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Wikipedia

Stained glass

Stained glass is coloured glass as a material or works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture. Modern vernacular usage has often extended the term "stained glass" to include domestic lead light and objets d'art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany.

The north rose window of the Chartres Cathedral (Chartres, France), donated by Blanche of Castile. It represents the Virgin Mary as Queen of Heaven, surrounded by Biblical kings and prophets. Below is St Anne, mother of the Virgin, with four righteous leaders. The window includes the arms of France and Castile
Outside-view of a stained glass of the Sint-Petrus-en-Pauluskerk from Ostend (Belgium), built between 1899 and 1908

As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture, and usually then further decorating it in various ways. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in enamelled glass in which the colours have been painted onto the glass and then fused to the glass in a kiln; very often this technique is only applied to parts of a window.

Renaissance roundel, inserted into a plain glass window, using only black or brown glass paint, and silver stain in a range of yellows and gold. The local bishop-saint Lambrecht of Maastricht stands in an extensive landscape, 1510–20. The diameter is 8+34 in (22 cm), and the piece was designed to be placed low, close to the viewer, very possibly not in a church.

Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the Late Middle Ages. In Western Europe, together with illuminated manuscripts, they constitute the major form of medieval pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as "illuminated wall decorations".

The design of a window may be abstract or figurative; may incorporate narratives drawn from the Bible, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church – episodes from the life of Christ; within a parliament building – shields of the constituencies; within a college hall – figures representing the arts and sciences; or within a home – flora, fauna, or landscape.

Glass production

During the late medieval period, glass factories were set up where there was a ready supply of silica, the essential material for glass manufacture. Silica requires a very high temperature to melt, something not all glass factories were able to achieve. Such materials as potash, soda, and lead can be added to lower the melting temperature. Other substances, such as lime, are added to rebuild the weakened network and make the glass more stable. Glass is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state.[1] Copper oxides produce green or bluish green, cobalt makes deep blue, and gold produces wine red and violet glass. Much of modern red glass is produced using copper, which is less expensive than gold and gives a brighter, more vermilion shade of red. Glass coloured while in the clay pot in the furnace is known as pot metal glass, as opposed to flashed glass.

Cylinder glass or Muff

Using a blow-pipe, a "gather" (glob) of molten glass is taken from the pot heating in the furnace. The gather is formed to the correct shape and a bubble of air blown into it. Using metal tools, molds of wood that have been soaking in water, and gravity, the gather is manipulated to form a long, cylindrical shape. As it cools, it is reheated so that the manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is left to cool. One side of the cylinder is opened. It is put into another oven to quickly heat and flatten it, and then placed in an annealer to cool at a controlled rate, making the material more stable. "Hand-blown" cylinder (also called muff glass) and crown glass were the types used in ancient stained-glass windows. Stained glass windows were normally in churches and chapels as well as many more well respected buildings.

Crown glass

This hand-blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a potter's wheel. The centrifugal force causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses. Concentric, curving waves are characteristic of the process. The centre of each piece of glass, known as the "bull's-eye", is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the pontil mark, a distinctive lump of glass left by the "pontil" rod, which holds the glass as it is spun out. This lumpy, refractive quality means the bulls-eyes are less transparent, but they have still been used for windows, both domestic and ecclesiastical. Crown glass is still made today, but not on a large scale.

Rolled glass

Rolled glass (sometimes called "table glass") is produced by pouring molten glass onto a metal or graphite table and immediately rolling it into a sheet using a large metal cylinder, similar to rolling out a pie crust. The rolling can be done by hand or by machine. Glass can be "double rolled", which means it is passed through two cylinders at once (similar to the clothes wringers on older washing machines) to yield glass of a specified thickness (typically about 1/8" or 3mm). The glass is then annealed. Rolled glass was first commercially produced around the mid-1830s and is widely used today. It is often called cathedral glass, but this has nothing to do with medieval cathedrals, where the glass used was hand-blown.

Flashed glass

Architectural glass must be at least 1/8 of an inch (3 mm) thick to survive the push and pull of typical wind loads. However, in the creation of red glass, the colouring ingredients must be of a certain concentration, or the colour will not develop. This results in a colour so intense that at the thickness of 1/8 inch (3 mm), the red glass transmits little light and appears black. The method employed is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming "flashed glass".

A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown technique described above. Once this method was found for making red glass, other colours were made this way as well. A great advantage is that the double-layered glass can be engraved or abraded to reveal the clear or tinted glass below. The method allows rich detailing and patterns to be achieved without needing to add more lead-lines, giving artists greater freedom in their designs. A number of artists have embraced the possibilities flashed glass gives them. For instance, 16th-century heraldic windows relied heavily on a variety of flashed colours for their intricate crests and creatures. In the medieval period the glass was abraded; later, hydrofluoric acid was used to remove the flash in a chemical reaction (a very dangerous technique), and in the 19th century sandblasting started to be used for this purpose.

Modern production of traditional glass

There are a number of glass factories, notably in Germany, the United States, England, France, Poland and Russia, which produce high-quality glass, both hand-blown (cylinder, muff, crown) and rolled (cathedral and opalescent). Modern stained-glass artists have a number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways. In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and Dalle de verre.

Colours

 
Part of German panel of 1444 with the Visitation; pot metal of various colours, including white glass, black vitreous paint, yellow silver stain, and the "olive-green" parts are enamel. The plant patterns in the red sky are formed by scratching away black paint from the red glass before firing. A restored panel with new lead cames.

"Pot metal" and flashed glass

The primary method of including colour in stained glass is to use glass, originally colourless, that has been given colouring by mixing with metal oxides in its melted state (in a crucible or "pot"), producing glass sheets that are coloured all the way through; these are known as "pot metal" glass.[2] A second method, sometimes used in some areas of windows, is flashed glass, a thin coating of coloured glass fused to colourless glass (or coloured glass, to produce a different colour). In medieval glass flashing was especially used for reds, as glass made with gold compounds was very expensive and tended to be too deep in colour to use at full thickness.[3]

Glass paint

Another group of techniques give additional colouring, including lines and shading, by treating the surfaces of the coloured sheets, and often fixing these effects by a light firing in a furnace or kiln. These methods may be used over broad areas, especially with silver stain, which gave better yellows than other methods in the Middle Ages. Alternatively they may be used for painting linear effects, or polychrome areas of detail. The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called "glass paint", "vitreous paint", or "grisaille paint". This was applied as a mixture of powdered glass, iron or rust filings to give a black colour, clay, and oil, vinegar or water for a brushable texture, with a binder such as gum arabic. This was painted on the pieces of coloured glass, and then fired to burn away the ingredients giving texture, leaving a layer of the glass and colouring, fused to the main glass piece.[4]

 
German glass, Nuremberg, after a drawing by Sebald Beham, c. 1525. Silver stain produces a range of yellows and gold, and painted on the reverse of the blue sky, gives the dark green of the cross.[5]

