3 o THE POPULAR SCIENCE MONTHLY. 



proper color. The effect could scarcely have been more delicate, 

 yet the color tones were full and strong. 



In another window, the design of Mr. Will H. Low, the dra- 

 peries of a seated figure were executed in a vivid blue. The sketch 

 called for a rich purple, and any one passing through the studio 

 at this stage of progress would have been inclined to resent the 

 seeming liberties taken by the workmen. The artist's intentions 

 evidently were only half carried out. But, while one stands pon- 

 dering over the excessive amount of assurance possessed by people 

 of a certain class, one of their number has quietly slipped a piece 

 of ruby glass back of the draperies, and at once the vivid blue 

 vanishes to give place to a magnificent purple as much finer than 

 the artist's paper-color as the sunshine is better than gas-light. 



In this plan of doubling the glass the colorist has in his pos- 

 session a device of immense effectiveness. The entire color tone 

 of a window can readily be changed, even after it is completed 

 and in place. 



When the window is well under way, the preparation of the 

 flesh portions of the picture begins. These are cut from white 

 opalescent glass, and must be painted with no inconsiderable skill. 

 In the early days of mosaic glass the painting was done almost in 

 monochrome, a light reddish brown being a favorite tint. It had,, 

 however, the disadvantage of giving a statue-like sameness to all 

 the figures. Had the taste continued, our windows would have 

 become an assemblage of rather monotonous blonde types. But 

 to-day there is great variety in this respect, and the painting of 

 the face and other exposed portions of the figure is made to con- 

 form very strictly to the character of the whole picture. In eccle- 

 siastical designs done in mediaeval style, the painting is executed 

 in a pinkish-brown monochrome on transparent antique glass. 

 The effect is so very Elizabethan that it is hard to believe the 

 work a modern product, unless one has seen it in process of evo- 

 lution. For the saints and Madonnas of the early masters, the 

 high cheek-bone and other characteristics of feature are repro- 

 duced with remarkable fidelity. But, while these products are 

 highly interesting, they are in point of beauty far excelled by 

 modern types. To the production of these nearly the whole range 

 of mineral paint has contributed. One of the finest examples of 

 the modern school of painting on glass is to be found in the face 

 of " The Good Shepherd," in which nearly every possible color has 

 been used. At a distance one is not conscious of any particular 

 color, but is attracted by the intense life and love shown in the 

 face. Rather bold expedients are often employed to secure these 

 striking effects. In one face, whose eyes were more than usually 

 expressive of life, the result was obtained by bands of bright 

 green bordering both eyelids. 



