In both cases the ground which has been laid on must be most carefully leveled over, and brought to as thin a coat as possible with a large hair pencil, and must be dried quickly, taking great care to preserve it from dust, etc.

Painting on one sheet requires only one pattern drawing or cartoon, which, however, may be used in two ways. Either the glass sheet, grounded and dried as above directed, may be laid upon the drawing, and the outlines, as seen through the glass, traced lightly with a fine pencil, and with black or other glass color corresponding to the ground. Or the drawing may be placed reversed on the sheet, and all the outlines marked over with a steel or ivory style. If this latter method is used upon a ground of simple turpentine, the back of the drawing must previously be rubbed over with black lead, so that the traced lines may appear dark on the light ground.

In both cases, the drawing, whether it is placed upon or under the glass, must, for the sake of convenience, be fastened to it with pieces of wax at the four corners.

For properly carrying out the process of laying on the colors, a desk or easel is necessary, which should be capable of being placed in an inclined position by means of props, and should be formed by fixing a glass plate in a wooden frame, so that the light may pass through the painting. Sometimes during the progress of the work, the glass which is being painted may be removed from the easel and laid upon a sheet of white paper, in order better to show the effect of certain colors.

The vehicle with which the pigments are laid on is generally oil. Some artists use exclusively water, but this alone is an insufficient medium for binding the metallic bodies to the glass, particularly if, as in the case of fused colors, they are somewhat coarse in their nature, and require to be laid on in thick layers. They then easily loosen from the plate before the firing, and render the process of laying on much more difficult. It is an important advantage, that with oil the edges are more sharply defined, and the parts already painted may be again touched over when dry without danger of loosening the ground.

It must be understood that when it is wished to make use of water, the plate must either not be grounded at all, or only with a glass-painting color worked up with water.

The most suitable kind of oil for the purpose is rectified oil of turpentine, somewhat thickened by standing, and to which a little oil of lavender is added. This preparation gives the mass the necessary degree of viscosity, and also prevents the color on the palette from drying up and thickening too quickly.

The palette should be of thick sheet glass, ground rough by rubbing with a glass muller and fine sand.

Preparatory to mixing with oil for laying on, those colors which require a flux must (unless a different process is specially indicated) be ground fine in water with the flux, and again dried. But the fused colors, i. e. those in which the oxide has already been vitrified with the flux into the state of a transparent glass, should for the purpose of laying on, only be coarsely granulated; for the finer these are ground the more likely is their transparency and perfection to be impaired when burnt in.

Those pigments which are laid on in their simple combination with an earthy vehicle, and without flux, as for example the yellow and red colors prepared from silver, form an absolute exception to the use of oil, and must, for laying on, be stirred up with water to the consistency of a thick cream.

The first of these three kinds of pigments should, as a general rule, be laid on in a thin, the latter two in a pasty, state. The depth of tone of the color depends, with all three, upon the degree of thickness in which the pigments are laid upon the glass.

The laying on of the fused colors is accompanied with more difficulty than that of the other kinds. The latter are simply laid on with the pencil, in the same manner as with other kinds of painting, and the only care necessary is that the coat may be perfectly even and regular, therefore for large surfaces a wide smooth pencil or driver is usually employed. The colors prepared from silver must be treated differently, and laid on the glass at least to the thickness of the back of a knife.

But the fused colors must be brought upon the surfaces to be covered in the state of a thick flowing mass, moist enough to run, but consistent enough to lie upon the glass. For this purpose small portions must be laid on and spread out with a pencil or small spoon, and made to flow to the circumscribing outlines, by inclining the sheet in the proper directions. If any part of the surface thus covered is required to take a darker tone of color, the plate must be kept for some time at an inclination in the corresponding direction, so that the color may thus accumulate thicker on that part. By this process many gradations of tone may be obtained from one and the same pigment.

The remaining rules for the laying on of the pigments are those which principally result from the different methods of painting on one sheet, of which there are principally three.

Either the whole picture may be brought out in its outlines and shadows, on one side of the sheet, with black, brown or gray color, and illuminated with the proper colors in the proper places on the other side.

Or simply the manner of ordinary oil painting may be adopted with the glass colors, and the picture treated as by an artist in oil.

Or, as is now most customary, both methods may be united, the artist making use of each in certain places, according to the requirements of the object he has in view.

For these three methods the following common rules will serve.

The shadows and dark colored outlines, and that which is called in oil 'under painting,' should be drawn on the front side of the glass, or that which is turned towards the spectator.