ing will make it--I advise you, when the
work comes back from the fire and is waxed up for the second time
(which, in any case, it assuredly should be, if only for your judgment
upon it), to proceed as follows.

First, with a tracing-brush, go over all the lines and outlined shadows
that seem too weak, and then, when these touches are quite dry, pass a
thin matt over the whole, and with stippling-brushes of various sizes,
stipple it nearly all away while wet. You will only have about five
minutes in which to deal with any one piece of glass in this way, and in
the case of a head, for example, it needs a skilful hand to complete it
in that short space of time. The best plan is to make several "shots" at
it; if you do not hit the mark the first time, you may the second or the
third. I said "stipple it nearly all away"; but the amount left must be
a matter of taste; nevertheless, you must note that if you do not remove
enough to make the work look "silvery," it is in danger of looking
"muddy." All the ordinary resources of the painter's art may be brought
in here: retouching into the half-dry second matt, dabbing with the
finger--in short, all that might be done if the thing were a
water-colour or an oil-painting; but it is quite useless to attempt to
describe these deftnesses of hand in words: you may use any and every
method of modifying the light and shade that occurs to you.

CHAPTER IX

Of Staining and Aciding--Yellow Stain--Aciding--Caution required in
Use--Remedy for Burning--Uses of Aciding--Other Resources of
Stained-Glass Work.

Yellow stain, or silver stain as some call it, is made in various ways
from silver--chloride, sulphate, and nitrate, I understand, are all
used. The stain is laid on exactly like the pigment, but at the back of
the glass. It does not work very smoothly, and some painters like to mix
it with Venice turpentine instead of water to get rid of this defect;
whichever you use, keep a separate set of tools and a separate palette
for it, and always keep them clean and the stain fresh mixed. Also you
should not fire it with so strong a heat, and therefore, of course, you
should never fire pigment and stain in the same batch in the kiln;
otherwise the stain will probably go much hotter in colour than you
wish, or will get muddy, or will "metal" as painters call it--that is,
get a horny, burnt-sienna look instead of a clear yellow.

_How to Etch the Flash off a Flashed Gla