ANCIENT PAINTED WINDOW, HAULT HUCKNALL CHURCH. 43 



specially characteristic of the glass of the Perpendicular period 

 until its decline. 



' Colour ' is a technical term for the reddish-looking paint 

 used by the artist for lining or tracing, and for shadows. It 

 is a compound of oxide of iron and other ingredients, which, 

 by the action of fire, become incorporated with the glass. The 

 line work must have solidity or opacity, and for finer work 

 the colour is applied with a fine pencil of red sable, whilst 

 the shadows are laid over or upon the mat, and stippled 

 down to the required density by a stippler of hogs' hair. 



' Mat ' is the term used for a thin layer of colour spread 

 evenly over a given surface. This, when dry, is often removed 

 with a pointed instrument, so as to form diapers or brilliant 

 patterns on a dark ground. By this method was formed the 

 inscription on the band across this window, as well as the 

 pattern on the mantle of the Blessed Virgin before mentioned. 

 The process was as follows : — First came the application of the 

 ' mat,' then the removal or ''pegging out ' the pattern or 

 letters desired, then the firing. After this, the stain was 

 applied at the back of the glass, which was passed a second 

 time through the kiln. In the case of features and drapery, 

 the glass is first coated with a ' mat,' the high lights are 

 then brushed out, then the tracing of lines and ornaments 

 required, then the deepening of shadows, and rounding of 

 figures, usually with a medium of oil of tar, followed by 

 careful stippling or toning down. In the figure of the Blessed 

 Virgin, the cuffs of the sleeves are stained, and all the mantle 

 save the border is white. The floor is composed of diagonal 

 brickwork, the ' mat ' having been removed to shew the lighter 

 alternate squares. 



In the second light we have the Crucifixion. All the 

 darker portions of the photograph represent the parts stained 

 yellow — the cross, the sun, the upper part of the hair, 

 including the nimbus, the crown of thorns, and the waist- 

 cloth ; all the rest is of white glass, duly shaded and stippled. 

 The topmost arm of the cross was probably lost at the re-setting 



