Evening star. [volume] (Washington, D.C.) 1854-1972, 1879-09-15
The Art of Glass Staining.

Nearly contemporary with the revival of
G0thsc architecture applied both to ecclesiasti-
Cal and secular buildings, the taste for the en-
richment OF such edihces by the introduction
OF colored and painted glass has revived and
ncurlsned. The secret OF communicating to
glass the exquisite and glowing colors so richly
and tremendously blended in the few untn-
jured specimens that remained In the MEDIEVAL
churches OF Great Britain, ii not absolutely
lost, was long buried in obscurity Another
most serious impeachment was the difficulty of
producing pigment which should possess SUI
ncient affinity with the glass to be readily In
corporated with 1t, and yet be capable Of re-
duct1on to consistency favorable to its use as
an ordinary Kind OF painting material to be-
laid on, and vartously treated, according to the
artistic necessities Of the manipulation. But
these and other minor obstacles gradually dis
appear before the searching Investigations of
enthusiasts In an art that had been so long
neglected.
through its chief stages The design of the
window being determined upon, and the car
toon or full sized drawing being prepared,
kind OF skeleton drawing is made, showing only
separate piece OF glass; 1t Is apparently not
generally understood that window is not one
piece OF glass. to which are applied the various
which are united by grooved lead, which ca
closes each individual fragment, and that each
different color we see is the color OF that par
ocular c piece OF glass, the only painting mate
rial employed being the dark brown pigment
used to define the more delicate and minute
details. This skeleton or working drawing
tnen passes to the cutting room, where sheets
OF glass OF every imaginable shade are arranged
In racks, each bearing a number, by which a
particular tint is known. The drawing being
numbered On each separate piece of glass BIZ
means OF frame containing all pieces Of every
shade, and each numbered according to the
rack containing the glass OF that color, the u
OF this frame renders unnecessary the tedious
process OF visiting each rack In search OF the
particular shade required; the glass Is laid bit
by bit On the drawing, and each piece Is then
cut TO the required shape by means OF a dia-
mond.
After the glass is cut it passes to the painter
who, laying 1t over the drawing, traces upon 1t
with his brush all the details OF features. folds
artist B as tie action as ot d se ey .ns
continually varying. conditions OF the atmos-
phere would speedily remove every vest1ge OF
paint II left In this state, 1t is necessary to SUBJ
ject the painted glass to the action Of heat by
placing 1t for several hours In q kiln, under the
influence OF which the paint is fused into abso-
lutte affinity with the glass, and becomes abso-
lutely Incorporated With It's substance. After
this burning process, 1t only remains for the
leaden frame work which binds the whole to-
gether. The places where the leads 1oin are
then carefully soldered together, and nothing
remains but to thoroughly work over the whole
up any 1nterstices between the glass and lead.
and renders the whole panel perfectly water.
tight and weather proof.-[Chambers' Journal.
BAUER BEATEN.-Whitney's opera House, at
Detroit, Mich, was crowded Saturday evening
to witness the wrestling match for $4OO, best
Two In three falls, between Col. J. Fl. Nc
Laughlin, OF Detroit, and Theobaud Bauer, OF
New York. The first round, collar and elbow.
was won by Mclaughlin in three minutes.
the second round, GrncO-Roman, was won by
Bauer In u minutes. The third round, catch
as,catch-can, was won by Mclaughlin In seven