Silver stain

"Silver stain", introduced soon after 1300, produced a wide range of yellow to orange colours; this is the "stain" in the term "stained glass". Silver compounds (notably silver nitrate)[6] are mixed with binding substances, applied to the surface of glass, and then fired in a furnace or kiln.[7] They can produce a range of colours from orange-red to yellow. Used on blue glass they produce greens. The way the glass is heated and cooled can significantly affect the colours produced by these compounds. The chemistry involved is complex and not well understood. The chemicals actually penetrate the glass they are added to a little way, and the technique therefore gives extremely stable results. By the 15th century it had become cheaper than using pot metal glass and was often used with glass paint as the only colour on transparent glass.[8] Silver stain was applied to the opposite face of the glass to silver paint, as the two techniques did not work well one on top of the other. The stain was usually on the exterior face, where it appears to have given the glass some protection against weathering, although this can also be true for paint. They were also probably fired separately, the stain needing a lower heat than the paint.[9]

"Sanguine" or "Cousin's rose"

"Sanguine", "carnation", "Rouge Jean Cousin" or "Cousin's rose", after its supposed inventor,[10] is an iron-based fired paint producing red colours, mainly used to highlight small areas, often on flesh. It was introduced around 1500.[11] Copper stain, similar to silver stain but using copper compounds, also produced reds, and was mainly used in the 18th and 19th centuries.[12]

Cold painting

"Cold paint" is various types of paint that were applied without firing. Contrary to the optimistic claims of the 12th century writer Theophilus Presbyter, cold paint is not very durable, and very little medieval paint has survived.[12]

Scratching techniques

As well as painting, scratched sgraffito techniques were often used. This involved painting a colour over pot metal glass of another colour, and then before firing selectively scratching the glass paint away to make the design, or the lettering of an inscription. This was the most common method of making inscriptions in early medieval glass, giving white or light letters on a black background, with later inscriptions more often using black painted letters on a transparent glass background.[13]

"Pot glass" colours

These are the colours in which the glass itself is made, as opposed to colours applied to the glass.

Transparent glass

Ordinary soda-lime glass appears colourless to the naked eye when it is thin, although iron oxide impurities produce a green tint which becomes evident in thick pieces or with the aid of scientific instruments. A number of additives are used to reduce the green tint, particularly if the glass is to be used for plain window glass, rather than stained glass windows. These additives include manganese dioxide which produces sodium permanganate, and may result in a slightly mauve tint, characteristic of the glass in older houses in New England. Selenium has been used for the same purpose.[14]

Green glass

While very pale green is the typical colour of transparent glass, deeper greens can be achieved by the addition of Iron(II) oxide which results in a bluish-green glass. Together with chromium it gives glass of a richer green colour, typical of the glass used to make wine bottles. The addition of chromium yields dark green glass, suitable for flashed glass.[15] Together with tin oxide[clarification needed] and arsenic it yields emerald green glass.

Blue glass

  • In medieval times, blue glass was made by adding cobalt blue, which at a concentration of 0.025% to 0.1% in soda-lime glass achieves the brilliant blue characteristic of Chartres Cathedral.
  • The addition of sulphur to boron-rich borosilicate glasses imparts a blue colour.
  • The addition of copper oxide at 2–3% produces a turquoise colour.
  • The addition of nickel, at different concentrations, produces blue, violet, or black glass.[16]

Red glass

  • Metallic gold, in very low concentrations (around 0.001%), produces a rich ruby-coloured glass ("ruby gold"); in even lower concentrations it produces a less intense red, often marketed as "cranberry glass". The colour is caused by the size and dispersion of gold particles. Ruby gold glass is usually made of lead glass with tin added.
  • Pure metallic copper produces a very dark red, opaque glass. Glass created in this manner is generally "flashed" (laminated glass). It was used extensively in the late 19th and early 20th centuries and exploited for the decorative effects that could be achieved by sanding and engraving.
  • Selenium is an important agent to make pink and red glass. When used together with cadmium sulphide, it yields a brilliant red colour known as "Selenium Ruby".[14]

Yellow glass

  • This was very often achieved by "silver stain" applied externally to the sheets of glass (see above).
  • The addition of sulphur, together with carbon and iron salts, is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black. With calcium it yields a deep yellow colour.[17]
  • Adding titanium produces yellowish-brown glass. Titanium is rarely used on its own and is more often employed to intensify and brighten other additives.
  • Cadmium together with sulphur results in deep yellow colour, often used in glazes. However, cadmium is toxic.
  • Uranium (0.1% to 2%) can be added to give glass a fluorescent yellow or green colour.[18] Uranium glass is typically not radioactive enough to be dangerous, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be carcinogenic. When used with lead glass with a very high proportion of lead, it produces a deep red colour.

Purple glass

  • The addition of manganese gives an amethyst colour. Manganese is one of the oldest glass additives, and purple manganese glass has been used since early Egyptian history.
  • Nickel, depending on the concentration, produces blue, or violet, or even black glass.[16] Lead crystal with added nickel acquires a purplish colour.

White glass

Creating stained-glass windows

 
Detail from a 13th-century window in the Basilica of Saint-Quentin depicting the creation of a stained glass window in Middle Ages
 
Swiss armourial glass of the Arms of Unterwalden, 1564, with typical painted details, extensive silver stain, Cousin's rose on the face, and flashed ruby glass with abraded white motif

Design

The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.

The subject matter of the window is determined to suit the location, a particular theme, or the wishes of the patron. A small design called a Vidimus (from Latin "we have seen") is prepared which can be shown to the patron. A scaled model maquette may also be provided. The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique.

A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated. In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.

A full-sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically have two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers, with elaborate tracery. In medieval times the cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window. The cartoon is then divided into a patchwork, providing a template for each small glass piece. The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect.

Selecting and painting the glass

Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by "grozing" the edges with a tool which can nibble off small pieces. Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.

From 1300 onwards, artists started using "silver stain" which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass. By about 1450, a stain known as "Cousin's rose" was used to enhance flesh tones.

In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamelled glass. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled.

A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.

Assembly and mounting

Once the glass is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames. In modern windows, copper foil is now sometimes used instead of lead.[19] For further technical details, see Came glasswork.

Traditionally, when a window was inserted into the window space, iron rods were put across it at various points to support its weight. The window was tied to these rods with copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period.

History

Origins

Coloured glass has been produced since ancient times. Both the Egyptians and the Romans excelled at the manufacture of small colored glass objects. Phoenicia was important in glass manufacture with its chief centres Sidon, Tyre and Antioch. The British Museum holds two of the finest Roman pieces, the Lycurgus Cup, which is a murky mustard color but glows purple-red to transmitted light, and the cameo glass Portland vase which is midnight blue, with a carved white overlay.

