It also happens that the art of stained glass, though reaching to very high and great things, is in its methods and processes a simple, or at least a very limited, one. There are but few things to do, while at the same time the principles of it touch the whole field of art, and it is impossible to treat of it without discussing these great matters and the laws which guide decorative art generally. It happens conveniently, therefore, as the technical part requires less space, that these things should be treated of in this particular book, and it becomes the author's delicate and difficult task to do so. He, therefore, wishes to make clear at starting the spirit in which the task is undertaken.
It remains only to express his thanks to
Mr. Drury and Mr. Noel Heaton for help respectively, with the technical and scientific detail; to Mr. St. John Hope for permission to use his reproductions from the Windsor stall-plates, and to Mr. Selwyn Image for his great kindness in revising the proofs.
C. W. WHALL.
January 1905.
| CONTENTS | |
| PAGE | |
| [EDITOR'S PREFACE] | xi |
| [AUTHOR'S PREFACE] | xvii |
| [PART I] | |
| [CHAPTER I] | |
| Introductory, and Concerning the Raw Material | 29 |
| [CHAPTER II] | |
| Cutting (elementary)—The Diamond—The Wheel—Sharpening—How to Cut—Amount of Force—The Beginner's Mistake—Tapping—Possible and Impossible Cuts—"Grozeing"—Defects of the Wheel—The Actual Nature of a "Cut" in Glass | 33 |
| [CHAPTER III] | |
| Painting (elementary)—Pigments—Mixing—How to Fill the Brush—Outline—Examples—Industry—The Needle and Stick—Completing the Outline | 56 |
| [CHAPTER IV] | |
| Matting—Badgering—How to preserve Correctness of Outline—Difficulty of Large Work—Ill-ground Pigment—The Muller—Overground Pigment—Taking out Lights—"Scrubs"—The Need of a Master | 72 |
| [CHAPTER V] | |
| Cutting (advanced)—The Ideal Cartoon—The Cut-line—Setting the Cartoon—Transferring the Cut-line to the Glass—Another Way—Some Principles of Taste—Countercharging | 83 |
| [CHAPTER VI] | |
| Painting (advanced)—Waxing-up—Cleanliness—Further Methods of Painting—Stipple—Dry Stipple—Film—Effects of Distance—Danger of Over-Painting—Frying | 94 |
| [CHAPTER VII] | |
| Firing—Three Kinds of Kiln—Advantages and Disadvantages—The Gas-Kiln—Quick Firing—Danger—Sufficient Firing—Soft Pigments—Difference in Glasses—"Stale" Work—The Scientific Facts—How to Judge of Firing—Drawing the Kiln | 105 |
| [CHAPTER VIII] | |
| The Second Painting—Disappointment with Fired Work—A False Remedy—A Useful Tool—The Needle—A Resource of Desperation—The Middle Course—Use of the Finger—The Second Painting—Procedure | 118 |
| [CHAPTER IX] | |
| Of Staining and Aciding—Yellow Stain—Aciding—Caution required in Use—Remedy for Burning—Uses of Aciding—Other Resources of Stained Glass Work | 129 |
| [CHAPTER X] | |
| Leading-Up and Fixing—Setting out the Bench—Relation of Leading to mode of Fixing in the Stone—Process of Fixing—Leading-Up Resumed—Straightening the Lead—The "Lathykin"—The Cutting-Knife—The Nails—The Stopping-Knife—Knocking Up | 133 |
| [CHAPTER XI] | |
| Soldering—Handling the Leaded Panel—Cementing—Recipe for Cement—The Brush—Division of Long Lights into Sections—How Joined when Fixed—Banding—Fixing—Chipping out the Old Glazing—Inserting the New and Cementing | 144 |
| [PART II] | |
| [CHAPTER XII] | |
| Introductory—The Great Questions—Colour—Light—Architectural Fitness—Limitations—Thought—Imagination—Allegory | 154 |
| [CHAPTER XIII] | |
| Of Economy—The Englishman's Wastefulness—Its Good Side—Its Excess—Difficulties—A Calculation—Remedies | 156 |
| [CHAPTER XIV] | |
| Of Perfection—In Little Things—Cleanliness—Alertness—But not Hurry—Realising your Conditions—False lead lines—Shutting out Light—Bars—Their Number—Their Importance—Precedence—Observing your Limitations—A Result of Complete Training—The Special Limitations of Stained Glass—Disguising the lead line—No full Realism—No violent Action—Self-Effacement—No Craft-Jugglery—Architectural Fitness founded on Architectural Knowledge—Seeing Work in Situ—Sketching in Glass—The Artistic Use of the Lead—Stepping Back—Accepting Bars and Leads—Loving Care—White Spaces to be Interesting—Bringing out the "Quality" of the Glass—Spotting and Dappling—"Builders-Glazing" versus Modern Restoring | 163 |
| [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 |