Technology

Stained Glass Work: A text-book for students and workers in glass

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 Stai...

Chapters

1. Chapter 1

2. Chapter 2

3. Chapter 3

4. Chapter 4

5. Chapter 5

6. Chapter 6

7. Chapter 7

8. Chapter 8

9. Chapter 9

10. Chapter 10

11. Chapter 11

Of Perfection--In Little Things--Cleanliness--Alertness--But not Hurry--Realising your Conditions--False Lead-Lines--Shutting out Light--Bars--Their Number--Their Importance--Pr...

12. Chapter 12

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 R...

13. Chapter 13

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 Tr...

14. Chapter 14

15. Chapter 15

You are to know that stained glass means pieces of coloured glasses put together with strips of lead into the form of windows; not a picture painted on glass with coloured paints.

16. Chapter 16

No written directions can teach the use of the diamond; it is as sensitive to the hand as the string of a violin, and a good workman feels with a most delicate touch exactly whe...

17. Chapter 17

The pigments for painting on glass are powders, being the oxides of various minerals, chiefly iron. There are others; but take it thus--that the iron oxide is a red pigment, and...

18. Chapter 18

Take your camel hair matting-brush (fig. 27 or 28); fill it with the pigment, try it on the slab of the easel till it seems just so full that the wash you put on will not run do...

19. Chapter 19

We have only as yet spoken of the processes of cutting and painting in themselves, and as they can be practised on a single bit of glass; but now we must consider them as applie...

20. Chapter 20

I have mentioned all these points of judgment and good taste we have just finished speaking of, because they are matters that must necessarily come before you at the time you ar...

21. Chapter 21

The way in which the painting is attached to the glass and made permanent is by firing it in a kiln at great heat, and thus fusing the two together.

22. Chapter 22

And when you have looked at it, as I said just now you should do, your first thought will be a wish that you had never been born. For no one, I suppose, ever took his first batc...

23. Chapter 23

Yellow stain, or silver stain as some call it, is made in various ways from silver--chloride, sulphate, and nitrate, I understand, are all used. The stain is laid on exactly lik...

24. Chapter 24

You first place your cut-line, face upward, upon the bench, and pin it down there. You next cut two "straight-edges" of wood, one to go along the base line of the section you me...

25. Chapter 25

If the leads have got _tarnished_ you may brush them over with the wire brush (fig. 57), which glaziers call a "scratch-card"; but this is a wretched business and need never be...

26. Chapter 26

The foregoing has been written as a handbook to use at the bench, and therefore I have tried to keep myself strictly to describing the actual processes and the ordinary practice...

27. Chapter 27

Those who know work in various countries must surely have arrived at the conclusion that the Englishman is the most wasteful being on the face of the globe! He only thinks of ge...

28. Chapter 28

Of Perfection--In Little Things--Cleanliness--Alertness--But not Hurry--Realising your Conditions--False Lead-Lines--Shutting out Light--Bars--Their Number--Their Importance--Pr...

29. Chapter 29

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 R...

30. Chapter 30

... One thinks of morning and evening; ... of clouds passing over the sun; of the dappled glow and glitter, and of faint flushes cast from the windows on the cathedral pavement;...

31. Chapter 31

Come, in thought, reader, and stand in quiet village churches, nestling amongst trees where rooks are building; or in gaps of the chalk downs, where the village shelters from th...

32. Chapter 32

"_The first thing one should demand of a man who calls himself an artist is that he has something to say, some truth to teach, some lesson to enforce. Don't you think so?_"

33. Chapter 33

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 Tr...

34. Chapter 34

A whole world-full, of course; for every single thing is a part of all things. But I have said most of my say; and I could now wish that you were here that you might ask me augh...

35. Chapter 35

delighted to find both words. The term he applies to the leads is "Calamus" (a reed), while his term for what we should call pliers is "Grosarium ferrum" (groseing iron). So tha...