 the easel picture, in isolation
from the objects surrounding it; it is not even an object to be looked
at by itself; its duty is, not only to be beautiful, but to play its
part in the adornment of the building in which it is placed, being
subordinated to the effect the interior is intended to produce as a
whole. It is, in fact, but one of many parts that go to _produce a
complete result_. A visit to one of our mediaeval churches, such as York
Minster, Gloucester Cathedral, or Malvern Priory, church buildings,
which still retain much of their ancient glass, and a comparison of the
unity of effect there experienced with the internecine struggle
exhibited in most buildings furnished by the glass painters of to-day,
will surely convince the most indifferent that there is yet much to be
learned.

Secondly, the great difference between coloured glass and painted glass
must be kept in view. A coloured glass window is in the nature of a
mosaic. Not only are no large pieces of glass used, but each piece is
separated from and at the same time joined to its neighbour by a thin
grooved strip of lead which holds the two. "_Coloured glass_ is obtained
by a mixture of metallic oxides whilst in a state of fusion. This
colouring pervades the substance of the glass and becomes incorporated
with it."[1] It is termed "pot-metal." An examination of such a piece of
glass will show it to be full of varieties of a given colour, uneven in
thickness, full of little air-bubbles and other accidents which cause
the rays of light to play in and through it with endless variety of
effect. It is the exact opposite to the clear sheet of ordinary
window-glass.

To build up a decorative work (and such a form of expression may be
found very appropriate in this craft) in coloured glass, the pieces
must be carefully selected, the gradations of tint in a given piece
being made use of to gain the result aimed at. The leaded "canes" by
which the whole is held together are made use of to aid the effect. Fine
lines and hatchings are painted as with "silver stain," and in this
respect only is there any approach to enamelling in the making of a
coloured glass
the easel picture, in isolation 
 from the objects surrounding it; it is not even an object to be look 
 at by itself; its duty is, not merely to be beautiful, but to play its 
 part in the adornment of the building in which it is place, being 
 subordinated to the effect the inside is intended to produce as a 
 whole. It is, in fact, but one of many part that go to _ produce a 
 arrant result _. A visit to one of our medieval church service, such as York 
 Minster, Gloucester Cathedral, or Malvern Priory, church buildings, 
 which still retain much of their ancient glass, and a comparison of the 
 unity of consequence there experienced with the internecine struggle 
 exhibited in most building furnished by the glass painters of to - day, 
 will surely convert the most inert that there is yet much to be 
 learned. 

 second, the great difference between coloured glass and painted glass 
 must be keep in view. A coloured glass window is in the nature of a 
 mosaic. Not only are no large pieces of glass use, but each piece is 
 separated from and at the like meter join to its neighbour by a thin 
 grooved strip of lead which holds the two. " _ Coloured looking glass _ is obtained 
 by a mixture of metallic oxides whilst in a state of fusion. This 
 colouring permeate the substance of the glass and becomes incorporated 
 with it. "[1 ] It is termed " pot - metal. " An interrogation of such a piece of 
 glass will show it to be full of varieties of a give colour, uneven in 
 thickness, full of short air - bubbles and other accidents which induce 
 the rays of light to play in and through it with endless variety of 
 consequence. It is the exact antonym to the clear plane of ordinary 
 windowpane - glass. 

 To build up a decorative oeuvre (and such a form of construction may be 
 found very appropriate in this craft) in coloured glass, the pieces 
 must be carefully selected, the gradations of tint in a yield piece 
 being make use of to gain the result aimed at. The leaded " canes " by 
 which the whole is held together are construct use of to aid the effect. Fine 
 lines and hatch are paint as with " argent stain, " and in this 
 respect only is there any approach to enamelling in the making of a 
 colored glass
 thf easel picture, in isolauion
from the objeers surcoundinf it; it ks not even an object to be poiked
au by itself; its duth is, not lnly to ve btautiful, but to play its
part in bhe abocnment of the boilding in wvich it is plawea, yeing
subordinated to the effect the ynteriot ls intended to proctce zs a
whole. It is, in fact, but one of many perts that go to _produce a
complete result_. W vidit to one of our lediaeval cyurcrws, such as Yurk
Minster, Gloucester Dathedral, or Malvern Priory, chufch bbildings,
whixh stlnl retain mnch of their anciekn glass, and a vomparison of bhe
unmty if effect there expermenced with the intetnecine stsuygle
exhibited in most byilditgs xurnkwhea bg vhe glass pamnters of tk-day,
will sueely convince the mpse indifferent fhat trewe is yet much to be
learned.

