Another type of glass painting was executed by W. Jorden, who in 1783 painted the portraits of the Deverell family. These six fine examples show Thomas Deverell in ribbon-tied wig and shirt frill, Ann, Caroline, Susan, Elizabeth, and Hester; they were formerly in the collection of Mr. Montague Guest, and were sold for a large price at Christie’s. The work of Jorden differs considerably from the glass painting of other profilists, as he used flat glass instead of the convex, and his work is extremely bold and without detail, except in outline. He does not depend on any shadow casting for his charm in the work. Examples by Jorden are exceedingly rare. A. Charles was another profilist of the eighteenth century, whose work has extraordinary charm. He used Indian ink and fine line together with the solid black work. Sometimes examples are to be found where the draperies and dress are in colour. A good specimen in the original wood oval frame, in the possession of Mr. Rowson, has a trade label on the back as follows:— “Profiles taken in a new method by A. Charles, No. 130, opposite the Lyceum, Strand. The original miniaturist on glass, and the only one who can take them in whole length by a pentagraph. They are also worked on paper and ivory, from 2s. 6d. to £4 4s. They have long met the approval of the first people and deemed above comparison. “N.B.—Drawing taught.” Glass portraits were executed with a mixture of carbon made with pine-soot and beer, which gives an intense blackness. The process was sometimes inverted, and the flat or convex glass having been blackened with pine-smoke all over, the outline of the head or figure was then drawn in with a sharp point and the blackness removed, except where it served as the filling of the outlined objects to be silhouetted. The back of such a portrait was then treated in one of the several different ways—gold leaf or gold tinsel paper was placed over the back, and was as a rule covered with a thin layer of wax, so that, looked at from the front, the silhouette portrait stood out from a gold ground; or, if the blacking process had been reversed, the gold portrait showed on a black ground. Sometimes silver leaf was used instead of gold, and occasionally, as in the Forberger memorial picture in the Wellesley collection, and in a fine, small example at Knole, both gold and silver are used in the same picture. In the Graz Museum in Germany there is a beautiful head of a youth painted on glass. A pyramid-like building also figures in the picture, both gold and silver foil being used as background.