill1 #ia       ,lead1 
purity of1 #ij       ,lead1 outer lead  
showing1 #acf       ,leaded lights1 how 
to handle1 #adf       ,leading1 #acc    
,leadwork1 artistic use of1 #agf        
,leadworkers1 wage of1 #aei             
,light1 #bbg 7and ,glossary7            

,lights1 #gb1 #adf1 #aea                
,limitations1 #aed1 #agj                
,linnell's colour1 #bjb       ,lycidas1 
perfection of1 #bga       ,lyndhurst1   
windows at1 #bcg1 #bej        ,maclou1  
,st41 at ,rouen1 #bhb       ,man's work1
 nature of1 #aif       ,master1 book no 
substitute for1 #hb       ,master1 need 
of1 #hb1 #aie       ,material and       
labour1 cost of1 #afb       ,matting1   
#gb       ,matting-brush1 #gc1 #ge      
,matting over unfired outline1 #gf      
,measure thrice1 cut once1 #bhe         
,measurement1 accuracy of1 #aae1 #bhe   
,measurement1 relation of glass to the  
stonework1 #acd       ,meistersingers1  
the1 #bbc       ,mezzotint compared with
 glass-painting1 #ha       ,michael     
,angelo1 #bga       ,middle ,ages1      
craftsmanship of1 #beb       ,millais'  
picture of ,asleep1 #bji                
,millinery and upholstery in glass1 to  
avoid1 #cbd       ,morris1 #bjc         
,muller1 #gi       ,munich glass1 #hd1  
#agf       ,music1 illustration derived 

from1 #bbc        ,nails1 #ada          
,nativity1 star of1 #bbi       ,nature1 
#bac1 #bag1 #cjb1 #cbd1 #cce            
,neatness1 #if       ,needle1 #fh1 #abc 
,new ,college1 #bcj       ,niggling1 no 
use in1 #aeh       ,nimbus1 withheld    
till the figure is finished1 #bfc       
,norman glass1 #bbg       ,novelty not  
essential to originality1 #bdg          
,numbers attached to natural objects1   
#bba        ,oil-painting and           
glass-painting compared1 #aih       ,oil
 stone1 substitutes for1 #ec       ,old 
glass1 #aga1 #cjh1 #cad1 #cba           
,orange-tip butterfly1 #bad             
,order1 ,heaven's first law1 #bcc       
,orderliness1 #bhd       ,originality   
not to be striven after1 #big           
,ornament1 system of teaching1 #cbe     
,outline1 #ei-hb       ,overpainting1   
danger of1 #abj       ,oxford1 centre   
for study of glass1 #cad       ,oxford1 
,new ,college1 for green1 #bcj          
,oxide 7see ,pigment7        ,painted   
glass1 #hd       ,painter and           

glass-painter contrasted1 #aii          
,painting1 #ef1 #id1 #aah1 #cba         
,painting1 heaviness of1 objected to by 
some1 #bbg       ,painting1 rule        
regarding amount of1 #bbi       ,pansy1 
colour of1 #bcb       ,patrons1 #bfd    
,parthenon frieze1 repose of1 #agc      
,perfection1 #afc       ,perpendicular1 
rules for raising a1 #bhf               
,peterborough1 ,gothic tracery in       
,norman openings1 #bch       ,pictures1 
criticism on1 #bjh       ,pigment1 #afd1
 #bbf       ,pigment1 mixture of1 #eg   
,pigment1 oxide of iron1 #eg            
,pigment1 soft1 danger of1 #aab         
,pigment1 unpleasant red1 #eg           
,plain glazing1 removing1 #aea          
,plating1 #adg       ,pliers1 #dc       
,poppies1 #bah       ,prices of stained 
glasses1 #aei       ,principles of old  
work to be imitated1 not accidents1 #cbb
       ,prior's glass1 #ca              
,publicity1 danger of wasting time on   
pursuit of1 #bif       ,punch1 parody of
 the ,palace of ,art1 #bej              

,pupils' work1 #cce       ,putty1       
substitute for cement in plated work1   
#cah       ,putty1 to be used when glass
 is doubled1 #adg        ,quarries1 #cca
       ,quarry glazing1 with subject1   
#agg        ,rack for glass samples1    
#ahf       ,realism to be avoided1 #agc 
,recasting of composition1 #cja         
,removing the plain glazing1 #aea       
,repose in architectural art1 #agd      
,rest for hand1 #fa       ,restoration1 
#aha1 #bde1 #cae       ,resurrection1   
sunrise in1 #bai       ,revivals1       
architectural1 #bci       ,rich and     
plain work1 #agg       ,right angles1   
formula for1 #bhf       ,roman          
decadence1 #bdj       ,room1 to make the
 most of1 #aib       ,rose-briar1 colour
 of1 in sunset1 #bbj       ,rossetti1   
#bjc       ,ruby glass1 #cc       ,ruby 
glass1 value of1 #afj       ,rule of    
thumb1 #aac       ,rules for work1 #bfd1
 #bhf       ,ruskin1 #bjb1 #bee1 #cbe   
,sacredness of ancient buildings1 #bde  
,schubert1 #bbc       ,scratch-card1    

