Vitreous Painting on the Second Lancet of the Queen of Angels Window

Here is a shot of progress painting on the second lancet of this large window. I think I explained previously how we can manage to see all of the glass for a section of a window in daylight by attaching the prices to a sheet of plate glass. Hot beeswax is dropped in the corners of each piece with an eye dropper. When all the pieces are firmly stuck to the plate glass, we lift it up onto an easel standing before a window.

The six photos above show a sequence of steps as I painted the drapery on this foreground figure. I am working with the vitreous paint mixed with gum Arabic, the binder used in watercolors. Because the glass doesn’t absorb the water, one has to work fast to control the movement of the paint as the water evaporates. Working in a window means that the glass is vertical so one is constantly fighting against gravity while controlling the effects of dark and light. This is done with the blending brush, a large brush with long hairs from the badger. I will be explaining the significant tools of the process in another posting real soon.

Here is a detail of the upper part of this same section. The crown was cut from a piece of purple flashed glass that was then etched with hydrofloric acid.
This section shown here with the section above. I had both stacked together on the easel and began at the top to work my way down. You can see that the upper section is heavily painted while the lower section is still without any matting.
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