proper color. The effect could scarcely have been more delicate, yet the color tones were full and strong.
In another window, the design of Mr, Will H. Low, the draperies of a seated figure were executed in a vivid blue. The sketch called for a rich purple, and any one passing through the studio at this stage of progress would have been inclined to resent the seeming liberties taken by the workmen. The artist's intentions evidently were only half carried out. But, while one stands pondering over the excessive amount of assurance possessed by people of a certain class, one of their number has quietly slipped a piece of ruby glass back of the draperies, and at once the vivid blue vanishes to give place to a magnificent purple as much finer than the artist's paper-color as the sunshine is better than gas-light.
In this plan of doubling the glass the colorist has in his possession a device of immense effectiveness. The entire color tone of a window can readily be-changed, even after it is completed and in place.
When the window is well under way, the preparation of the flesh portions of the picture begins. These are cut from white opalescent glass, and must be painted with no inconsiderable skill. In the early days of mosaic glass the painting was done almost in monochrome, a light reddish brown being a favorite tint. It had, however, the disadvantage of giving a statue-like sameness to all the figures. Had the taste continued, our windows would have become an assemblage of rather monotonous blonde types. But to-day there is great variety in this respect, and the painting of the face and other exposed portions of the figure is made to conform very strictly to the character of the whole picture. In ecclesiastical designs done in mediæval style, the painting is executed in a pinkish-brown monochrome on transparent antique glass. The effect is so very Elizabethan that it is hard to believe the work a modern product, unless one has seen it in process of evolution. For the saints and Madonnas of the early masters, the high cheek-bone and other characteristics of feature are reproduced with remarkable fidelity. But, while these products are highly interesting, they are in point of beauty far excelled by modern types. To the production of these nearly the whole range of mineral paint has contributed. One of the finest examples of the modern school of painting on glass is to be found in the face of "The Good Shepherd," in which nearly every possible color has been used. At a distance one is not conscious of any particular color, but is attracted by the intense life and love shown in the face. Rather bold expedients are often employed to secure these striking effects. In one face, whose eyes were more than usually expressive of life, the result was obtained by bands of bright green bordering both eyelids.
