Accidental qualities in glass, value of, [114]
Accuracy in setting out forms, [286]
Accuracy of measurement, [115] , [285]
Accuracy of work in the shop, rules for, formula for right angles, [286]
Aciding, [130]
Action, violent, to be avoided, [173]
Advertising, [293]
Allegory, [248]
Allegory, true allegory the presentment of noble natures, [260]
Ancient buildings, sacredness of, [245]
Ancient glass, [171] , [314] , [321] , [328]
Antique glasses, [31]
Architectural fitness, [234]
Architecture, harmony with, [174]
Architecture, stained-glass accessory to, [168]
Architecture, subservient to, [155] , [236]
Armour, by use of aciding in flashed blue glass, [131]
Art colours, [201]
Artist, right claim to the title, [269]
Asleep, Millais' picture of, [209]
Assistants, to be trained to mastership, [268]
Auxerre, centre for study of glass, [315]
Backing, [126]
Badger, [72] , [74]
Badger, how to dry, [193]
Banding, [151]
Barff's formula for pigment, [226]
Bars, [151] , [159] , [167]
Bars and lead lines, [166] , [176]
Beads, a string of, [190]
Beethoven, colour, [224] , [271]
Bicycle, use of, [216]
Birds, [217]
Birmingham, Burne-Jones windows, [236] , [324]
Boniface, St., a question of staining, [224]
Books, [255] , [257]
Borax, untrustworthy as flux, [370]
Borrowed light, [227] (and Glossary)
Botticelli, [64] , [78] , [250] , [297] , [322]
Brown, Madox, [203]
Brush, how to fill, [58]
Builders' glazing, [180]
Buntingford, ride from, [216]
Burne-Jones, [131] , [203] , [236] , [250] , [324]
Burning, [129]
Burnt umber, [203]
Butterfly, [217]
Byzantium of the crafts, [243]
Byzantine revival, [241]
Calm of lead, [137] (and Glossary)
Cambridge, Burne-Jones windows, [237]
Cambridge, centre for study of glass, [314]
Cambridge, King's College, for blue and red, [230]
Canopies, [245]
Canopy, [177] , [300]
Canterbury, centre for study of glass, [314]
Canterbury, for blue and red, [230]
Cartoons, [83] , [192]
Cathedrals, [178] , [180] , [215] , [230] , [234] , [238] , [246] , [282] , [314]
Cellini, [228]
Cement and cementing, [147]
Centres for study of glass, [314] , [315]
Chartres, centre for study of glass, [230] , [314]
Chartres, for blue and red, [230]
Chief difficulty (in art) the chief opportunity, [301]
Chopin, [223]
Cirencester windows, [180]
Cleanliness, [67] , [164] , [193]
Clients, [279]
Collotypes, notes on, [327-336]
Colour, [198-231]
Comfort in work, [67]
Commission, one's first, [292]
Conditions, importance of ascertaining at commencement, [283]
Conduct, general, [264]
Constantine and Byzantium, [240]
Co-operation, [163] , [265] , [268] , [274-6]
Corn-colour, [217-218]
Countercharging, [94]
Covering up the pigment, [164]
Craft, complete teaching of, [174] , [197]
Craftsman, right claims to the title, [269]
Craftsmanship, revival of, [243]
Middle Ages, [252]
Cullet, value of, [159]
Curriculum, [321-326]
Cut-in glass, [49]
Cut-line, [85] , [89]
Cutter and cartoonist, [44]
Cutting, [37] , [42] , [47] , [87] , [162]
Cutting, advanced, [83]
Cutting-knife, [138]
Cutting-wheel (see Wheel-cutter)
Dahlia, colour of, [218]
Dante or Blake, perhaps needed today, [253]
Dante on Constantine, [240]
Dappling, [163]
Dentist, precision of a, [67]
Design, [167] , [175] , [325]
Diamond, [33] , [88] , [331]
Difficulty conquered brings new insight and new power, [302]
Difficulty, the chief opportunity in a work of art, [282]
Directing assistants, clearness in, promptness in, [277]
