Above: Diagram of a glass painting setup (Artist: E.G.Lutz, from his 1927 book The Motion Picture Cameraman)
Below: A behind-the-scenes photo showing a glass-shot setup for Slander the Woman (1923). This shot establishes the ice skaters on a frozen lake with the glass painting finishing off the mountains and lodge above their heads (via)
Above, the bell ringing scene in Black Narcissus (1947, dir. Michael Powell & Emeric Pressburger) as shot on the studio lot; below, the final scene with the addition of Walter Percer Day’s glass matte painting of the Himalayas.
Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor.
Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well.