r86 
KERAMIC STUDIO 
the ends of the copper wires over the rods and twist them to- 
gether once or twice. All these latter portions of the work of 
making a window, the cementing and placing in the sash, etc., 
relate only to the practical setting of the window and doing it 
substantial^. The portions concerning its artistic production, 
are the cutting of the glass and the leading. And it is here 
where you will have to give most of your time and study. 
The beginner will find many difficulties to overcome, and 
his patience will be sorely tried in cutting the glass closely to 
the patterns without breaking it. And it often happens that 
the only piece of colored glass that is satisfactory, will break 
when nearly all cut. This naturally suggests, I think, that a 
great deal of skill must be acquired in order to cut the glass 
successfully, and such is the case. For if you are naturally 
clever at handling tools, and there is little else to be done to 
make you skilful, you will still require a great deal of practice 
if only to develop enough muscle in your fingers to hold the 
glass and pattern firmly, and prevent them slipping out of place. 
Before taking up any ornamental work in leaded glass, it 
would be advisable for the beginner to trj^ a few simple geome- 
trical patterns (Fig. 12), the simplest being the diamond 
and the square. Then try the octagon and the hexagon, and 
after that try one of these patterns with a small spot of orna- 
^KeFtih «ShouJmc^ Pc^rlerns /Yi/rvi bered 
ment in the centre or near the top. And remember that in 
leaded glass as in every other branch of industrial art, simple 
work can be made very attractive and artistic. 
GLASS PAINTING. 
Glass painting is a branch of stained glass art almost 
entirely separated from every other part. It forms the prin- 
cipal part of making some windows, while with others it is 
merely supplemental to the original coloring of the glass and 
the leading. And it is as a supplementary branch that I will 
add a few words regarding it. 
You will often find that painting will add easily to some 
part of the drawing or tinting. And if so wait until all your 
glass is cut, and then decide how much painting is to be done 
and where. It will be of great help. The principle of its pro- 
cess is very much the same as china painting. That is, you use 
mineral colors with a medium that will evaporate under fire 
in a kiln, such as turpentine, tar oil, oil of lavender. The 
colors come dry, and should be mixed with whatever medium 
you select and a very little Venetian turpentine, to make the 
color stick well to the glass. The oil mediums keep the cok)r 
more tacky on the glass than turpentine which evaporates 
quickly and leaves the color dry and flakey. The preference 
for one or the other depends upon your success in handling it, 
entirely. One person will handle one medium readity that 
another cannot handle at all. If lines are to be painted, apply 
the color with a long hair sable or camel's hair brush. If 
shading is to be done the color can be painted on in a mat, and 
etched out with a point of a needle after it is dry, or shaded 
with bristle brushes. The colors most commonly used are sepia, 
for lines and shading, flesh red, dark green, canary yellow, and 
best blue for other work. The reds and sepias burn oif in the 
kiln more than the other colors. The yellow burns on fairly 
well, and the green still more and the blue most of all. Some 
times the colors burn off so much that frequent paintings and 
firings are necessary to get the result desired. 
The use of painting in connection with leaded glass as 
considered in this article, would be as before stated a supple- 
mentary thing; and would be of service only in ornamental 
work where some details could be carried a little further in 
their developement than leading would permit. 
CHILDRENS' DRINKING CUPS 
THERE would seem to be no end to the varietj' in design 
both in shape and decoration, for silver drinking cups 
for little children, yet how few good ones the buyer has to 
select from. Simple shapes, with simple practical handles 
and appropriate decoration, does not seem a great deal to ask, 
but we travel from one silversmith to another and search in 
vain for something that would seem just right. 
The two cups illustrated are attractive because of their 
simplicit}^; etching designs in the silver seem so appropriate 
as a means of decoration because of its apparent symplicity, 
though in reality, hke all work that ends well, great care 
must be exercised during every stage of the process from the 
time the design is thought out until the resist is taken off. 
Careful study of the etching done by the Japanese should 
greatly help enthusiastic workers in this craft for they are 
surely masters. 
The cup designed and executed Ijy Ellen Parker Daj', 
was made from the materials given below. The strip for the 
body part of the cup was measured and cut perfectly true, and 
the ends well soldered together in a lapped seam. The lower 
part was beaten on the anvil until it was the desired shape. After 
the design was put on with the steel point and the cylinder 
filled with cement, the boat and the name in the border were 
