l62 
H.ERAMIC STUDIO 
and bit, large enough to bore holes for i" rods, and a small 
detachable vise for the table to hold the sash in while you are 
doing this. 
As for materials, 3'ou will want as follows: Manilla draw- 
ing and pattern papers, glass, lead, solder, powdered resin, 
or stearic acid, or parafine candles for soldering, pvitty, boiled 
linseed oil, white lead, whitening, and possibly copper wire, 
iron rods and small brads for placing the glass in the sashes. 
The stearic acid may be obtained at a candle factory and may 
be applied with a brush to a joint before soldering. The pow- 
dered resin will be found cleanest and probably most easily used. 
Of glass you will want quite a little more in square feet of each 
kind than you intend to use for any particular work. And 
the kinds that are most generally in use are, common clear 
window glass, cathedral glass, and opalescent glass. The 
cathedral glass is colored, and is all one fiat tint, and comes in 
various colors. Opalescent glass also comes in variou^ colors, 
but there may be a variety of tints, and colors, and combina- 
tions of colors in one piece, or it may be nearly one fiat tint. 
Cathedral glass is semi-transparent sometimes, but opalescent 
is only translucent, and sometimes it is almost opaque. All 
glass comes in sheets and you have to cut out of the sheet, what 
you want to use. Leads that are sold by the dealers are called 
Lead Games (Fig. 11) and as sold are too heavy for leading a 
window, and you should have them run through a mill and 
Ji^ADS, 
made thin. Solder comes in two forms; one round like heavy 
wire, and the other flat like a thick shaving. 
The first thing to do in making a window, is to draw out 
your design; and if it is at all elaborate, or has any ornament 
requiring any study, it should be drawn at a small scale first; 
and if it is to be a colored window the scale drawing should 
be carefully colored. The effect of a design that is at all 
ornamental should always be studied in this way first, because 
in doing this you bring the whole more within your easy vision, 
and you do the same thing as putting your work away from you 
to see it at a distance. From your scale drawing make a full 
size drawing or cartoon. And in making this everything must 
be drawn out in full with care, and no part can be omitted 
without finding out eventually that you might better have 
drawn it. Even if the window contains nothing more than 
plain diamonds or squares, the whole must be drawn out in full. 
In establishing your full size, don't forget that there are two 
sets of sizes; the full or actual size, and the sight size. The 
full size is the dimension from the inside of the groove or rabbet 
in the sash into which the glass is set and puttied, and is the 
actual or over-all size of the piece of leaded glass. The sight 
size is the dimension of the opening in the clear from the inside 
edge of the sash, and gives the size of all the glass that is seen 
when put in the sash. The design should all come within 
this size. 
When the first full size drawing or cartoon, which we will 
call No. I, is made, it should be transferred to another sheet or 
paper stift' enough to make patterns of. The paper used for 
drawings may be common manilla drawing paper vinglazed. 
But that for the patterns will be better if glazed a little. After 
the pattern drawing is made, cut a pattern for each of the 
different shaped pieces of glass, using the two bladed pattern 
knife. One pattern will of course answer for those shapes that 
are repeated. Before cutting the patterns, don't fail to num- 
ber them all, and copy the numbers correctly on the original 
drawing. When the patterns are all cut and the different 
kinds of glass selected for the window, begin the glass cutting 
and continue until all of it is finished, and do not try to lead 
your window until this is done. As you finish each piece, 
place it with its pattern in its proper place on the original 
drawing which should be spread upon the table for this purpose, 
and in this way you can keep track of what you are doing and 
avoid confusion and loss of the pieces of glass. 
When working in colored glass, it is usually desirable to 
see the effect of the glass you are selecting as you proceed. 
And to do this you should have a sheet of rough plate glass as 
large as your window, or at least the portion of it that is colored. 
On this trace roughty the outline of your design, and place it 
upright in front of a window either upon the sill, or a board 
nailed across the opening for a .shelf. As the pieces of glass 
are cut, stick them in their proper places on this glass screen 
or easel, with small bits of soft beeswax or other wax that is 
sticky and pliable. When they are taken down for glazing, 
all the wax should be carefully removed. 
In cutting the glass, first cut out a piece roughl}^ large 
enough to hold the pattern, and then holding the pattern 
firmly against it, cut around close to the edge using the wheel 
or the diamond. The wheel will often be found better for 
irregular shapes because it is more easily turned. The manner 
of holding the diamond or wheel is shown in one of the illus- 
trations, and you will find it necessarj^ to bear hard upon the 
glass so as to break through the outer surface. That part of 
the glass to be cut off can then be removed by using the plyers, 
or if your grip is strong enough you can do it with your fingers. 
But there is the danger of receiving a bad cut from sharp edges 
of the glass. If you do not use the plyers, use the slots in the 
wheel handle. Another and safer way to remove these por- 
tions is to tap the glass on the under side, strilcing directly 
under the cut line, and it will fall off. vSometimes it is impos- 
sible to remove the glass by any of these methods, and then 
you will have to groze or pinch it off a little at a time with the 
plyers. Be sure to take everything oft' up to the pattern line. 
\'\Tien all the glass is cut, prepare for the leading by tacking 
drawing No. I on the table, and nail wood slats about J" thick 
and an inch wide around the edge. These slats should be laid 
perfectly straight and square, being at perfect right angles 
with each other at the comers, and the dimensions across the 
space they enclose should be the exact full size of the window 
These slats are necessary to keep the work straight and con- 
fined to this size. The work of leading is done right on top of 
the drawing and you should begin at the near left hand corner, 
by placing across the end and along the side a heavy lead, say 
at least i" wide. Place them full against the slats, and then 
begin with the corner piece of glass and the lead next to it, and 
then the next piece of glass and the next lead, and so on acro.s.s 
the drawing diagonally until the whole is completed. As you 
proceed, keep the pieces of glass and the leads you have just 
put in place, firmly in their positions by driving the leading 
nails against them and into the table. These nails are to be 
taken out again of course when 3'ou place the next lead and 
glass. - 
TO BE CONCLUDED. 