In early Christian churches of the 4th and 5th centuries, there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect.

Evidence of stained-glass windows in churches and monasteries in Britain can be found as early as the 7th century. The earliest known reference dates from 675 AD when Benedict Biscop imported workmen from France to glaze the windows of the monastery of St Peter which he was building at Monkwearmouth. Hundreds of pieces of coloured glass and lead, dating back to the late 7th century, have been discovered here and at Jarrow.[20]

In the Middle East, the glass industry of Syria continued during the Islamic period with major centres of manufacture at Raqqa, Aleppo and Damascus and the most important products being highly transparent colourless glass and gilded glass, rather than coloured glass.

In Southwest Asia

The creation of stained glass in Southwest Asia began in ancient times. One of the region's earliest surviving formulations for the production of colored glass comes from the Assyrian city of Nineveh, dating to the 7th-century BC. The Kitab al-Durra al-Maknuna, attributed to the 8th century alchemist Jābir ibn Hayyān, discusses the production of colored glass in ancient Babylon and Egypt. The Kitab al-Durra al-Maknuna also describes how to create colored glass and artificial gemstones made from high-quality stained glass.[21] The tradition of stained glass manufacture has continued, with mosques, palaces, and public spaces being decorated with stained glass throughout the Islamic world. The stained glass of Islam is generally non-pictorial and of purely geometric design, but may contain both floral motifs and text.

Stained glass creation had flourished in Persia (now Iran) during the Safavid dynasty (1501–1736 A.D.), and Zand dynasty (1751–1794 A.D.).[22] In Persia stained glass sash windows are called Orosi windows (or transliterated as Arasi, and Orsi), and were once used for decoration, as well as controlling the incoming sunlight in the hot and semi-arid climate.[22][23]

Medieval glass in Europe

Stained glass, as an art form, reached its height in the Middle Ages when it became a major pictorial form used to illustrate the narratives of the Bible to a largely illiterate populace.

In the Romanesque and Early Gothic period, from about 950 to 1240, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at Chartres Cathedral and at the eastern end of Canterbury Cathedral. As Gothic architecture developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone. This elaboration of form reached its height of complexity in the Flamboyant style in Europe, and windows grew still larger with the development of the Perpendicular style in England and Rayonnant style in France.

Integrated with the lofty verticals of Gothic cathedrals and parish churches, glass designs became more daring. The circular form, or rose window, developed in France from relatively simple windows with openings pierced through slabs of thin stone to wheel windows, as exemplified by the west front of Chartres Cathedral, and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at Sainte-Chapelle, Paris and the "Bishop's Eye" at Lincoln Cathedral.

While stained glass was widely manufactured, Chartres was the greatest centre of stained glass manufacture, producing glass of unrivalled quality.[24]

Renaissance, Reformation and Classical windows

Probably the earliest scheme of stained glass windows that was created during the Renaissance was that for Florence Cathedral, devised by Lorenzo Ghiberti.[26] The scheme includes three ocular windows for the dome and three for the facade which were designed from 1405 to 1445 by several of the most renowned artists of this period: Ghiberti, Donatello, Uccello and Andrea del Castagno. Each major ocular window contains a single picture drawn from the Life of Christ or the Life of the Virgin Mary, surrounded by a wide floral border, with two smaller facade windows by Ghiberti showing the martyred deacons, St Stephen and St Lawrence. One of the cupola windows has since been lost, and that by Donatello has lost nearly all of its painted details.[26]

In Europe, stained glass continued to be produced; the style evolved from the Gothic to the Classical, which is well represented in Germany, Belgium and the Netherlands, despite the rise of Protestantism. In France, much glass of this period was produced at the Limoges factory, and in Italy at Murano, where stained glass and faceted lead crystal are often coupled together in the same window. The French Revolution brought about the neglect or destruction of many windows in France.

At the Reformation in England, large numbers of medieval and Renaissance windows were smashed and replaced with plain glass. The Dissolution of the Monasteries under Henry VIII and the injunctions of Thomas Cromwell against "abused images" (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of these the windows in the private chapel at Hengrave Hall in Suffolk are among the finest. With the latter wave of destruction the traditional methods of working with stained glass died, and were not rediscovered in England until the early 19th century. See Stained glass – British glass, 1811–1918 for more details.

In the Netherlands a rare scheme of glass has remained intact at Grote Sint-Jan Church, Gouda. The windows, some of which are 18 metres (59 feet) high, date from 1555 to the early 1600s; the earliest is the work of Dirck Crabeth and his brother Wouter. Many of the original cartoons still exist.[27]

Revival in Britain

The Catholic revival in England, gaining force in the early 19th century with its renewed interest in the medieval church, brought a revival of church building in the Gothic style, claimed by John Ruskin to be "the true Catholic style". The architectural movement was led by Augustus Welby Pugin. Many new churches were planted in large towns and many old churches were restored. This brought about a great demand for the revival of the art of stained glass window making.

Among the earliest 19th-century English manufacturers and designers were William Warrington and John Hardman of Birmingham, whose nephew, John Hardman Powell, had a commercial eye and exhibited works at the Philadelphia Exhibition of 1876, influencing stained glass in the United States of America. Other manufacturers included William Wailes, Ward and Hughes, Clayton and Bell, Heaton, Butler and Bayne and Charles Eamer Kempe. A Scottish designer, Daniel Cottier, opened firms in Australia and the US.

Revival in France

In France there was a greater continuity of stained glass production than in England. In the early 19th century most stained glass was made of large panes that were extensively painted and fired, the designs often being copied directly from oil paintings by famous artists. In 1824 the Sèvres porcelain factory began producing stained glass to supply the increasing demand. In France many churches and cathedrals suffered despoliation during the French Revolution. During the 19th century a great number of churches were restored by Viollet-le-Duc. Many of France's finest ancient windows were restored at that time. From 1839 onwards much stained glass was produced that very closely imitated medieval glass, both in the artwork and in the nature of the glass itself. The pioneers were Henri Gèrente and André Lusson.[28] Other glass was designed in a more Classical manner, and characterised by the brilliant cerulean colour of the blue backgrounds (as against the purple-blue of the glass of Chartres) and the use of pink and mauve glass.

Revival

During the mid- to late 19th century, many of Germany's ancient buildings were restored, and some, such as Cologne Cathedral, were completed in the medieval style. There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as Albrecht Dürer. Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827.[28] A major firm was Mayer of Munich, which commenced glass production in 1860, and is still operating as Franz Mayer of Munich, Inc.. German stained glass found a market across Europe, in America and Australia. Stained glass studios were also founded in Italy and Belgium at this time.[28]

In the Austrian Empire and later Austria-Hungary, one of the leading stained glass artists was Carl Geyling, who founded his studio in 1841. His son would continue the tradition as Carl Geyling's Erben, which still exists today. Carl Geyling's Erben completed numerous stained glass windows for major churches in Vienna and elsewhere, and received an Imperial and Royal Warrant of Appointment from emperor Franz Joseph I of Austria.

