MODERN GLASS, DESIGNED AND EXECUTED BY J. S. SPARROW.
When the figure is drawn in this way all the pieces are stuck upon an easel glass (a large stout piece of sheet) with a composition of bees-wax and resin. As this is the first time all the pieces have been seen together the panel is carefully looked over, as a whole, to see that each piece is of a right colour and value. Some pieces may have to be cut over again; others strengthened or modified by the addition of another piece of glass. This last method is called plating, by which rich and beautiful deep toned effects can be produced.
A strong flat matte of water-colour is now laid all over the figure. This forms the half-tones, and the lights are taken out (when dry) with hog-hair brushes, the colour being first loosened by modelling the broad lights with the finger, which indeed is the best implement, and as much of the modelling should be done by it as possible.
A quill may be used to take out sharp lights. The work should now be ready for the kiln, but before firing it should be again stuck up, and looked over, and any strengthening or definition added in shadows on details by oil-colour with the addition of fat turpentine to keep it open; the dry surface of the glass being first treated with a wash of oil of tar to make the colour flow easily.
Then the diapers and hair are stained on the back of the glass, and it is ready for the kiln.
After being leaded up, the leads soldered together at the junctions, the panel is again placed on the easel, and further alterations or improvements may be made, as the leaded panel looks very different from the glass by itself. The panel is next cemented, the leads filled up with putty or cement to make it firm and water-tight. The cement is like a very thick paint, a mixture of white lead, whitening, red lead, lamp-black, dryers and raw and boiled oil.
The window may require to be supported by horizontal iron bars, if it extends over two feet. They are usually placed about fifteen inches apart, as the leaded glass might bend under the pressure of wind without extra support.
From this account we may realize what care and taste are necessary to carry out really artistic work in stained glass. The whole subject affords us a good illustration of one of the highest and most beautiful of the arts of design, severely controlled by well-defined conditions—conditions which, if followed faithfully, give it all its peculiar character, strength, and beauty. The necessities of leading and cutting the glass demand a certain severity and simplicity of design—from which a new beauty is evolved, capable in its turn of influencing other forms of art for good, as in easel painting—which harmonizes with its symbolic and religious intention as well as with the architectural and monumental character of its surroundings in its noblest forms in public and college halls and churches; while its glow and colour, suggestive symbolism, or heraldic adornment, may cheer and vivify domestic interiors with a touch of poetry and romance.