Discords harmonised by added notes, [212]
Distance, effect of, [102] , [192]
Division of labour, [170] , [269]
Docketing of papers, system of, [284]
Dodges, a few little, [182]
Doubling glass, [132]
Drapery, [230] , [322]
Drawing from Nature, [324]
Drawing, Ruskin's advice on fineness in work, [325]
Du Maurier, [207]
Dürer, revision of his work, [271]
Dutch artist's portrait of actress, [220]
Early English glass, [31] , [227]
Easels, [186] , [191]
Eccentricity to be avoided, [247]
Economy, [156] , [158]
Egyptians, [182]
English wastefulness, [156]
Etching (see Aciding)
Examples for painting, [321]
Examples for stained-glass work, Holbein, [322]
Expression, influence of distance on, [102]
Faceting of stones and glass, [228] , [332]
Fairford, green in Eve window, [211] , [230]
Fairford, old glass in, [314]
False lead lines, [166]
Fame and wealth good, but not at expense of work, [296]
Fancy, safe guide in, [259]
Film, [94] , [101]
Fine work in art, [298-303]
Finish in work, precision and cleanliness, [67]
Firing, [105-119]
First duty of an artist, [248]
Five Sisters window, [178] , [311]
Fixing, [135] , [151]
Flashed glass, [33]
Flatness, desirable, obtained by leading, [176]
Flowers, [217]
Flux, [370]
Forms, accuracy of, [286-289]
Fresh methods and ideas come accidentally, [298]
Freshness of work, advantage of, [116]
Fried work, how to remove, [104]
Frying, [104]
Garish colour, [202]
Garter plates, [61] , [62] , [70] , [71]
Gas-kiln, [108-10]
Gauge for cutting, how to make, [88]
General conduct, [264]
Giotto, [252]
Giorgione, [203]
Glass, ancient, [328]
Glass, how made, [32]
Glass, how to wax up on plate, [95]
Glass in relation to stonework, [134]
Glass, Munich, [84] , [176]
Glass, Norman, [227]
Glass, old, [308] , [315]
Glass, painted, [84]
Glass-painter's methods described, [205]
Glass-painting compared with mezzotint, [81]
Glass-painting compared with oil-painting, [200]
Glass, Prior's, [31]
Glass, value of accidental qualities in, [114]
Glasses, "antique," [31]
Glazing, [151] , [180]
Glossary, [369]
Gloucester for blue and red, [230]
Gloucester, centre for study of glass, [314]
God's house, [235]
Gold pink, value of, [160]
Good Shepherd, [172]
Gothic revival, the, [239]
Groseing, [43] (and Glossary)
Groseing tool, substitute for, [55]
Grozeing (see Groseing)
Gum-arabic, [58]
Gum, quality and quantity of, [77]
Handel, [223]
Handling leaded lights, [146]
Hand-rest, [61]
Harmony in colour, the great rule of, [211]
Harmony, universal, [234]
Harmony with architecture, [174]
Heaton's kiln-feeder, [184]
Hertfordshire, ride through, [215]
Holbein, [64] , [78] , [316] , [322]
Hollander, thrift of, [157]
Hurry to be avoided, [165]
Hyacinths and leaves, colour of, [221]
Image, Selwyn, [83]
Imagination, [248] , [259]
Industry, [65] , [278]
In situ, to try work, [175]
Inspiration, nature of, discussed, [273]
Italian, thrift of, [157]
Jacob's ladder, difficulty, [280]
Joints, good and bad, [140]
Jugglery, craft, to be avoided, [174]
Kaleidoscope, [232]
Kiln-feeder, a clumsy, [183]
Kilns, [105]
King, portrait of, [102]
Knives, cutting and stopping, [138] , [142]
Knocking up, [144]
Labour and material, cost of, [162]
Lamb, Charles, on Milton's Lycidas, [272]
Large work, difficulty of, [77]
L'Art Nouveau, [245]
Lasting nails, [141]
Lathykin, [137] (and Glossary)
Lea Valley, description of, [215]
Lead, [89]
