use of a brownish or warm grey tint, which is generally used a little over all the colors represented in the work. There are some slight gradations of these brown tints used occasionally, principally when it is desired to paint the flesh shadows with some separate tint, but generally it may be understood that the office of the painter in stained glass is not to produce the colors, but by his brown shadowing to bring out the design and forms of the composition. When the glass, thus shaded and outlined, has passed through the furnace--where the shadows are vitrified--and been allowed gradually to cool, the glazier fits it together with lead-work, soldering in all the pieces, then the whole is made weather-tight, and the stained glass window is complete. COTTON MANUFACTURE. Illustration: MULE FRAMES. Illustration: FRENCH COMBING-MACHINE. Illustration: “SCOTCHING” OR BLOWING MACHINE. Illustration: LAP FRAME. Illustration: CARDING MACHINE. Illustration: DRAWING MACHINE. After the cotton is sorted, and the grosser impurities picked from it by hand, it is dressed by the “combing machine,” or subjected to a machine (called a “willow,” as it was originally a sort of basket) contrived to open out and mix the cotton well together, at the same time blowing off all dust and allowing the heavier impurities to fall through a grating. The next process is called “scotching,” and the machine is sometimes called a “blowing machine.” From this the cotton is passed in a “lap” or thin layer, which is beaten as it passes, to get rid of dust, and a draught of air produced by a blowing apparatus assists in the same object; it is thus entirely freed from all impurities. The cotton is then carried to the “carding machine,” for the purpose of having its fibres all laid parallel with each other; this machine is, in fact, a sort of comb, and consists of cylinders having fine wires projecting from their surfaces acting in different directions, so as to draw out the fibres till they all lie in one direction, forming a kind of “fillet,” called a “card,” which is carried by rollers into a tin can and then subjected to a process called “drawing and doubling.” As the “card ends” are not yet sufficiently parallel in their fibres, they have to be passed between three sets of rollers, the undermost of which are fluted on their surfaces, the upper ones being covered with flannel. These rollers act in a peculiar manner; the first pair pass the cotton at a certain rate on to the second pair, which would pass it on to the third unchanged if they revolved at the same rate as the first pair, but they are turned a little faster, and therefore stretch the fillet of cotton at an even and regular rate, and in such a manner that it is not broken; the third pair, going faster than the second, again stretch the fillet. After the fillet has passed through it is doubled, passed through again and again, till it is