This is the first publication devoted to the subject of reverse painting and gilding on glass, commonly known as verre églomisé. Despite the prevalence of cold decorated glass escalating over the last 2 decades, until now there has been little or no information available on the subject. The history and techniques of the art are covered in detail in a book that is aimed at amateurs and professionals alike. This pioneering book is the first publication to devote itself to the methods, techniques and history of reverse painting and gilding on glass, often known as verre églomisé. It is written for students, artists, collectors, conservators, curators, interested amateurs, teachers and designers. Since the Renaissance the practice of cold decoration on the back of glass has passed in and out of fashion but today it is enjoying a resurgence in popularity. Historic examples can be seen in most major museums while artists use it today to create new work and designers incorporate it into furniture and room settings. This is probably the most condensed (and refreshingly so), yet comprehensive book to date on gilded and painted glass. Concise and easy to read it mainly covers the most widely used cold process of gold and painted decoration on glass. Frances wastes no time in pointing out and clearing up the true meaning of the term verre eglomise, now commonly used as a general title for any type of decoration applied to glass, but let's not give too much away. This is all covered, including both cold and hot methods, in the opening paragraphs and under the Terminology section. There are many old books from medieval manuscripts to un-translated documentation, so this book is very welcomed. There has been a long gap in the market for gilded glass, but now the art of glass decoration is enjoying such a revival, and with so many new and varied designs, this couldn't really be better timed. The book moves from techniques (ancient to modern day) to origins and the development of glass decoration throughout the world. Fabulous examples of historic and important pieces are illustrated, each with a brief description of techniques and materials used. Some of these examples show a real diversity in design and methods used. The step by step approach for the entire gilding process is also explained and shown in great detail, covering initial design process for geometric and free hand patterns, the process of laying the leaf, engraving and colouring. Recipes, materials & tools, suppliers and useful references to websites make it easy for even a complete beginner or an amateur who has never laid a single leaf, but may wish to try their hand. Even for the professional there is nothing comparable to this book. It is up to date, an excellent concise reference manual with a wealth of useful information, in essence it is a book that can teach even the most experienced restorer or gilder something new. Dominic Schuster for The BAFRA, British Antique Furniture Restorers Association. ...This book... brings together the results of years of research by the author... time-tested arcane formulae have been thoroughly modernized; intricate order-sensitive processes are thoroughly explained. Anyone practicing today has to get many things 'right' if they expect their work to last really long-term: that is why this book is so very important. William Gudenrath, Resident Advisor at The Studio of The Corning Museum of Glass, NY, USA. I started reading your book and I think that it is great - it contains amazing amounts of information and yet it doesn't beat about the bush. Nina Binnington, mirror specialist, Germany. ... Have now read four times, ever more slowly and with increasing understanding of the variables. Your experience and comments about what can be laid on top of what have in particular been very handy indeed for working out some potential snags ....I do so agree about repeating basic instructions in each separate context - from the reader's point of view, this is a blessing. Not to have to dash back and forth to re-establish an idea from a previous chapter, keeping a thumb in the page, is genuinely sensible.... I have put pencil marks all over the pages to remind me of small important details in the text. For me, that is clear proof that this is a book... genuinely useful workaday... to learn from and work with, not just to gawp at...Richard Byrne, UK. It's a work of gilded art! This book will encourage and teach students for years to come. David Smith, ornamental glass artist, UK. ...I want to say how much I am enjoying the book! Its such a fantastic resource and so inspiring - a real gift to the glass world. Lucy Batt, glass artist, UK. ... after so much time, research and careful thought, it is truly an inspiration. I am very keen to explore this use of gold and colour in what I hope eventually will be my own personal expression. Christopher Ainslie, glass engraver, UK. .