ning them; by _doubling_ glass, to get depth and
intensity, or to blend new tints;--these and such like are the things
that any artist _who does his own work and practises his own craft_ can
find out, and ought to find out, and is bound to find out, for
himself--they are the legitimate reward of the hand and heart labour
spent, as a craftsman spends them, upon the material. Suffice it to say
that in spite of the great skill which has been employed upon
stained-glass, ancient and modern, and employed in enormous amount; and
in spite of the great and beautiful results achieved; we may yet look
upon stained-glass as an art in which there are still new provinces to
explore--walking upon the old paths, guided by the old landmarks, but
gathering new flowers by the way.

We must now, then, turn our attention to the mechanical processes by
which the stained-glass window is finished off.

CHAPTER X

Leading-Up and Fixing--Setting out the Bench--Relation of Leading
to mode of Fixing in the Stone--Process of Fixing--Leading-Up
Resumed--Straightening the Lead--The "Lathykin"--The
Cutting-Knife--The Nails--The Stopping-Knife--Knocking Up.

You first place your cut-line, face upward, upon the bench, and pin it
down there. You next cut two "straight-edges" of wood, one to go along
the base line of the section you mean to lead up, and the other along
the side that lies next to you on the bench as you stand at work; for
you always work _from one side_, as you will soon see. And it is
important that you should get these straight-edges at a true right
angle, testing them carefully with the set-square. Fig. 46 represents a
bench set out for leading-up.

You must now build the glass together, as a child puts together his
puzzle-map, one bit at a time, working from the base corner that is
opposite your left hand.

But first of all you must place a strip of extra wide and flat lead
close against each of your straight-edges, so that the core of the lead
corresponds with the outside line of your work.

[Illustration: FIG. 46.]

It will be right here to explain what relation the extreme outside
measurement of your work should bear to the daylight sizes of the
openings that it has to fill. I think we may say that, whatever the
"mouldings" may be on the stone, there is always a flat piece at exact
right angles to the face of the wall in which the window stands, and it is
in this flat piece that the groove is c