Accidental qualities in glass, value of,114Accuracy in setting out forms,286Accuracy of measurement,115,285Accuracy of work in the shop, rules for, formula for right angles,286Aciding,130Action, violent, to be avoided,173Advertising,293Allegory,248Allegory, true allegory the presentment of noble natures,260Ancient buildings, sacredness of,245Ancient glass,171,314,321,328Antique glasses,31Architectural fitness,234Architecture, harmony with,174Architecture, stained-glass accessory to,168Architecture, subservient to,155,236Armour, by use of aciding in flashed blue glass,131Art colours,201Artist, right claim to the title,269Asleep, Millais' picture of,209Assistants, to be trained to mastership,268Auxerre, centre for study of glass,315Backing,126Badger,72,74Badger, how to dry,193Banding,151Barff's formula for pigment,226Bars,151,159,167Bars and lead lines,166,176Beads, a string of,190Beethoven, colour,224,271Bicycle, use of,216Birds,217Birmingham, Burne-Jones windows,236,324Boniface, St., a question of staining,224Books,255,257Borax, untrustworthy as flux,370Borrowed light,227(and Glossary)Botticelli,64,78,250,297,322Brown, Madox,203Brush, how to fill,58Builders' glazing,180Buntingford, ride from,216Burne-Jones,131,203,236,250,324Burning,129Burnt umber,203Butterfly,217Byzantium of the crafts,243Byzantine revival,241Calm of lead,137(and Glossary)Cambridge, Burne-Jones windows,237Cambridge, centre for study of glass,314Cambridge, King's College, for blue and red,230Canopies,245Canopy,177,300Canterbury, centre for study of glass,314Canterbury, for blue and red,230Cartoons,83,192Cathedrals,178,180,215,230,234,238,246,282,314Cellini,228Cement and cementing,147Centres for study of glass,314,315Chartres, centre for study of glass,230,314Chartres, for blue and red,230Chief difficulty (in art) the chief opportunity,301Chopin,223Cirencester windows,180Cleanliness,67,164,193Clients,279Collotypes, notes on,327-336Colour,198-231Comfort in work,67Commission, one's first,292Conditions, importance of ascertaining at commencement,283Conduct, general,264Constantine and Byzantium,240Co-operation,163,265,268,274-6Corn-colour,217-218Countercharging,94Covering up the pigment,164Craft, complete teaching of,174,197Craftsman, right claims to the title,269Craftsmanship, revival of,243Middle Ages,252Cullet, value of,159Curriculum,321-326Cut-in glass,49Cut-line,85,89Cutter and cartoonist,44Cutting,37,42,47,87,162Cutting, advanced,83Cutting-knife,138Cutting-wheel (seeWheel-cutter)Dahlia, colour of,218Dante or Blake, perhaps needed today,253Dante on Constantine,240Dappling,163Dentist, precision of a,67Design,167,175,325Diamond,33,88,331Difficulty conquered brings new insight and new power,302Difficulty, the chief opportunity in a work of art,282Directing assistants, clearness in, promptness in,277Discords harmonised by added notes,212Distance, effect of,102,192Division of labour,170,269Docketing of papers, system of,284Dodges, a few little,182Doubling glass,132Drapery,230,322Drawing from Nature,324Drawing, Ruskin's advice on fineness in work,325Du Maurier,207Dürer, revision of his work,271Dutch artist's portrait of actress,220Early English glass,31,227Easels,186,191Eccentricity to be avoided,247Economy,156,158Egyptians,182English wastefulness,156Etching (seeAciding)Examples for painting,321Examples for stained-glass work, Holbein,322Expression, influence of distance on,102Faceting of stones and glass,228,332Fairford, green in Eve window,211,230Fairford, old glass in,314False lead lines,166Fame and wealth good, but not at expense of work,296Fancy, safe guide in,259Film,94,101Fine work in art,298-303Finish in work, precision and cleanliness,67Firing,105-119First duty of an artist,248Five Sisters window,178,311Fixing,135,151Flashed glass,33Flatness, desirable, obtained