Till within a few years this was the only bright red in use among modern glass-painters; and though the best specimens certainly produce a fine effect, yet it will seldom bear comparison with the red employed in such profusion by the old artists. Besides the enamels and stains above-described, artists, whenever the subject will allow of it, make use of panes coloured throughout their substance in the glass-house melting-pot, because the perfect transparency of such glass gives a brilliancy of effect, which enamel-colouring, always more or less opake, cannot equal. It was to a glass of this kind that the old glass-painters owed their splendid red. This in fact is the only point in which the modern and ancient processes differ, and this is the only part of the art which was ever really lost. Instead of blowing plates of solid red, the old glass-makers used to _flash_ a thin layer of red over a substratum of plain glass. Their process must have been to melt side by side in the glass-house a pot of plain and a pot of red glass: then the workman, by dipping his rod first into the plain and then into the red glass pot, obtained a lump of plain glass covered with a coating of red, which, by dexterous management in blowing and whirling, he extended into a plate, exhibiting on its surface a very thin stratum of the desired colour[337]. In this state the glass came into the hands of the glass-painter, and answered most of his purposes, except when the subject required the representation of white or other colours on a red ground: in this case it became necessary to employ a machine like the lapidary’s wheel, partially to grind away the coloured surface till the white substratum appeared.