principle in mind, and instead of daubing and stippling them on, usually indicated them with a thin wash of enamel colour, intensified in parts by lines crossing one another, and therefore called cross-hatching, through the interstices of which the light, although subdued, was able, in a measure, to pass. But as the object of this article is not to discuss the merits of the various styles of glass painting, however much I might desire to enlarge upon it, I pass on to a description of the methods employed in the manufacture of stained glass windows. In the first place, after a design has been drawn, in which the effect of the window as a whole can be carefully considered, cartoons of the figures and ornament are made of the exact size of the intended painting. And here it should be noted, that all the lines should be extremely clear, precise, and well drawn, because it is from these that the workman, who is not usually himself an artist, has to convey on the glass the feeling of the artist. The cartoon, when completed, is laid down in pieces for convenience-sake on a table, and fastened with small nails. The glass-cutter then selects the various coloured glasses which are required to be inserted in their proper places, so as to carry out the design of the artist. For instance, a piece of white or yellow-tinted glass is cut to the shape of the face. If the figure be a small one, the hair also is included in this; and probably in the figure of a saint, the nimbus which surrounds the head may be included; while in larger figures, particularly in the earliest styles, the face was of glass of one tint, the hair of another, and the nimbus of one or more tints, different from either of these. Sometimes, in the later styles, the hair, after the face was painted and burnt in, was stained with the silver stain already described, so that when the glass was cleaned, it was of a yellow colour. However, not to enlarge more upon these points, which really belong more to the artistic than to the industrial part of window painting, let us proceed to the consideration of manipulative details. The outlines of the figures and ornament are painted with a substance called "tracing brown," made by mixing with a flux some oxide of iron, heating them together in a crucible and grinding the product to a fine powder, which is mixed with certain vehicles adapted to the particular use to which it is to be applied. Different fluxes are employed by different glass painters; some contain borax, because such fluxes fuse more easily, and therefore cause the glass which is painted to be exposed for a less time, and to a lower temperature, than when less fusible fluxes are used.