Innovations in Britain and Europe

Among the most innovative English designers were the Pre-Raphaelites, William Morris (1834–1898) and Edward Burne-Jones (1833–1898), whose work heralds the influential Arts and Crafts Movement, which regenerated stained glass throughout the English-speaking world. Amongst its most important exponents in England was Christopher Whall (1849-1924), author of the classic craft manual 'Stained Glass Work' (published London and New York, 1905), who advocated the direct involvement of designers in the making of their windows. His masterpiece is the series of windows (1898-1910) in the Lady Chapel at Gloucester Cathedral. Whall taught at London's Royal College of Art and Central School of Arts and Crafts: his many pupils and followers included Karl Parsons, Mary Lowndes, Henry Payne, Caroline Townshend, Veronica Whall (his daughter) and Paul Woodroffe.[29] The Scottish artist Douglas Strachan (1875-1950), who was much influenced by Whall's example, developed the Arts & Crafts idiom in an expressionist manner, in which powerful imagery and meticulous technique are masterfully combined. In Ireland, a generation of young artists taught by Whall's pupil Alfred Child at Dublin's Metropolitan School of Art created a distinctive national school of stained glass: its leading representatives were Wilhelmina Geddes, Michael Healy and Harry Clarke.

Art Nouveau or Belle Epoque stained glass design flourished in France, and Eastern Europe, where it can be identified by the use of curving, sinuous lines in the lead, and swirling motifs. In France it is seen in the work of Francis Chigot of Limoges. In Britain it appears in the refined and formal leadlight designs of Charles Rennie Mackintosh.

Innovations in the United States

J&R Lamb Studios, established in 1857 in New York City, was the first major decorative arts studio in the United States and for many years a major producer of ecclesiastical stained glass.

Notable American practitioners include John La Farge (1835–1910), who invented opalescent glass and for which he received a U.S. patent on 24 February 1880, and Louis Comfort Tiffany (1848–1933), who received several patents for variations of the same opalescent process in November of the same year and he used the copper foil method as an alternative to lead in some windows, lamps and other decorations. Sanford Bray of Boston patented the use of copper foil in stained glass in 1886,[30] However, a reaction against the aesthetics and technique of opalescent windows - led initially by architects such as Ralph Adams Cram - led to a rediscovery of traditional stained glass in the early 1900s. Charles J. Connick (1875-1945), who founded his Boston studio in 1913, was profoundly influenced by his study of medieval stained glass in Europe and by the Arts & Crafts philosophy of Englishman Christopher Whall. Connick created hundreds of windows throughout the US, including major glazing schemes at Princeton University Chapel (1927-9) and at Pittsburgh's Heinz Memorial Chapel (1937-8).[29] Other American artist-makers who espoused a medieval-inspired idiom included Nicola D'Ascenzo of Philadelphia, Wilbur Burnham and Reynolds, Francis & Rohnstock of Boston and Henry Wynd Young and J. Gordon Guthrie of New York.

20th and 21st centuries

Many 19th-century firms failed early in the 20th century as the Gothic movement was superseded by newer styles. At the same time there were also some interesting developments where stained glass artists took studios in shared facilities. Examples include the Glass House in London set up by Mary Lowndes and Alfred J. Drury and An Túr Gloine in Dublin, which was run by Sarah Purser and included artists such as Harry Clarke.

A revival occurred in the middle of the century because of a desire to restore thousands of church windows throughout Europe destroyed as a result of World War II bombing. German artists led the way. Much work of the period is mundane and often was not made by its designers, but industrially produced.

Other artists sought to transform an ancient art form into a contemporary one, sometimes using traditional techniques while exploiting the medium of glass in innovative ways and in combination with different materials. The use of slab glass, a technique known as Dalle de Verre, where the glass is set in concrete or epoxy resin, was a 20th-century innovation credited to Jean Gaudin and brought to the UK by Pierre Fourmaintraux. One of the most prolific glass artists using this technique was the Dominican Friar Dom Charles Norris OSB of Buckfast Abbey.

Gemmail, a technique developed by the French artist Jean Crotti in 1936 and perfected in the 1950s, is a type of stained glass where adjacent pieces of glass are overlapped without using lead cames to join the pieces, allowing for greater diversity and subtlety of colour.[31][32] Many famous works by late 19th- and early 20th-century painters, notably Picasso, have been reproduced in gemmail.[33] A major exponent of this technique is the German artist Walter Womacka.

Among the early well-known 20th-century artists who experimented with stained glass as an Abstract art form were Theo van Doesburg and Piet Mondrian. In the 1960s and 1970s the Expressionist painter Marc Chagall produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details. Important 20th-century stained glass artists include John Hayward, Douglas Strachan, Ervin Bossanyi, Louis Davis, Wilhelmina Geddes, Karl Parsons, John Piper, Patrick Reyntiens, Johannes Schreiter, Brian Clarke, Paul Woodroffe, Jean René Bazaine at Saint Séverin, Sergio de Castro at Couvrechef- La Folie (Caen), Hamburg-Dulsberg and Romont (Switzerland), and the Loire Studio of Gabriel Loire at Chartres. The west windows of England's Manchester Cathedral, by Tony Hollaway, are some of the most notable examples of symbolic work.

In Germany, stained glass development continued with the inter-war work of Johan Thorn Prikker and Josef Albers, and the post-war achievements of Joachim Klos, Johannes Schreiter and Ludwig Shaffrath. This group of artists, who advanced the medium through the abandonment of figurative designs and painting on glass in favour of a mix of biomorphic and rigorously geometric abstraction, and the calligraphic non-functional use of leads,[34] are described as having produced "the first authentic school of stained glass since the Middle Ages".[35] The works of Ludwig Schaffrath demonstrate the late 20th-century trends in the use of stained glass for architectural purposes, filling entire walls with coloured and textured glass. In the 1970s young British stained-glass artists such as Brian Clarke were influenced by the large scale and abstraction in German twentieth-century glass.[34]

In the UK, the professional organisation for stained glass artists has been the British Society of Master Glass Painters, founded in 1921. Since 1924 the BSMGP has published an annual journal, The Journal of Stained Glass. It continues to be Britain's only organisation devoted exclusively to the art and craft of stained glass. From the outset, its chief objectives have been to promote and encourage high standards in stained glass painting and staining, to act as a locus for the exchange of information and ideas within the stained glass craft and to preserve the invaluable stained glass heritage of Britain. See www.bsmgp.org.uk for a range of stained glass lectures, conferences, tours, portfolios of recent stained glass commissions by members, and information on courses and the conservation of stained glass. Back issues of The Journal of Stained Glass are listed and there is a searchable index for stained glass articles, an invaluable resource for stained glass researchers.

