It is difficult to give any list of examples suitable for this stage of glass, but the kind of line employed on the best heraldry is always good for the purpose. The splendid illustrations of this in Mr. St. John-Hope's book of the stall-plates of the Knights of
the Garter at Windsor, examples of which by the author's courtesy I am allowed to reproduce (figs. 22-22A), are ideal for bold outline-work, and fascinatingly interesting for their own sake. In most of these there is not only excellent practice in outline, and a great deal of it, but, mixed with it, practice also in flat washes, which it is a good thing to be learning side by side with the other.
Fig. 21.
And here let me note that there are throughout the practice of glass-painting many methods in use at every stage. Each person, each firm of glass-stainers, has his own methods and traditions. I shall not trouble to notice all these as we come to them, but describe what seems to me to be the best practice in each case; but I shall here and there give a word about others.
For instance: if you use sugar or treacle instead of gum, you get a rather smoother-
working pigment, and after it is dry you can moisten it as often as you will for further work by merely breathing on the surface; and perhaps if your aim is outline only, it may be well to try it; but if you wish to pass shading-colour over it you must use gum, for you cannot do so over treacle colour; nor do I think treacle serves so well for the next process I am to describe, which here follows.
Fig. 22.