GLASS PAINTING, or STAINING, is practised as follows — The design having been first drawn on paper, the glass is laid thereon, and the outline traced with a coloured fusible glass. The parts intended to he yel low, orange, or red, are then coated, either on one or both sides, according to the tint re quired, with a mixture composed of silver, antimony, and oxide of iron. The glass is then exposed to a red beat, in which process the tracing colour is fused, and adheres per manently to the glass. The mixture of silver and antimony stains the glass, but does not melt, so that the oxide of iron, which is in the state of dry powder, may be brushed off, leav ing the glass coloured, but as transparent as before. The other colours, composed, as for enamel [ENAMEL], of a very fusible glass co loured with metallic oxides, are then added, and the glass is again fired. In subjects which are too large to be executed in one piece, the joinings are carefully arranged to run in the outline; and for draperies, &c., the artist
avails himself of glass already coloured in the manufacture (pot metal), and which requires shadowing, diapering, &c.
In painting glass, the colours applied remain on the surface of the glass, and interfere with its 'transparency. In staining glass, the colour sinks into the glass a very small distance, but leaves it as transparent as before. The only colours which modern artists are able to pro duce by staining are yellow, orange, and red. There are two modifications of painting or staining on glass, called melting and emboss ing, produced by special chemical means.
The glass stainers of St. Helen's, New- 1 castle, and other towns, are preparing large and fine specimens of their art for the Great Exhibition.