Lead, "calm" of, [137] (and Glossary)
Lead, [90] , [132] , [137]
lead line, [84] , [172]
lead lines, false, [166]
Lead-mill, [91]
Lead, purity of, [90]
Lead, outer lead showing, [136]
Leaded lights, how to handle, [146]
Leading, [133]
Leadwork, artistic use of, [176]
lead workers, wage of, [159]
Light, [227] (and Glossary)
Lights, [72] , [146] , [151]
Limitations, [154] , [170]
Linnell's colour, [202]
Lycidas, perfection of, [271]
Lyndhurst, windows at, [237] , [250]
Maclou, St., at Rouen, [282]
Man's work, nature of, [196]
Master, book no substitute for, [82]
Master, need of, [82] , [195]
Material and labour, cost of, [162]
Matting, [72]
Matting-brush, [73] , [75]
Matting over unfired outline, [76]
Measure thrice, cut once, [285]
Measurement, accuracy of, [115] , [285]
Measurement, relation of glass to the stonework, [134]
Meistersingers, the, [223]
Mezzotint compared with glass-painting, [81]
Michael Angelo, [271]
Middle Ages, craftsmanship of, [252]
Millais' picture of "Asleep," [209]
Millinery and upholstery in glass, to avoid, [324]
Morris, [203]
Muller, [79]
Munich glass, [84] , [176]
Music, illustration derived from, [223]
Nails, [141]
Nativity, star of, [229]
Nature, [213] , [217] , [302] , [324] , [335]
Neatness, [96]
Needle, [68] , [123]
New College, [230]
Niggling, no use in, [158]
Nimbus, withheld till the figure is finished, [263]
Norman glass, [227]
Novelty not essential to originality, [247]
Numbers attached to natural objects, [221]
Oil-painting and glass-painting compared, [198]
Oil stone, substitutes for, [53]
Old glass, [171] , [308] , [314] , [321]
Orange-tip butterfly, [214]
Order, "Heaven's first law," [233]
Orderliness, [284]
Originality not to be striven after, [297]
Ornament, system of teaching, [325]
Outline, [59-82]
Overpainting, danger of, [120]
Oxford, centre for study of glass, [314]
Oxford, New College, for green, [230]
Oxide (see Pigment)
Painted glass, [84]
Painter and glass-painter contrasted, [199]
Painting, [56] , [94] , [118] , [321]
Painting, heaviness of, objected to by some, [227]
Painting, rule regarding amount of, [229]
Pansy, colour of, [232]
Patrons, [264]
Parthenon frieze, repose of, [173]
Perfection, [163]
Perpendicular, rules for raising a, [286]
Peterborough, Gothic tracery in Norman openings, [238]
Pictures, criticism on, [208]
Pigment, [164] , [226]
Pigment, mixture of, [57]
Pigment, oxide of iron, [57]
Pigment, soft, danger of, [112]
Pigment, unpleasant red, [57]
Plain glazing, removing, [151]
Plating, [147]
Pliers, [43]
Poppies, [218]
Prices of stained glasses, [159]
Principles of old work to be imitated, not accidents, [322]
Prior's glass, [31]
Publicity, danger of wasting time on pursuit of, [296]
Punch, parody of the "Palace of Art," [250]
Pupils' work, [335]
Putty, substitute for cement in plated work, [318]
Putty, to be used when glass is doubled, [147]
Quarries, [331]
Quarry glazing, with subject, [177]
Rack for glass samples, [186]
Realism to be avoided, [173]
Recasting of composition, [301]
Removing the plain glazing, [151]
Repose in architectural art, [174]
Rest for hand, [61]
Restoration, [181] , [245] , [315]
Resurrection, sunrise in, [219]
Revivals, architectural, [239]
Rich and plain work, [177]
Right angles, formula for, [286]
Roman decadence, [240]
Room, to make the most of, [192]
Rose-briar, colour of, in sunset, [220]
Rossetti, [203]
Ruby glass, [33]
Ruby glass, value of, [160]