After the First World War, stained glass window memorials were a popular choice among wealthier families, examples can be found in churches across the UK.

In the United States, there is a 100-year-old trade organization, The Stained Glass Association of America, whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines, instruction and training to craftspersons. The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form. The current president is Kathy Bernard. Today there are academic establishments that teach the traditional skills. One of these is Florida State University's Master Craftsman Program, which recently completed a 30 ft (9.1 m) high stained-glass windows, designed by Robert Bischoff, the program's director, and Jo Ann, his wife and installed to overlook Bobby Bowden Field at Doak Campbell Stadium. The Roots of Knowledge installation at Utah Valley University in Orem, Utah is 200 feet (61 m) long and has been compared to those in several European cathedrals, including the Cologne Cathedral in Germany, Sainte-Chapelle in France, and York Minster in England.[36] There are also contemporary stained glass artists in the US who are creating stained glass windows based on grids, rather than reconizable images.[37]

Combining ancient and modern traditions

Buildings incorporating stained glass windows

Churches

Stained glass windows were commonly used in churches for decorative and informative purposes. Many windows are donated to churches by members of the congregation as memorials of loved ones. For more information on the use of stained glass to depict religious subjects, see Poor Man's Bible.

Synagogues

In addition to Christian churches, stained glass windows have been incorporated into Jewish temple architecture for centuries. Jewish communities in the United States saw this emergence in the mid-19th century, with such notable examples as the sanctuary depiction of the Ten Commandments in New York's Congregation Anshi Chesed. From the mid-20th century to the present, stained glass windows have been a ubiquitous feature of American synagogue architecture. Styles and themes for synagogue stained glass artwork are as diverse as their church counterparts. As with churches, synagogue stained glass windows are often dedicated by member families in exchange for major financial contributions to the institution.

Places of worship

Mausolea

Mausolea, whether for general community use or for private family use, may employ stained glass as a comforting entry for natural light, for memorialization, or for display of religious imagery.

Houses

Stained glass windows in houses were particularly popular in the Victorian era and many domestic examples survive. In their simplest form they typically depict birds and flowers in small panels, often surrounded with machine-made cathedral glass which, despite what the name suggests, is pale-coloured and textured. Some large homes have splendid examples of secular pictorial glass. Many small houses of the 19th and early 20th centuries have leadlight windows.

Public and commercial buildings

Stained glass has often been used as a decorative element in public buildings, initially in places of learning, government or justice but increasingly in other public and commercial places such as banks, retailers and railway stations. Public houses in some countries make extensive use of stained glass and leaded lights to create a comfortable atmosphere and retain privacy.

Sculpture

See also

References

  1. ^ "Stained Glass in Medieval Europe". Department of Medieval Art and The Cloisters. The Metropolitain Museum of Art. Retrieved 13 June 2019.
  2. ^ "Facts about Glass – Creating Coloured Glass; Pot-metal glass", Boppard Conservation Project – Glasgow Museums
  3. ^ Investigations in Medieval Stained Glass: Materials, Methods, and Expressions, xvii, eds., Brigitte Kurmann-Schwarz, Elizabeth Pastan, 2019, BRILL, ISBN 9004395717, 9789004395718, google books
  4. ^ "Facts about Glass: Early Glass Painting", Boppard Conservation Project – Glasgow Museums; Historic England, 287-288
  5. ^ Barbara Butts, Lee Hendrix and others, Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein, 183, 2001, Getty Publications, ISBN 089236579X, ISBN 9780892365791, google books
  6. ^ Steinhoff, Frederick Louis (1973). Ceramic Industry. Industrial Publications, Incorporated.
  7. ^ Chambers's encyclopaedia. Pergamon Press. 1967.
  8. ^ "Facts about Glass: Silver Stain", Boppard Conservation Project – Glasgow Museums; Historic England, 290
  9. ^ Modern Methods for Analysing Archaeological and Historical Glass, section 7.3.3.5, 2013, ed. Koen H. A. Janssens, Wiley, ISBN 1118314204, 9781118314203, google books
  10. ^ In fact Jean Cousin the Elder was only born in 1500, at the same time as the tehnique; claims that he was the first French painter in oils might be more valid.
  11. ^ "Facts about Glass: Sanguine and Carnation", Boppard Conservation Project – Glasgow Museums; Historic England, 288
  12. ^ a b Historic England, 290
  13. ^ "Examples of Writing in Stained Glass", Boppard Conservation Project – Glasgow Museums
  14. ^ a b www.glassonline.com. Retrieved 3 August 2006
  15. ^ Chemical Fact Sheet – Chromium 15 August 2017 at the Wayback Machine www.speclab.com. Retrieved 3 August 2006
  16. ^ a b Geary, Theresa Flores (2008). The Illustrated Bead Bible: Terms, Tips & Techniques. Sterling Publishing Company, Inc. p. 108. ISBN 9781402723537.
  17. ^ 1st.glassman.com (David M Issitt). Retrieved 3 August 2006
  18. ^ www.glassassociation.org.uk (Barrie Skelcher). Retrieved 3 August 2006
  19. ^ "Facts about glass: Assembling a stained-glass panel", Boppard Conservation Project – Glasgow Museums
  20. ^ Discovering stained glass – John Harries, Carola Hicks, Edition: 3 – 1996
  21. ^ Ahmad Y Hassan, The Manufacture of Coloured Glass and Assessment of Kitab al-Durra al-Maknuna, History of Science and Technology in Islam.
  22. ^ a b Mehrizi, Zahra Sadat Abooei; Marasy, Mohsen (23 December 2017). "The Comparative Study of Art of Manufacturing Orosi and Stained Glass Windows in Iran and Europe". Journal of History Culture and Art Research. 6 (6): 233. doi:10.7596/taksad.v6i6.1231. ISSN 2147-0626.
  23. ^ Omidi, Ali; Golchin, Navid; Masoud, Seyed Ehsan (3 September 2022). "Evaluating the visual comfort of Orosi windows in hot and semi-arid climates through climate-based daylight metrics: a quantitative study". Journal of Asian Architecture and Building Engineering. 21 (5): 2114–2130. doi:10.1080/13467581.2021.1971534. ISSN 1346-7581. S2CID 244263358.
  24. ^ Herbermann, Charles, ed. (1913). "Stained Glass" . Catholic Encyclopedia. New York: Robert Appleton Company.
  25. ^ "Fairford Church". Sacred-destinations.com. 20 October 2007. Retrieved 24 March 2014.
  26. ^ a b Lee, Seddon and Stephens, pp. 118–121
  27. ^ a b Vidimus, Dirck Peterz. Crabeth 30 July 2014 at the Wayback Machine Issue 20 (accessed 26 August 2012)
  28. ^ a b c Gordon Campbell, The Grove Encyclopedia of Decorative Arts, Oxford University Press, ISBN 0-19-518948-5
  29. ^ a b Peter Cormack, Arts & Crafts Stained Glass, Yale University Press, 2015
  30. ^ "Joining glass mosaics".
  31. ^ "Le grand dictionnaire Qu&#233bec government's online dictionary entry for gemmail (in French)". 8 April 2003. Archived from the original on 2 April 2003. Retrieved 24 March 2014.
  32. ^ Gemmail, Encyclopædia Britannica
  33. ^ , Gemmail Time
  34. ^ a b Harrod, Tanya, The Crafts in Britain in the 20th Century, Yale University Press (4 Feb 1999), ISBN 978-0300077803, p. 452
  35. ^ "Stained glass: 20th century". Encyclopædia Britannica. Encyclopædia Britannica, Inc.
  36. ^ O'Hear, Natasha (8 December 2016). . CNN.com. Archived from the original on 20 April 2017. Retrieved 19 April 2017.
  37. ^ Koestlé-Cate, Jonathan. "Grids: A Kraussian Perspective on New Windows for the Church." Religion and the Arts 18, no. 5 (2014): 672-699.
  • "Historic England" = Practical Building Conservation: Glass and glazing, by Historic England, 2011, Ashgate Publishing, Ltd., ISBN 0754645576, 9780754645573, google books

