ceeded in
making an agreeable pattern which will repeat not too obviously over an
indefinite space, to form a not obtrusive background, and which can be
printed and sold to the ordinary citizen, he is supposed to have
satisfied the conditions.

But he may be induced to go further and attempt the design of a complete
decoration as far as dado, field, frieze, and ceiling go; and this would
involve all the thought necessary to the mural painter, narrowed down to
the exigencies of mechanical repeat.

Allied to the wall is the window, and in glazing and the art of the
glass-painter we have another very distinct and beautiful sphere of line
design. In plain leading the same law of covering vertical surface holds
good as to selection of plan and system of line: almost any simple
geometric net is appropriate, if not too complex or small in form to
hold glass or to permit lead to follow its lines. Leaded panels of
roundels (or "bull's eyes") of plain glass have a good effect in
casements where a sparkle of light rather than outward view is sought
for.

[Stained Glass]

When we come to designing for stained glass we should still bear in mind
the fundamental net of lead lines which forms the basis of our pattern,
or glass picture, as it were: and the designer's object should be to
make it good as an arrangement of line independently of the colour,
while practical to the glazier.

[Illustration (f131): (1) Stained Glass Treatment: Inclosure of Form and
Colour by Lead Lines; (2) Sections.]

Although lead is very pliable, too much must not be expected of it in
the way of small depressions and angles: the boundary lines of the
figures, which should be the boldest of all, should be kept as simple as
possible, not only on this account, but because complex outlines cannot
well be cut in glass. A head, for instance, is inclosed in sweeping
line, and the profile defined within the lead line by means of painting.
A hand would be defined on the same principle. Each different colour
demands a different inclosure of lead, although in the choice of glass
much variation of tint can be obtained, as in the case of pot metal
running from thin to thick glass, which intensifies the colour, and many
kinds of what is called flashed. Yet to the designer, from the point of
view of line, glass design is a kind of translucent mosaic, in which the
primal technical necessity of the leading whi