by leading,176Flowers,217Flux,370Forms, accuracy of,286-289Fresh methods and ideas come accidentally,298Freshness of work, advantage of,116Fried work, how to remove,104Frying,104Garish colour,202Garter plates,61,62,70,71Gas-kiln,108-10Gauge for cutting, how to make,88General conduct,264Giotto,252Giorgione,203Glass, ancient,328Glass, how made,32Glass, how to wax up on plate,95Glass in relation to stonework,134Glass, Munich,84,176Glass, Norman,227Glass, old,308,315Glass, painted,84Glass-painter's methods described,205Glass-painting compared with mezzotint,81Glass-painting compared with oil-painting,200Glass, Prior's,31Glass, value of accidental qualities in,114Glasses, "antique,"31Glazing,151,180Glossary,369Gloucester for blue and red,230Gloucester, centre for study of glass,314God's house,235Gold pink, value of,160Good Shepherd,172Gothic revival, the,239Groseing,43(and Glossary)Groseing tool, substitute for,55Grozeing (seeGroseing)Gum-arabic,58Gum, quality and quantity of,77Handel,223Handling leaded lights,146Hand-rest,61Harmony in colour, the great rule of,211Harmony, universal,234Harmony with architecture,174Heaton's kiln-feeder,184Hertfordshire, ride through,215Holbein,64,78,316,322Hollander, thrift of,157Hurry to be avoided,165Hyacinths and leaves, colour of,221Image, Selwyn,83Imagination,248,259Industry,65,278In situ, to try work,175Inspiration, nature of, discussed,273Italian, thrift of,157Jacob's ladder, difficulty,280Joints, good and bad,140Jugglery, craft, to be avoided,174Kaleidoscope,232Kiln-feeder, a clumsy,183Kilns,105King, portrait of,102Knives, cutting and stopping,138,142Knocking up,144Labour and material, cost of,162Lamb, Charles, on Milton'sLycidas,272Large work, difficulty of,77L'Art Nouveau,245Lasting nails,141Lathykin,137(and Glossary)Lea Valley, description of,215Lead,89Lead, "calm" of,137(and Glossary)Lead,90,132,137lead line,84,172lead lines, false,166Lead-mill,91Lead, purity of,90Lead, outer lead showing,136Leaded lights, how to handle,146Leading,133Leadwork, artistic use of,176lead workers, wage of,159Light,227(and Glossary)Lights,72,146,151Limitations,154,170Linnell's colour,202Lycidas, perfection of,271Lyndhurst, windows at,237,250Maclou, St., at Rouen,282Man's work, nature of,196Master, book no substitute for,82Master, need of,82,195Material and labour, cost of,162Matting,72Matting-brush,73,75Matting over unfired outline,76Measure thrice, cut once,285Measurement, accuracy of,115,285Measurement, relation of glass to the stonework,134Meistersingers, the,223Mezzotint compared with glass-painting,81Michael Angelo,271Middle Ages, craftsmanship of,252Millais' picture of "Asleep,"209Millinery and upholstery in glass, to avoid,324Morris,203Muller,79Munich glass,84,176Music, illustration derived from,223Nails,141Nativity, star of,229Nature,213,217,302,324,335Neatness,96Needle,68,123New College,230Niggling, no use in,158Nimbus, withheld till the figure is finished,263Norman glass,227Novelty not essential to originality,247Numbers attached to natural objects,221Oil-painting and glass-painting compared,198Oil stone, substitutes for,53Old glass,171,308,314,321Orange-tip butterfly,214Order, "Heaven's first law,"233Orderliness,284Originality not to be striven after,297Ornament, system of teaching,325Outline,59-82Overpainting, danger of,120Oxford, centre for study of glass,314Oxford, New College, for green,230Oxide (seePigment)Painted glass,84Painter and glass-painter contrasted,199Painting,56,94,118,321Painting, heaviness of, objected to by some,227Painting, rule regarding amount of,229Pansy, colour of,232Patrons,264Parthenon frieze, repose of,173Perfection,163Perpendicular, rules for raising a,286Peterborough, Gothic tracery in Norman openings,238Pictures, criticism on,208Pigment,164,226Pigment, mixture