Further reading

  • Martin Harrison, 'Victorian Stained Glass', Barrie & Jenkins, 1980 ISBN 0214206890
  • The Journal of Stained Glass, Burne-Jones Special Issue, Vol. XXXV, 2011 ISBN 978 0 9568762 1 8
  • The Journal of Stained Glass, Scotland Issue, Vol. XXX, 2006 ISBN 978 0 9540457 6 0
  • The Journal of Stained Glass, Special Issue, The Stained Glass Collection of Sir John Soane's Museum, Vol. XXVII, 2003 ISBN 0 9540457 3 4
  • The Journal of Stained Glass, America Issue, Vol. XXVIII, 2004 ISBN 0 9540457 4 2
  • Peter Cormack, 'Arts & Crafts Stained Glass', Yale University Press, 2015 ISBN 978-0-300-20970-9
  • Caroline Swash, 'The 100 Best Stained Glass Sites in London', Malvern Arts Press, 2015 ISBN 978-0-9541055-2-5
  • Nicola Gordon Bowe, 'Wilhelmina Geddes, Life and Work', Four Courts Press, 2015 ISBN 978-1-84682-532-3
  • Lucy Costigan & Michael Cullen (2010). Strangest Genius: The Stained Glass of Harry Clarke, The History Press, Dublin, ISBN 978-1-84588-971-5
  • Theophilus (ca 1100). On Divers Arts, trans. from Latin by John G. Hawthorne and Cyril Stanley Smith, Dover, ISBN 0-486-23784-2
  • Elizabeth Morris (1993). Stained and Decorative Glass, Tiger Books, ISBN 0-86824-324-8
  • Sarah Brown (1994). Stained Glass- an Illustrated History, Bracken Books, ISBN 1-85891-157-5
  • Painton Cowen (1985). A Guide to Stained Glass in Britain, Michael Joseph, ISBN 0-7181-2567-3
  • Husband, TB, The Luminous Image: Painted Glass Roundels in the Lowlands, 1480-1560, 2000, Metropolitan Museum of Art
  • Lawrence Lee, George Seddon, Francis Stephens (1976).Stained Glass, Mitchell Beazley, ISBN 0-600-56281-6
  • Simon Jenkins (2000). England's Thousand Best Churches, Penguin, ISBN 0-7139-9281-6
  • Robert Eberhard. Database: Church Stained Glass Windows.
  • Cliff and Monica Robinson. Database: Buckinghamshire Stained Glass.
  • Stained Glass Association of America. History of Stained Glass.
  • Robert Kehlmann (1992). 20th Century Stained Glass: A New Definition, Kyoto Shoin Co., Ltd., Kyoto, ISBN 4-7636-2075-4
  • Kisky, Hans (1959). 100 Jahre Rheinische Glasmalerei, Neuss : Verl. Gesellschaft für Buchdruckerei, OCLC 632380232
  • Robert Sowers (1954). The Lost Art, George Wittenborn Inc., New York, OCLC 1269795
  • Robert Sowers (1965). Stained Glass: An Architectural Art, Universe Books, Inc., New York, OCLC 21650951
  • Robert Sowers (1981). The Language of Stained Glass, Timber Press, Forest Grove, Oregon, ISBN 0-917304-61-6
  • Hayward, Jane (2003). English and French medieval stained glass in the collection of the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN 1872501370.
  • Virginia Chieffo Raguin (2013). Stained Glass: Radiant Art. Los Angeles: Getty Publications. ISBN 978-1606061534.
  • Conrad Rudolph, "Inventing the Exegetical Stained-Glass Window: Suger, Hugh, and a New Elite Art," Art Bulletin 93 (2011) 399–422
  • Conrad Rudolph, "The Parabolic Discourse Window and the Canterbury Roll: Social Change and the Assertion of Elite Status at Canterbury Cathedral," Oxford Art Journal 38 (2015) 1–19

External links

  • BSMGP | The home of British Stained Glass
  • SGAA Sourcebook Find a Studio - The Stained Glass Association of America
  • Church Stained Glass Window Database recorded by Robert Eberhard, covering ≈2800 churches in the southeast of England
  • Institute for Stained Glass in Canada, over 10,000 photos; a multi-year photographic survey of Canada's stained glass from many countries; 1856 to present
  • The Stained Glass Museum (Ely, England)
  • Vitromusée Romont (Romont (FR), Switzerland)
  • Stained glass workshops (UK)
  • Stained glass guide (UK)
  • "Stained Glass". Glass. Victoria and Albert Museum. Archived from the original on 23 December 2012. Retrieved 16 June 2007.
  • Gloine – Stained glass in the Church of Ireland Research carried out by Dr David Lawrence on behalf of the Representative Church Body of the Church of Ireland, partially funded by the Heritage Council
  • Stained-glass windows by Sergio de Castro in France, Germany and Switzerland

