id="pgepubid00026">CHAPTER XV

  A Few Little Dodges—A Clumsy Tool—A Substitute—A Glass Rack—An Inconvenient Easel—A Convenient Easel—A Waxing-up Tool—An Easel with Movable Plates—Making the most of a Room—Handling Cartoons—Cleanliness—Dust—The Selvage Edge—Drying a "Badger"—A Comment 182    

CHAPTER XVI

  Of Colour 198    

CHAPTER XVII

  Of Architectural Fitness 234    

CHAPTER XVIII

      Of Thought, Imagination, and Allegory 248

CHAPTER XIX

  Of General Conduct and Procedure—Amount of Legitimate Assistance—The Ordinary Practice—The Great Rule—The Second Great Rule—Four Things to Observe—Art v. Routine—The Truth of the Case—The Penalty of Virtue in the Matter—The Compensating Privilege—Practical Applications—An Economy of Time in the Studio—Industry—Work "To Order"—Clients and Patrons—And Requests Reasonable and Unreasonable—The Chief Difficulty the Chief Opportunity—But ascertain all Conditions before starting Work—Business Habits—Order—Accuracy—Setting out Cartoon Forms—An Artist must Dream—But Wake—Three Plain Rules 264    

CHAPTER XX

  A String of Beads 290    

APPENDIX I

  Some Suggestions as to the Study of Old Glass 308    

APPENDIX II

  On the Restoring of Ancient Windows 315    

APPENDIX III

  Hints for the Curriculum of a Technical School for Stained Glass—Examples for Painting—Examples of Drapery—Drawing from Nature—Ornamental Design 321     Notes On The Collotype Plates 327     The Collotype Plates 337     Glossary 369     Index 373    

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PART I

CHAPTER I

INTRODUCTORY, AND CONCERNING THE RAW MATERIAL

You are to know that stained glass means pieces of coloured glasses put together with strips of lead into the form of windows; not a picture painted on glass with coloured paints.

You know that a beer bottle is blackish, a hock bottle orange-brown, a soda-water bottle greenish-white—these are the colours of the whole substance of which they are respectively made.

Break such a bottle, each little bit is still a bit of coloured glass. So, also, blue is used for poison bottles, deep green and deep red for certain wine glasses, and, indeed, almost all colours for one purpose or another.

Now these are the same glass, and coloured in the same way as that used for church windows.

Such coloured glasses are cut into the shapes of faces, or figures, or robes, or canopies, or whatever you want and whatever the subject demands; then features are painted on the faces, folds on the robes, and so forth—not with colour, merely with brown shading; then, when this shading has been burnt into the glass in a kiln, the pieces are put together into a picture by means of grooved strips of lead, into which they fit.

This book, it is hoped, will set forth plainly how these things are done, for the benefit of those who do not know; and, for the benefit of those who do know, it will examine and discuss the right principles on which windows should be made, and the rules of good taste and of imagination, which make such a difference between beautiful and vulgar art; for you may know intimately all the processes I have spoken of, and be skilful in them, and yet misapply them, so that your window had better never have been made.

Skill is good if you use it wisely and for good end; but craft of hand employed

foolishly is no more use to you tan swiftness of foot would be upon the broad road leading downwards—the cripple is happier.

A clear and calculating brain may be used for statesmanship or science, or merely for gambling. You, we will say, have a true eye and a cunning hand; will you use them on the passing fashion of the hour—the morbid, the trivial, the insincere—or in illustrating the eternal truths and dignities, the heroisms and sanctities of life, and its innocencies and gaieties?

This book, then, is divided into two parts, of which the