Stained Glass Work: A text-book for students and workers in glass

... And remembering these, trust Pindar for the truth of his saying, that to the cunning workman—(and let me solemnly enforce the words by adding, that to him only)—knowledge comes undeceitful .
—Ruskin ( Aratra Pentelici ).
'Very cool of Tom,' as East thought but didn't say, 'seeing as how he only came out of Egypt himself last night at bed-time.'
—( Tom Brown's Schooldays ).

To his Pupils and Assistants, who, if they have learned as much from him as he has from them, have spent their time profitably; and who, if they have enjoyed learning as much as he has teaching, have spent it happily; this little book is Dedicated by their Affectionate Master and Servant,
THE AUTHOR.

In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.
In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on design as a mere matter
of appearance . Such ornamentation as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish, and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.