Rule of thumb, [113]
Rules for work, [264] , [286]
Ruskin, [202] , [255] , [325]
Sacredness of ancient buildings, [245]
Schubert, [223]
Scratch-card, [144]
Scrubs, [81]
Sea-weeds, [217]
Second painting, [118] , [126] , [127]
Sections, how to join together in fixing, [150]
Sections, large work made in, [150]
Seed, everything grown from, [291]
Seed of ornament, [294]
Selvage edge, to tear off, [193]
Sens, centre for study of glass, [315]
Setting mixture, [86]
Sharpening diamonds, [33]
Siennese painters, good work to copy in glass, [322]
Single fire, [127]
Sketching in glass, [175]
Soldering, [144]
Sparta, revival of simplicity in, [243]
Special glasses, [227]
Spotting, [163]
Spring morning, ride on a, [214]
Squaring outlines, [286]
Stain, [129]
Stain it!, [225]
Stain overfiring, result of, [129]
Stained-glass, accessory to architecture, [168]
Stained-glass, ancient, to be held sacred, [245]
Stained-glass, definition and description of, [29]
Stained-glass, diapering, spotting, and streaking, [179]
Stained-glass, joys of, [303]
Stained-glass, loving and careful treatment of, [177]
Stained-glass, new developments of, [132]
Stained-glass, prices of material, [159]
Stained-glass, subservient to architecture, [155] , [236]
Stained-glass versus painted glass, [84]
Staining, [225]
Stale colour, danger of, [165]
Stale work, disadvantage of, [114]
Standardising, [113]
Stencil brush, [121]
Stepping back to inspect work, [176]
Stevenson, R. L., [156]
Stick, [68]
Stipple, [99] , [101]
Stippling brush, [100]
Stonework, relation of glass to, [134]
Stopping-knife, [142]
Streaky glass, imitating drapery, [230]
Strength in painting, limits of, [125]
Stretching the lead, [137]
Style, [237] , [246]
Subject, right limits to importance of, [248]
Sufficient firing, test of, [117]
Sugar or treacle as substitute for gum, [62]
Surgeon, precision of a, [67]
Symbolism, proportion in, [262]
Tabernacle (see Canopy)
Tamworth, [237]
Tapping, [41]
Taste, some principles of, [92]
Technical school, curriculum of, [321]
Templates to be verified, [289]
Tennyson, his constant revision, [271]
Texture of glass, use of, [126]
Theseus, [260]
Thought, imagination, allegory, [248]
Ties for banding, [151]
Thrift, [157]
Time saved by accuracy and method, [290]
Time-saving appliances, [277]
Tinning the soldering iron, [145]
Tints, method of choosing, [210]
Titian, [173] , [203] , [271] , [316]
Tradition, [238] , [242]
Troyes, centre for study of glass, [315]
Trying work in situ, [175]
Turgenieff, proverb on accuracy, [285]
Turpentine (Venice), [129]
Tuscan painters, good work to copy in glass, [322]
Upholstery and millinery in glass, to avoid, [324]
Venus of Milo, [260]
Veronese, [203]
Village church, untouched, picture of, [305]
Violent action to be avoided, [173]
Wage of lead workers, [159]
Waste, proportion of, to finished work, [162]
Wastefulness, English, [156]
Wax, best, [95]
Wax, removing spots of, [98]
Waxing-up, [95]
Waxing-up, tool for, [188]
Wells, centre for study of glass, [314]
Wheel-barrow, comparison with wheel-cutter, [51]
Wheel-cutters, [34] , [35] , [47] , [53] , [54] , [56]
White, pure, value of, [227]
White spaces to be interesting, [178]
Work in the shop, rules for, [286]
Yellow and red together, [218]
Yellow, certain tints hard to obtain, [217]
Yellow stain, [129]
York, centre for study of glass, [314]
York Minster, glass in, [230],[308],[313]