stained, glass, other, uses, disambiguation, coloured, glass, material, works, created, from, throughout, thousand, year, history, term, been, applied, almost, exclusively, windows, churches, other, significant, religious, buildings, although, traditionally, m. For other uses see Stained glass disambiguation Stained glass is coloured glass as a material or works created from it Throughout its thousand year history the term has been applied almost exclusively to the windows of churches and other significant religious buildings Although traditionally made in flat panels and used as windows the creations of modern stained glass artists also include three dimensional structures and sculpture Modern vernacular usage has often extended the term stained glass to include domestic lead light and objets d art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany The north rose window of the Chartres Cathedral Chartres France donated by Blanche of Castile It represents the Virgin Mary as Queen of Heaven surrounded by Biblical kings and prophets Below is St Anne mother of the Virgin with four righteous leaders The window includes the arms of France and Castile Outside view of a stained glass of the Sint Petrus en Pauluskerk from Ostend Belgium built between 1899 and 1908 As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture and usually then further decorating it in various ways The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures held together traditionally by strips of lead and supported by a rigid frame Painted details and yellow stain are often used to enhance the design The term stained glass is also applied to windows in enamelled glass in which the colours have been painted onto the glass and then fused to the glass in a kiln very often this technique is only applied to parts of a window Renaissance roundel inserted into a plain glass window using only black or brown glass paint and silver stain in a range of yellows and gold The local bishop saint Lambrecht of Maastricht stands in an extensive landscape 1510 20 The diameter is 8 3 4 in 22 cm and the piece was designed to be placed low close to the viewer very possibly not in a church Stained glass as an art and a craft requires the artistic skill to conceive an appropriate and workable design and the engineering skills to assemble the piece A window must fit snugly into the space for which it is made must resist wind and rain and also especially in the larger windows must support its own weight Many large windows have withstood the test of time and remained substantially intact since the Late Middle Ages In Western Europe together with illuminated manuscripts they constitute the major form of medieval pictorial art to have survived In this context the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it For this reason stained glass windows have been described as illuminated wall decorations The design of a window may be abstract or figurative may incorporate narratives drawn from the Bible history or literature may represent saints or patrons or use symbolic motifs in particular armorial Windows within a building may be thematic for example within a church episodes from the life of Christ within a parliament building shields of the constituencies within a college hall figures representing the arts and sciences or within a home flora fauna or landscape Contents 1 Glass production 1 1 Cylinder glass or Muff 1 2 Crown glass 1 3 Rolled glass 1 4 Flashed glass 1 5 Modern production of traditional glass 2 Colours 2 1 Pot metal and flashed glass 2 2 Glass paint 2 3 Silver stain 2 4 Sanguine or Cousin s rose 2 5 Cold painting 2 6 Scratching techniques 3 Pot glass colours 3 1 Transparent glass 3 2 Green glass 3 3 Blue glass 3 4 Red glass 3 5 Yellow glass 3 6 Purple glass 3 7 White glass 4 Creating stained glass windows 4 1 Design 4 2 Selecting and painting the glass 4 3 Assembly and mounting 5 History 5 1 Origins 5 2 In Southwest Asia 5 3 Medieval glass in Europe 5 4 Renaissance Reformation and Classical windows 5 5 Revival in Britain 5 6 Revival in France 5 7 Revival 5 8 Innovations in Britain and Europe 5 9 Innovations in the United States 5 10 20th and 21st centuries 5 11 Combining ancient and modern traditions 6 Buildings incorporating stained glass windows 6 1 Churches 6 2 Synagogues 6 3 Places of worship 6 4 Mausolea 6 5 Houses 6 6 Public and commercial buildings 6 7 Sculpture 7 See also 8 References 9 Further reading 10 External linksGlass production EditThis section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed April 2017 Learn how and when to remove this template message During the late medieval period glass factories were set up where there was a ready supply of silica the essential material for glass manufacture Silica requires a very high temperature to melt something not all glass factories were able to achieve Such materials as potash soda and lead can be added to lower the melting temperature Other substances such as lime are added to rebuild the weakened network and make the glass more stable Glass is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state 1 Copper oxides produce green or bluish green cobalt makes deep blue and gold produces wine red and violet glass Much of modern red glass is produced using copper which is less expensive than gold and gives a brighter more vermilion shade of red Glass coloured while in the clay pot in the furnace is known as pot metal glass as opposed to flashed glass Cylinder glass or Muff Edit Using a blow pipe a gather glob of molten glass is taken from the pot heating in the furnace The gather is formed to the correct shape and a bubble of air blown into it Using metal tools molds of wood that have been soaking in water and gravity the gather is manipulated to form a long cylindrical shape As it cools it is reheated so that the manipulation can continue During the process the bottom of the cylinder is removed Once brought to the desired size it is left to cool One side of the cylinder is opened It is put into another oven to quickly heat and flatten it and then placed in an annealer to cool at a controlled rate making the material more stable Hand blown cylinder also called muff glass and crown glass were the types used in ancient stained glass windows Stained glass windows were normally in churches and chapels as well as many more well respected buildings Crown glass Edit This hand blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it either by hand or on a table that revolves rapidly like a potter s wheel The centrifugal force causes the molten bubble to open up and flatten It can then be cut into small sheets Glass formed this way can be either coloured and used for stained glass windows or uncoloured as seen in small paned windows in 16th and 17th century houses Concentric curving waves are characteristic of the process The centre of each piece of glass known as the bull s eye is subject to less acceleration during spinning so it remains thicker than the rest of the sheet It also has the pontil mark a distinctive lump of glass left by the pontil rod which holds the glass as it is spun out This lumpy refractive quality means the bulls eyes are less transparent but they have still been used for windows both domestic and ecclesiastical Crown glass is still made today but not on a large scale Rolled glass Edit Rolled glass sometimes called table glass is produced by pouring molten glass onto a metal or graphite table and immediately rolling it into a sheet using a large metal cylinder similar to rolling out a pie crust The rolling can be done by hand or by machine Glass can be double rolled which means it is passed through two cylinders at once similar to the clothes wringers on older washing machines to yield glass of a specified thickness typically about 1 8 or 3mm The glass is then annealed Rolled glass was first commercially produced around the mid 1830s and is widely used today It is often called cathedral glass but this has nothing to do with medieval cathedrals where the glass used was hand blown Flashed glass Edit Architectural glass must be at least 1 8 of an inch 3 mm thick to survive the push and pull of typical wind loads However in the creation of red glass the colouring ingredients must be of a certain concentration or the colour will not develop This results in a colour so intense that at the thickness of 1 8 inch 3 mm the red glass transmits little light and appears black The method employed is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted forming flashed glass A lightly coloured molten gather is dipped into a pot of molten red glass which is then blown into a sheet of laminated glass using either the cylinder muff or the crown technique described above Once this method was found for making red glass other colours were made this way as well A great advantage is that the double layered glass can be engraved or abraded to reveal the clear or tinted glass below The method allows rich detailing and patterns to be achieved without needing to add more lead lines giving artists greater freedom in their designs A number of artists have embraced the possibilities flashed glass gives them For instance 16th century heraldic windows relied heavily on a variety of flashed colours for their intricate crests and creatures In the medieval period the glass was abraded later hydrofluoric