#add       ,scrubs1 #ha                 
,sea-weeds1 #bag       ,second painting1
 #aah1 #abf1 #abg       ,sections1 how  
to join together in fixing1 #aej        
,sections1 large work made in1 #aej     
,seed1 everything grown from1 #bia      
,seed of ornament1 #bid       ,selvage  
edge1 to tear off1 #aic       ,sens1    
centre for study of glass1 #cae         
,setting mixture1 #hf       ,sharpening 
diamonds1 #cc       ,siennese painters1 
good work to copy in glass1 #cbb        
,single fire1 #abg       ,sketching in  
glass1 #age       ,soldering1 #add      
,sparta1 revival of simplicity in1 #bdc 
,special glasses1 #bbg       ,spotting1 
#afc       ,spring morning1 ride on a1  
#bad       ,squaring outlines1 #bhf     
,stain1 #abi       ,stain it61 #bbe     
,stain overfiring1 result of1 #abi      
,stained-glass1 accessory to            
architecture1 #afh       ,stained-glass1
 ancient1 to be held sacred1 #bde       
,stained-glass1 definition and          
description of1 #bi                     

,stained-glass1 diapering1 spotting1 and
 streaking1 #agi       ,stained-glass1  
joys of1 #cjc       ,stained-glass1     
loving and careful treatment of1 #agg   
,stained-glass1 new developments of1    
#acb       ,stained-glass1 prices of    
material1 #aei       ,stained-glass1    
subservient to architecture1 #aee1 #bcf 
,stained-glass versus painted glass1 #hd
       ,staining1 #bbe       ,stale     
colour1 danger of1 #afe       ,stale    
work1 disadvantage of1 #aad             
,standardising1 #aac       ,stencil     
brush1 #aba       ,stepping back to     
inspect work1 #agf       ,stevenson1 ,r4
 ,l41 #aef       ,stick1 #fh            
,stipple1 #ii1 #aja       ,stippling    
brush1 #ajj       ,stonework1 relation  
of glass to1 #acd       ,stopping-knife1
 #adb       ,streaky glass1 imitating   
drapery1 #bcj       ,strength in        
painting1 limits of1 #abe               
,stretching the lead1 #acg       ,style1
 #bcg1 #bdf       ,subject1 right limits
 to importance of1 #bdh                 

,sufficient firing1 test of1 #aag       
,sugar or treacle as substitute for gum1
 #fb       ,surgeon1 precision of a1 #fg
       ,symbolism1 proportion in1 #bfb  
,tabernacle 7see ,canopy7               
,tamworth1 #bcg       ,tapping1 #da     
,taste1 some principles of1 #ib         
,technical school1 curriculum of1 #cba  
,templates to be verified1 #bhi         
,tennyson1 his constant revision1 #bga  
,texture of glass1 use of1 #abf         
,theseus1 #bfj       ,thought1          
imagination1 allegory1 #bdh       ,ties 
for banding1 #aea       ,thrift1 #aeg   
,time saved by accuracy and method1 #bij
       ,time-saving appliances1 #bgg    
,tinning the soldering iron1 #ade       
,tints1 method of choosing1 #baj        
,titian1 #agc1 #bjc1 #bga1 #caf         
,tradition1 #bch1 #bdb       ,troyes1   
centre for study of glass1 #cae         
,trying work in situ1 #age              
,turgenieff1 proverb on accuracy1 #bhe  
,turpentine 7,venice71 #abi             
,tuscan painters1 good work to copy in  

glass1 #cbb        ,upholstery and      
millinery in glass1 to avoid1 #cbd      
,venus of ,milo1 #bfj       ,veronese1  
#bjc       ,village church1 untouched1  
picture of1 #cje       ,violent action  
to be avoided1 #agc        ,wage of lead
 workers1 #aei       ,waste1 proportion 
of1 to finished work1 #afb              
,wastefulness1 ,english1 #aef           
,wax1 best1 #ie       ,wax1 removing    
spots of1 #ih       ,waxing-up1 #ie     
,waxing-up1 tool for1 #ahh       ,wells1
 centre for study of glass1 #cad        
,wheel-barrow1 comparison with          
wheel-cutter1 #ea       ,wheel-cutters1 
#cd1 #ce1 #dg1 #ec1 #ed1 #ef            
,white1 pure1 value of1 #bbg            
,white spaces to be interesting1 #agh   
,work in the shop1 rules for1 #bhf      
,yellow and red together1 #bah          
,yellow1 certain tints hard to obtain1  
#bag       ,yellow stain1 #abi          
,york1 centre for study of glass1 #cad  
,york ,minster1 glass in1 #bcj1 #cjh1   
#cac     ,,the ,,end       ,printed by  

,,ballantyne1 ,,hanson  ,,co4           
,edinburgh  ,london