The Savannah morning news. (Savannah, Ga.) 1900-current, 1902-02-14

ing the instruments of the Passion, the
artist endeavoring TO portray the story
of the Redemption and the triumph of
good over evil.
1.-THE studio in which this window is
being executed is a busy place just
now and the work is advancing rapidly.
a few weeks ago the artist sent the
workers in glass his cartoon, or work.
ing drawing, made on a quarter scale.
This was enlarged by photography to
the full size, and two transfers were
made on Manila paper One was put
as'ds TO be used as a map or guide
Tor the glazier when the pieces of glass
are ready to be put together with leads.
Inc other transfer was cut up into
patterns which We're then arranged on
a glass easel, which stands against
the light at one end of the studio.
The many pieces of paper represent the
separate pieces of glass which are
needed as far as general outline is
concerned. fN4
Along one side of the studio is a
long row of racks filled with glass of
various sorts-opalescent, antique. pot
metal, flash drapery-and in oolors that
would almost shame the most mag
nllcent rainbow. The drapery glass is
used to carry out the drawing. and as
fast as the pieces are chosen they are
cut TO the forms of the paper pattern
ana put in place on the glass easel.
Inc next step is one of the most
difficult and requires keen artistic
sense of color. AT one side of the glass
easel stands the color model, a repro
ductlon OF the design on small scale.
carefully worked out in colors. The
glass artisan has to match these col
ors exactly, and there are several WAYS
OF DONG 1t. Generally the shade de-
slred can be obtained by superinpos-
ing one glass over another, and in
some cases in this window the artisan
has been compelled to employ three.
four and five thicknesses. 1t is often
necessary to cut away some os the
color by means of acids.
When the glass is cut the artisan
again takes a hand and paints the
heads of the figures. This work used
to be turned over to So called glass
painters, who We're often unable to
grasp the thought and conception of
the artist. The heads are painted with
fusible colors, made of mineral oxides
mixed with flux. The artist works in
much the same manner as does por-
trait painter with oils, only from time
TO time he places his painting in
kiln, and the heat makes it part OF
the g ass thereby insuring its dura-
bility.
1T is then the glaciers turn, and the
| many small pieces of glass are laid out
on a broad table on which one of the
transfer sheets has been placed With
long strips of grooved lead the pieces
are rariGly put I'm place. A powdered
| cement Is I'll en- sprinkled over rh glass
| and worked into the small crevices
about the leads, making the section
solid"
1t will be of interest to know that
| the test drawings by which Mr.. Kline
secured entrance to the National Aead-
envy of Design, New York. We're made
in Savannah, in the Telfair Academy,
| from the figures in the hall of statu-
airy. After entering the Academy of
Design Mr.. Kline did such excellent
| work and showed so great a talent
for his chosen profession of painter
that he was awarded the first scholar
ship ever given by the academy. He
| studied abroad a number of years.
chiefly in Paris, then returned to New
| York, but winning the Lazarus schol-
arship he again went to Paris for
| three years, and has only recently re-
| turned to the United States.
| AT the Pam American Exposition one
| of his paintings, Her Tribute" won
a medal This picture is now on ex-
| hibition in San Francisco. He has
| another picture, THE Flight Into
| Egypt" on exhibition at the inter-
state and West Indian Exposition al
| Charleston. Recently he became an
associate of the National Academy of
Design, and he is now sitting for his
| portrait, which. when completed, will
be hung in the academy.