I have given just as much as two pages can give of the seed from which such a thing may spring. In some of the collotypes from the finished glass the patterns on quarry or robe which spring from this seed may be traced—very imperfectly, but as well as the scale and the difficulties of photography and the absence of colour will allow.
What I find best, in commencing with any student, is to start four practices together, and keep them going together step by step, side by side, through the course, one evening for each, or some like division.
Technical Work.—Cutting, glazing, &c.
Painting Work.—By graduated examples, from simple outline up to a head of Botticelli.
Ornament, as described; and
Drawing from Nature, in the spirit and methods we have spoken of.
Moulding the whole into a system of composition and execution, tempered and governed as it goes along by judiciously chosen reading and reference to examples, ancient or modern.
[NOTES ON THE COLLOTYPE PLATES]
It is obvious that stained-glass cannot be adequately shown in book-illustration.