and for staining and gilding Glass, 275 



Red. 

 Take silver, No, 5, 1 



Brown oxide of iron prepared by heating J 

 scalesof iron, then quenching them in water, V parts. 

 reducing them to a fine powder, and lastly \ 

 calcining it in a muffle . . . . . . 1 '^ 



Grind the ingredients with turpentine and oil, and lay the 

 mixture on thick. 



Take of antimonial silver, prepared by melting ^ 

 together one part of silver, and two ditto of ^ 

 crude antimony, and pulverising the mass 1 1 * 



Colcothar .. .. .. .. ..!_/ 



Grind the ingredients in turpentine and oil, and lay the mix- 

 ture on thick. 



Take antimonial silver, prepared as above, , , 1 ^ 



Venetian red, and yellow ochre, of each . , 1 S ' 



Grind, &c. as before mentioned. 



When whole panes of glass are to be tinged, the proportions 

 of ochre or of colcothar may be much increased^ and the ingre- 

 dients should be ground in water. 



Of laying on the Colour. 



The method practised by most stainers of glass is to draw the 

 outline in Indian ink, or in a brown colour, ground with turpen- 

 tine and oil, and then to float on the colour thick, having pre- 

 viously ground it with water. But in this way of proceeding it 

 is very subject either to flow over or to come short of the outline, 

 and thus render tbe skill of the draftsman of httle effect. 



My method is to draw the pattern in Indian ink, and having 

 ground the colour as fine as possible in spirits of turpentine, 

 brought to a proper consistence with thick oil of turpentine, to 

 add a little oil of spike lavender, and to cover the outline entirely 

 with this composition. 



When it has become dry, I work out the colour with the point 

 of a stick and a knife from those parts that are not intended to be 

 stained, and am thus enabled to execute the most delicate orna- 

 ments and most intricate designs, with exactness and precision. 



If the colour is required to be laid on so thick that the out- 

 line would not be visible through it, let the colour be first laid on 

 as smoothly as possibU", and whai it has become dry draw the 

 outline upon it with vermilion water-colour, and work out the 

 design as before. 



Besides the precision acquired by the above method, it enables 

 the artist to api)ly different shades in the same design ; whereas 

 the old method of floating only communicates an uniform tint to 

 the whole pattern. 



S 2 The 



