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 that this question is set at rest for ever. Glaziers must henceforth accept the classic spellings "Calm" and "Groseing," and one may suppose they will be proud to learn that these everyday terms of their craft have been in use for 900 years, and are older than Westminster Abbey.

_Lath_, the ruler, 3 to 8 feet long, and marked with inches, &c., used in setting out the "forms."

_Lathykin_, doubtless old English "a little lath," described p. 137.

_Lasting-nails_, described p. 141.

_Leaf_ (of lead), the two uprights of the "H" section (fig. 34).

_Muller_, a piece of granite or glass, flat at the base, for grinding pigment, &c.

_Obtuse_, an angle having a wider opening than a right-angle or "perpendicular."

_Orphreys_ (_aurifrigia_, from Lat. _aurum_, gold), the bands of ornament on ecclesiastical vestments.

_Patina_, the film produced on various substances by chemical action (oxidation, sulphurisation, &c.), either artificially, as in bronze sculpture, or by age, as in glass.

_Plating_, the doubling of one glass with another in the same lead.

_Quarries_, the diamond, square, or other shaped panes used in plain-glazing.

_Reamy_, wavy or streaky glass. (See p. 179.)

_Scratch-card_, a wire brush to remove tarnish from lead before soldering (p. 144).

_Setting_, fixing a charcoal or chalk drawing on the paper by means of a spray of fixative.

_Shafting_, see "Canopy."

_Shooting_ (in carpentry), the planing down of an edge to get it truly straight.

_Squaring-out_, enlarging (or reducing) any design by drawing from point to point across proportional squares.

_Stippling_, described p. 100.

_Stopping-knife_, the knife by which the glass and lead are manipulated in leading-up.

_Tabernacle work_, see "Canopy."

_Template_, the form in paper, card, wood, or zinc, of _shaped_ openings, by which the correct figure is set out on the cartoon-form.

INDEX

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

Duerer, 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

Leadworkers, 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

THE END

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