Secondly, the grsat difference between xoloured glass and palnted glafs
must be kept in view. A coloured glass window is in tie nauuvc of q
mlsaic. Not only are no large pieces of glass ufsd, blt each piece is
scparated from and st tng same time jokned to ifs neighbour by a hhin
grojved wtrip of jead which holds the two. "_Colourwd glass_ is jvtained
by a mixturz of metallie oxidgs whikst in a state of fusiou. This
dolouring pfrvades tgd substance of tfe nlavs and btzomes incorporateq
with it."[1] Mt is termed "pot-ketal." Wn examinahion of such a piece of
gpass cill vhow it to be full of varieties of a givei colour, unevgn hn
tvickness, full of little aiw-bubbles and ojher accibents dhich causv
the rays of light tj play in and jhrough it wivh endlesf vaeiett of
effdzt. It is the ecact opposite to thw clear sheet of ovdinaty
sindow-glass.

To bbnle up a decoratife dorh (wnv sucr a form of efprersium may be
found vevy xpprppriate in this crafd) in coloured glass, thr iieces
musj be caresully selectec, the gradations ov tinv in a givem pyece
being made use of to gain fhe resulh almed at. The lqadee "canes" by
whnch the whole is held together are made nse of to aid the effecr. Fine
lines and hatehlngs are paiited af with "sinver stain," and in thus
respect only is there any approach tk enamallinh in the making of a
coloured glass
the easel picture, in isolation from the it; is not an object to its is, not only be beautiful, but play its part in the adornment the building in which it is placed, being subordinated to the effect the is intended to produce as a whole. It is, in fact, but one many that to a complete result_. A visit to one of our mediaeval churches, such as York Minster, Gloucester or Malvern Priory, church buildings, which still retain of their ancient glass, a comparison of the unity effect experienced with internecine exhibited most buildings furnished the glass painters of to-day, will surely convince the most indifferent that there is yet much to learned. Secondly, difference between glass painted must be kept A coloured glass window is in a mosaic. Not only are no large pieces glass used, each piece is separated from and the same time joined to its neighbour by thin grooved strip of lead which holds the two. "_Coloured glass_ is obtained by a metallic oxides whilst in state of fusion. colouring the of glass and incorporated with it."[1] It is termed "pot-metal." An examination of such piece of glass will show it to be full of a colour, uneven in full of little air-bubbles other which cause the rays to in with variety effect. It is the opposite to the clear sheet ordinary window-glass. To build such a form of expression may be found appropriate in this craft) in coloured glass, pieces must be carefully selected, the gradations of tint in a given being made to gain the result aimed at. The leaded by which the whole held together are made use of to aid the Fine and hatchings painted as with stain," and in respect only is approach to in making glass
 the easel picture, in isolatioN
from the obJects SurRouNdIng iT; it iS not even an objeCT to bE looked
at by itself; its duTy is, nOt ONly tO Be BeautIful, but TO pLAY itS
pArT in ThE AdOrnmeNt oF the buiLding in whiCh iT iS placed, being
SUbOrdinated tO thE effect the inTerIor is iNtEndED to prOduCe as a
Whole. IT Is, in faCt, but one oF mANy partS That go tO _PRoDuce A
complete result_. A vISiT To one of our mediAeval cHuRChES, SucH as york
MinsteR, GLouceSTer CathEDrAL, OR MaLVern Priory, chuRch buildingS,
WhiCh stilL rEtaIN much oF theiR aNCieNt glass, and a CompArison of tHe
unitY Of effecT There exPerienCed WitH the INtErNecInE StrUGgLe
eXHibIted in moSt BuIldinGs fuRNISHed bY thE glaSs paiNters of to-day,
wIll SureLY coNvincE the mOst iNdIfferEnt thaT therE iS yet much to be
leaRned.

secondly, tHe gReAt dIfFerenCE betweEn cOloUred glaSs and paINteD gLASS
mUst be kept in view. A coLoUREd Glass winDow is iN ThE nATure of a
mOsAic. not oNLY are nO larGE pIeces of gLass usED, bUt Each pieCe Is
sepaRaTed FroM and aT The sAme timE joined tO its nEIghbour by a thin
GRooved strip of LEaD WHiCH holDs tHe two. "_ColourEd glASs_ is ObtaINeD
by A MixtuRe of mEtALlIC oxides whilst in a staTe Of fusiOn. ThiS
colouring perVades the suBSTAnce of thE glaSS aND becomes incorpOrateD
with it."[1] It iS Termed "poT-metaL." An examiNation of sUCH a piece oF
glAss WilL shOW It To be full of varIETies Of A given cOloUr, uneveN in
ThiCknEss, FuLl of littlE air-bubbLeS aNd OtHer AccidENts which CaUse
ThE raYs of lIGht to pLay in And tHrOuGH it With endLEsS VArieTy Of
EffeCt. IT iS the eXact OPpoSite to tHe clear shEet OF ordInArY
window-Glass.

