"What did you do first, Mr. Norcross, when you began the window?" asked Jean timidly. "I will show you every step I have taken in doing it if you would like to follow the process. In the first place I went to Chicago and studied the light and the setting which it was to have. Then I made this small water-color design and submitted it for approval to the persons who were ordering the window. The drawing accepted, I set about making a full-sized cartoon which I sketched in with charcoal on this heavy paper; the black lines represent the leading and the horizontal stay-bars necessary to hold the glass in place. After that I sliced up my cartoon into a multitude of small pieces from which the glass could be cut and the lead lines decided upon. All this done I went to work planning my color scheme--thinking out what dominating colors I would use and where I would place my high lights." "And then you were ready for your glass?" inquired Mr. Cabot. "Yes. Now selecting the glass is not alone a matter of color; it is also a problem of thickness. Sometimes a variation in tone can be obtained merely by using a bit of heavier glass in some one spot. Again the effect must be obtained by the use of paint." "What kind of glass do you use, Mr. Norcross?" Giusippe questioned. "What we call bottle, or Norman, glass. We get it from England, and strangely enough there is a heavy duty on it in its raw state. One can import a whole window free of duty because it is listed as an art work; but the glass out of which an art work is to be constructed costs a very high price. Odd, isn't it? As soon as I reach the point of using glass I arrange it on a large plate glass easel, using wax in the spaces where the lead is to go. Then I experiment and experiment with my colors. You probably know that in making modern stained glass a great deal of paint is used in order to get shading and degrees of color. It was toward the end of the thirteenth century that the old glass-makers began to introduce the use of paint into their windows. First came the grisaille glass, as it was called, where instead of strong reds and blues most of the window was in white painted with scroll work in which a few bits of brilliant stained glass were set like jewels. Then with the fourteenth century came those elaborate painted canopies and borders within which were the main figures of the window in stained glass. From that time on the combination of stained and painted glass was used. Accordingly we all work by that method now. So, as I say, I paint in my glass and afterward it has to be fired, all the small pieces being laid out on heavy sheets of steel covered with plaster of paris." "Do your colors always come out as you mean to have them?" inquired Giusippe, his eyes on the artist's face. Mr. Norcross shrugged his shoulders.