good for the purpose. The splendid illustrations of this in Mr. St.
John-Hope's book of the stall-plates of the Knights of the Garter at
Windsor, examples of which by the author's courtesy I am allowed to
reproduce (figs. 22-22A), are ideal for bold outline-work, and
fascinatingly interesting for their own sake. In most of these there is
not only excellent practice in _outline_, and a great deal of it, but,
mixed with it, practice also in flat washes, which it is a good thing to
be learning side by side with the other.

[Illustration: FIG. 21.]

And here let me note that there are throughout the practice of
glass-painting _many_ methods in use at every stage. Each person, each
firm of glass-stainers, has his own methods and traditions. I shall not
trouble to notice all these as we come to them, but describe what seems
to me to be the best practice in each case; but I shall here and there
give a word about others.

For instance: if you use sugar or treacle instead of gum, you get a
rather smoother-working pigment, and after it is dry you can moisten it
as often as you will for further work by merely breathing on the
surface; and perhaps if your aim is _outline only_, it may be well to
try it; but if you wish to pass shading-colour over it you must use gum,
for you cannot do so over treacle colour; nor do I think treacle serves
so well for the next process I am to describe, which here follows.

[Illustration: FIG. 22.]

[Illustration: FIG. 22A.]

_How to complete the Outline better than you possibly can by One
Tracing._--When you take up a bit of glass from the table, after having
done all you can to make a correct tracing, you will be disappointed
with the result. It will have looked pretty well on the table with the
copy showing behind it and hiding its defects, but it is a different
thing when held up to the searching daylight. This must not, however,
discourage you. No one, not the most skilful, could expect to make a
perfect copy of an original (if that original had any fineness of line
or sensitiveness of touch about it) by merely tracing it downwards on
the bench. You must put it upright against the daylight, and mend your
drawing, freehand, faithfully by the copy.

These remarks do not, in a great degree, apply to the case of hard
outlines specially prepared for literal translation. I am speaking of
those where the outline is, in the artistic sense, sensitive and
refined, as in a Botticelli painting or