658 2 he Architectural lievietv and American Builders' Journal. [April, STAINED GLASS. FROM THE OLD AUTHORITIES. No. 3. The Manipulation. HAYING previously given The His- tory and General Method, and The Materials, of Mediaeval Stained Glass, from the Old Authorities, we now pre- sent The Manipulation of the Artists in Glass, of the days of yore. The reader, especially if technical, will, however, re- ceive this matter, entirely, as reminiscen- tial and suggestive. A present success often depends upon the knowledge of a former blunder; and an important in- vention, or discovery, ma} r spring from a train of thought, or newly ascertained fact, either but little, or in no way, taken to it. " When Newton saw an apple fall, he found In that slight startle from his contemplation, A mode of proving that the world turns round In a most wondrous whirl, called gravitation." It may be that a similar chance, in these extracts from older pages, will extend the powers of the assiduous and indefatigable artist In glass. The Manipulation. When any one wishes to paint, let him choose Lorrain glass, which inclines to the wldtish yellow, because that bears the fire the best, and receives the colors better than any other. When the sub- ject which he is to paint is not large, the glass is to be put upon the drawing intended to be copied, the outlines of which are to be traced with a pen or hair pencil, and with the black color already spoken of. If this color is dry, it must be ground an hour, on the cop- per, with water; and a small quantity of gum Arabic, dried as before directed, is to be added to it. It must be expe- ditiously mixed ; and if the quantity of color is equal in size to a nut, as much gum Arabic as is equivalent to a small nut, must also be put into it. The gum must be dissolved before the color is used, which ought to be neither too clear nor too thick; and, when those outlines are marked, they must be suffered to dry for two days. A wash is then to be applied to them, made of six or seven grains of gum Arabic, well dried, mixed with six or seven drops of urine, and as much black as necessaiy ; so, however, as not to hinder the color from being very clear. To make it well, the black ought to be put into a little basin of lead, and be covered with the wash, in order that it may not dry so soon ; and when the outlines have been left for two da}'s to dry, this wash is to be passed equally and very lightty over the. whole, in order that the outlines may not be effaced ; after which the work is to be permitted to rest for two days more. This wash serves for the first shadow, or demi-tint; and for the second tint, the color must be repassed, with the pencil, over the necessary places. • To produce the lights and heighten- ings, a pen, or the handle of the pencil, is to be used, as has been already men- tioned ; and as much of the first wash is to be removed, as shall be deemed necessary. This is the method for works in white and black, technically called Grisaille, from the general effect being gray. As for the colors, when the black is applied, as above, and dried for two or three days, they are to be laid on in the following manner: Enamel colors, such as blue, green, and purple, must be expeditiously laid on the piece of glass with the pencil, after having been well tempered with gum-water The other colors must be
