Celain
rally appeared difficult; yet there is no represen- To paint upon glass is an art which has genetation more elegant than that of a mezzotinto painted in this manner, for it gives all the softness that can be desired in a picture, and is easy to work, as there are no outlines to draw, nor any shades to make.
The prints are those done in mezzotinto; for their shades being rubbed down on the glass, the several lines, which represent the shady part of any common print, are by this means blended together, of Indian-ink. and appear as soft and united as in any drawing Provide such mezzotintos as are wanted; cut off the size of the print, and as flat and free from knots the margin; then get a piece of fine crown-glass, and scratches as possible; clean the glass, and lay some Venice turpentine, quite thin and smooth, on flat in water, and let it remain on the surface till it one side, with a brush of hog's hair. Lay the print sinks, it is then damp enough; take it carefully out, and dab it between some papers, that no water may be seen, yet so as to be damp. upon a flat table; then hold the glass over it, with- Next lay the damp print with its face uppermost out touching the turpentine, till it is exactly even with the print, let it fall gently on it. Press the Take of the composition for paste, No. 1 or 2, glass down carefully with the fingers in several 2 lbs.; and proceed as with the above.
Hard Glass Resembling White Cornelian.
Take of the composition for hard glass, No. 1 or 2, 2 lbs. of yellow ochre, well washed, 2 dr.; and of calcined bones, each 1 oz. Mix them well by grinding them together, and fuse them with a gentle heat till the several ingredients be well inin a vitreous mass. Paste Resembling White Cornelian.
Take of the composition for pastes, No. 1 or 2, 1 lb., and proceed as with the foregoing.
Hard Glass or Paste Resembling the Turquoise Stone.
Take of the composition for blue glass or paste, No. 7 or 8 (being those resembling the eagle marine), 10 lbs.; of calcined bone, or ivory, lb. Powder and mix them well, and then fuse them in a moderate heat till they are thoroughly incorporated. If the color be not so deep as may be desired, a small proportion of smalt may be added. parts, so that the turpentine may stick to the print; after which take it up, then holding the glass tothe centre towards the edges, till no blisters rewards you, press the prints with the fingers, from main.
When this is done, wet the back of the paint with then rub it gently, and the white paper will roll off, a sponge, till the paper will rub off with the fingers; the fingers ; leaving the impression only upon the glass; then let it dry, and, with a camel's hair pencil, dipped in oil of turpentine, wet it all over, and it will be perfectly transparent, and fit for painting.
Improved Method.
The first thing to be done, in order to paint, or even color the whole subject on paper. Then stain glass in the modern way, is to design, and smooth, and proper to receive the several parts. choose such pieces of glass as are clear, even, and Proceed to distribute the design itself, or the paper it is drawn on, into pieces suitable to those of the glass; always taking care that the glasses may join in the contours of the figures, and the folds of the draperies; that the carnations and other finer