of,57Pigment, oxide of iron,57Pigment, soft, danger of,112Pigment, unpleasant red,57Plain glazing, removing,151Plating,147Pliers,43Poppies,218Prices of stained glasses,159Principles of old work to be imitated, not accidents,322Prior's glass,31Publicity, danger of wasting time on pursuit of,296Punch, parody of the "Palace of Art,"250Pupils' work,335Putty, substitute for cement in plated work,318Putty, to be used when glass is doubled,147Quarries,331Quarry glazing, with subject,177Rack for glass samples,186Realism to be avoided,173Recasting of composition,301Removing the plain glazing,151Repose in architectural art,174Rest for hand,61Restoration,181,245,315Resurrection, sunrise in,219Revivals, architectural,239Rich and plain work,177Right angles, formula for,286Roman decadence,240Room, to make the most of,192Rose-briar, colour of, in sunset,220Rossetti,203Ruby glass,33Ruby glass, value of,160Rule of thumb,113Rules for work,264,286Ruskin,202,255,325Sacredness of ancient buildings,245Schubert,223Scratch-card,144Scrubs,81Sea-weeds,217Second painting,118,126,127Sections, how to join together in fixing,150Sections, large work made in,150Seed, everything grown from,291Seed of ornament,294Selvage edge, to tear off,193Sens, centre for study of glass,315Setting mixture,86Sharpening diamonds,33Siennese painters, good work to copy in glass,322Single fire,127Sketching in glass,175Soldering,144Sparta, revival of simplicity in,243Special glasses,227Spotting,163Spring morning, ride on a,214Squaring outlines,286Stain,129Stain it!,225Stain overfiring, result of,129Stained-glass, accessory to architecture,168Stained-glass, ancient, to be held sacred,245Stained-glass, definition and description of,29Stained-glass, diapering, spotting, and streaking,179Stained-glass, joys of,303Stained-glass, loving and careful treatment of,177Stained-glass, new developments of,132Stained-glass, prices of material,159Stained-glass, subservient to architecture,155,236Stained-glassversuspainted glass,84Staining,225Stale colour, danger of,165Stale work, disadvantage of,114Standardising,113Stencil brush,121Stepping back to inspect work,176Stevenson, R. L.,156Stick,68Stipple,99,101Stippling brush,100Stonework, relation of glass to,134Stopping-knife,142Streaky glass, imitating drapery,230Strength in painting, limits of,125Stretching the lead,137Style,237,246Subject, right limits to importance of,248Sufficient firing, test of,117Sugar or treacle as substitute for gum,62Surgeon, precision of a,67Symbolism, proportion in,262Tabernacle (seeCanopy)Tamworth,237Tapping,41Taste, some principles of,92Technical school, curriculum of,321Templates to be verified,289Tennyson, his constant revision,271Texture of glass, use of,126Theseus,260Thought, imagination, allegory,248Ties for banding,151Thrift,157Time saved by accuracy and method,290Time-saving appliances,277Tinning the soldering iron,145Tints, method of choosing,210Titian,173,203,271,316Tradition,238,242Troyes, centre for study of glass,315Trying workin situ,175Turgenieff, proverb on accuracy,285Turpentine (Venice),129Tuscan painters, good work to copy in glass,322Upholstery and millinery in glass, to avoid,324Venus of Milo,260Veronese,203Village church, untouched, picture of,305Violent action to be avoided,173Wage of lead workers,159Waste, proportion of, to finished work,162Wastefulness, English,156Wax, best,95Wax, removing spots of,98Waxing-up,95Waxing-up, tool for,188Wells, centre for study of glass,314Wheel-barrow, comparison with wheel-cutter,51Wheel-cutters,34,35,47,53,54,56White, pure, value of,227White spaces to be interesting,178Work in the shop, rules for,286Yellow and red together,218Yellow, certain tints hard to obtain,217Yellow stain,129York, centre for study of glass,314York Minster, glass in,230,308,313