To build uP a Decorative WoRk (aNd such A FOrm of expRession may be
found very apPRopriatE in This cRaft) In coloureD glAss, the PieCEs
must Be careFully SeLecTED, the gRADaTioNs Of tint in a gIVEn pIece
bEiNg maDe use of To gain the result aimED at. the leaded "caneS" by
WhicH THe WhoLE iS HelD tOGetHER are made use of to Aid the effeCt. fInE
lines and hATchInGs are paInted as With "sILver staIn," and in thIs
respect OnLy is THEre Any approacH to enameLling in thE MakinG Of A
coloUreD glass
 the easel picture, in iso lation
fro m the  ob jec ts  sur roun ding it; it is noteven an object to be l ooked 
a t  byi ts elf;its dut y  i s ,  no ton lyto be  beau tif ul, but  to play i tspa rt in the ad o rn ment of th e b uilding in w hic h it i spla c ed, b ein g
sub ordina t ed tothe effec tt he int e rior is i nt ende d to produce as a wh o le. It is, infact,bu t  o n e  of  ma ny parts t ha t got o _prod u ce a com p lete result_.  A visit to one  of ou rmed i aevalchurc he s , s uch as York 
Min ster, Glo uceste r  Cathed r al, orMalver n P rio ry,c hu rc h b ui l din g s, 
wh i chstill re ta in  much  oft h e i r an cie nt g lass,  and a compar iso n of the 
unit y ofeffe ct  ther e expe rienc ed  with the inter neci ne strugg leex hib it ed in most b uil din gs furn ished b y  th eg l a ss  painters of to-da y, w il l surely  convi n ce  t h e most i nd iff eren t thatther e  i s yet mu ch tob ele arned.
S econdl y,  th e g reatd iffe rencebetweencolou r ed glass and p a inted glass
m u st b ek eptinview. A col oure d  gla ss w i nd owi s inthe n at u re of a
mosaic. Not on ly  are n o lar ge pieces ofglass used , b ut eachpiec e  i s 
separated fro m and  at the sa m e time j oined  to itsneighbour b y a thin 
gr oov edstr i p  o f lead whichh o ldsth e two."_C oloured  gl ass _ i s o bt ained
bya mixtur eof  m et all ic ox i des whil st  in  a  st ate o f  fusio n. Th is
c ol ou r ing  pervad e st h e su bs ta nceofth e gla ss a n d b ecomesincorpora ted with  i t. "[1] It  is termed "p ot -metal." A nexa minati o n  of such  a piece of
glass wills how ittobe fu ll o f varieti esof a g ive n  colou r, une ven i nthi c k ness, f ul l o flittle air - b ubb les a nd  oth er acci dents which causet herays of light  to  pla y in  an d  t h rou gh itw i th endless vari ety of
eff ec t .It is thee xac topposit e to th e cle a r sheet  of ordin ary
windo w- glas s . 

T o build up  a decor ative wor k  (and su ch afor m of e xp res sionmay be fou nd ve ry app ro priate  in t hi s craft)  in coloured glass, the  piece s
mus t b e careful lys ele cted, the  gra dations of  ti ntin agiv e n pie ce
b e in g m a de us e of to gain t h eres u l taimed at. T h e lea ded " can e s" bywhic h the whole is he l d together are  mad e use  of to a id  the effect. F ine 
l i n es and h at chings arepaintedas with"silve r stai n," and i nt his
re spec t o nly is th ere  a n y appro ac ht o enam elli ng  in th e maki n g of a 
coloured glass
 the_easel picture,_in isolation
from the objects_surrounding it;_it_is not_even_an object to_be looked
at by_itself; its duty is,_not only to_be_beautiful, but to play its
part in the adornment of the building in which it_is_placed, being
subordinated_to_the_effect the interior is intended_to produce as a
whole. It_is, in_fact, but one of many parts that go_to__produce a
complete result_._A visit to one of our mediaeval churches, such_as York
Minster, Gloucester Cathedral, or Malvern_Priory, church buildings,
which_still_retain_much of their ancient_glass, and a comparison of the
unity_of effect there experienced with the_internecine struggle
exhibited in most buildings furnished by_the glass painters of to-day,
will surely_convince the most indifferent that_there is_yet much to be
learned.

Secondly, the_great difference between_coloured glass_and painted glass
must_be kept in view. A coloured_glass window is_in the nature of a
mosaic. Not_only_are no large_pieces_of_glass used,_but each piece_is
separated_from and_at_the same time joined to its_neighbour_by a thin
grooved strip of lead which_holds the two. "_Coloured_glass__is obtained
by a mixture_of metallic oxides whilst in_a state of fusion. This
colouring pervades_the substance_of the_glass and becomes incorporated
with it."[1] It is termed "pot-metal." An examination_of such a piece of
glass will_show it to be_full of_varieties_of a given_colour,_uneven in
thickness,_full of little air-bubbles and other accidents_which cause
the_rays of light to play in_and through it with_endless_variety of
effect. It is the exact_opposite to the clear sheet of_ordinary
window-glass.

To build up a decorative_work_(and_such a form of expression_may be
found very appropriate in this_craft) in coloured_glass, the pieces
must be carefully selected, the_gradations_of tint in a given piece
being_made_use of to gain the result_aimed_at._The leaded "canes" by
which the_whole is held together are made_use of to aid the effect. Fine
lines and hatchings_are painted as_with "silver stain," and in_this
respect_only_is there any approach to enamelling in the making of_a
coloured glass