: Stained Glass Work: A text-book for students and workers in glass by Whall Christopher - Glass painting and staining Technology

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is a very small price to pay for the delight of living in this glorious fairyland of colour.

But to work in this way you must watch and work at your glass yourself; for these hints come late on in the work, when colour, light and shade, and design are all fusing together into a harmony. You can no more forecast these final accidents, which are the flower and crown and finish of the whole, than you could forecast the lost "Chord";--

"Which came from the soul of the organ, And entered into mine."

It "comes from the soul" of the window.

We all know the feeling--the climaxes, exceptions, surprises, suspensions, in which harmony delights; the change from the last bar of the overture to the first of the opening recitative in the "Messiah," the chord upon which the victor is crowned in "The Meistersingers," the 59th and 60th bars in Handel's "Every Valley."

Now how can you forecast such things as these!

"I thought you'd like to look at it before we stained it," said he.

"STAIN IT!" I said. "I wouldn't touch it; not for sixpence three-farthings!"

There was a sigh of relief all round the shop, and the reply was, "Well, so we all thought!"

Just so; therefore the figure remained, and so was erected in its place. Now suppose I had had men who did what they were told, instead of being encouraged to think and feel and suggest?

There is another question of ideals in the treatment of colour in stained-glass about which a word must be said.

And here I must now leave it to you. But one last little hint, and do not smile at its simplicity.

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