acid was used to remove the flash in a chemical reaction a very dangerous technique and in the 19th century sandblasting started to be used for this purpose Modern production of traditional glass Edit There are a number of glass factories notably in Germany the United States England France Poland and Russia which produce high quality glass both hand blown cylinder muff crown and rolled cathedral and opalescent Modern stained glass artists have a number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used Many new types of glass have been developed for use in stained glass windows in particular Tiffany glass and Dalle de verre Colours Edit Part of German panel of 1444 with the Visitation pot metal of various colours including white glass black vitreous paint yellow silver stain and the olive green parts are enamel The plant patterns in the red sky are formed by scratching away black paint from the red glass before firing A restored panel with new lead cames Pot metal and flashed glass Edit The primary method of including colour in stained glass is to use glass originally colourless that has been given colouring by mixing with metal oxides in its melted state in a crucible or pot producing glass sheets that are coloured all the way through these are known as pot metal glass 2 A second method sometimes used in some areas of windows is flashed glass a thin coating of coloured glass fused to colourless glass or coloured glass to produce a different colour In medieval glass flashing was especially used for reds as glass made with gold compounds was very expensive and tended to be too deep in colour to use at full thickness 3 Glass paint Edit Another group of techniques give additional colouring including lines and shading by treating the surfaces of the coloured sheets and often fixing these effects by a light firing in a furnace or kiln These methods may be used over broad areas especially with silver stain which gave better yellows than other methods in the Middle Ages Alternatively they may be used for painting linear effects or polychrome areas of detail The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called glass paint vitreous paint or grisaille paint This was applied as a mixture of powdered glass iron or rust filings to give a black colour clay and oil vinegar or water for a brushable texture with a binder such as gum arabic This was painted on the pieces of coloured glass and then fired to burn away the ingredients giving texture leaving a layer of the glass and colouring fused to the main glass piece 4 German glass Nuremberg after a drawing by Sebald Beham c 1525 Silver stain produces a range of yellows and gold and painted on the reverse of the blue sky gives the dark green of the cross 5 Silver stain Edit Silver stain introduced soon after 1300 produced a wide range of yellow to orange colours this is the stain in the term stained glass Silver compounds notably silver nitrate 6 are mixed with binding substances applied to the surface of glass and then fired in a furnace or kiln 7 They can produce a range of colours from orange red to yellow Used on blue glass they produce greens The way the glass is heated and cooled can significantly affect the colours produced by these compounds The chemistry involved is complex and not well understood The chemicals actually penetrate the glass they are added to a little way and the technique therefore gives extremely stable results By the 15th century it had become cheaper than using pot metal glass and was often used with glass paint as the only colour on transparent glass 8 Silver stain was applied to the opposite face of the glass to silver paint as the two techniques did not work well one on top of the other The stain was usually on the exterior face where it appears to have given the glass some protection against weathering although this can also be true for paint They were also probably fired separately the stain needing a lower heat than the paint 9 Sanguine or Cousin s rose Edit Sanguine carnation Rouge Jean Cousin or Cousin s rose after its supposed inventor 10 is an iron based fired paint producing red colours mainly used to highlight small areas often on flesh It was introduced around 1500 11 Copper stain similar to silver stain but using copper compounds also produced reds and was mainly used in the 18th and 19th centuries 12 Cold painting Edit Cold paint is various types of paint that were applied without firing Contrary to the optimistic claims of the 12th century writer Theophilus Presbyter cold paint is not very durable and very little medieval paint has survived 12 Scratching techniques Edit As well as painting scratched sgraffito techniques were often used This involved painting a colour over pot metal glass of another colour and then before firing selectively scratching the glass paint away to make the design or the lettering of an inscription This was the most common method of making inscriptions in early medieval glass giving white or light letters on a black background with later inscriptions more often using black painted letters on a transparent glass background 13 Pot glass colours EditThese are the colours in which the glass itself is made as opposed to colours applied to the glass Transparent glass Edit Ordinary soda lime glass appears colourless to the naked eye when it is thin although iron oxide impurities produce a green tint which becomes evident in thick pieces or with the aid of scientific instruments A number of additives are used to reduce the green tint particularly if the glass is to be used for plain window glass rather than stained glass windows These additives include manganese dioxide which produces sodium permanganate and may result in a slightly mauve tint characteristic of the glass in older houses in New England Selenium has been used for the same purpose 14 Green glass Edit While very pale green is the typical colour of transparent glass deeper greens can be achieved by the addition of Iron II oxide which results in a bluish green glass Together with chromium it gives glass of a richer green colour typical of the glass used to make wine bottles The addition of chromium yields dark green glass suitable for flashed glass 15 Together with tin oxide clarification needed and arsenic it yields emerald green glass Blue glass Edit In medieval times blue glass was made by adding cobalt blue which at a concentration of 0 025 to 0 1 in soda lime glass achieves the brilliant blue characteristic of Chartres Cathedral The addition of sulphur to boron rich borosilicate glasses imparts a blue colour The addition of copper oxide at 2 3 produces a turquoise colour The addition of nickel at different concentrations produces blue violet or black glass 16 Red glass Edit Metallic gold in very low concentrations around 0 001 produces a rich ruby coloured glass ruby gold in even lower concentrations it produces a less intense red often marketed as cranberry glass The colour is caused by the size and dispersion of gold particles Ruby gold glass is usually made of lead glass with tin added Pure metallic copper produces a very dark red opaque glass Glass created in this manner is generally flashed laminated glass It was used extensively in the late 19th and early 20th centuries and exploited for the decorative effects that could be achieved by sanding and engraving Selenium is an important agent to make pink and red glass When used together with cadmium sulphide it yields a brilliant red colour known as Selenium Ruby 14 Yellow glass Edit This was very often achieved by silver stain applied externally to the sheets of glass see above The addition of sulphur together with carbon and iron salts is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black With calcium it yields a deep yellow colour 17 Adding titanium produces yellowish brown glass Titanium is rarely used on its own and is more often employed to intensify and brighten other additives Cadmium together with sulphur results in deep yellow colour often used in glazes However cadmium is toxic Uranium 0 1 to 2 can be added to give glass a fluorescent yellow or green colour 18 Uranium glass is typically not radioactive enough to be dangerous but if ground into a powder such as by polishing with sandpaper and inhaled it can be carcinogenic When used with lead glass with a very high proportion of lead it produces a deep red colour Purple glass Edit The addition of manganese gives an amethyst colour Manganese is one of the oldest glass additives and purple manganese glass has been used since early Egyptian history Nickel depending on the concentration produces blue or violet or even black glass 16 Lead crystal with added nickel acquires a purplish colour White glass Edit Tin dioxide with antimony and arsenic oxides produce an opaque white glass first used in Venice to produce an imitation porcelain White glass was used extensively by Louis Comfort Tiffany to create a range of opalescent mottled and streaky glasses 13th century window from Chartres showing extensive use of the ubiquitous cobalt blue with green and purple brown glass details of amber and borders of flashed red glass A 19th century window illustrates the range of colours common in both Medieval and Gothic Revival glass Lucien Begule Lyon 1896 A 16th century window by Arnold of Nijmegen showing the combination of painted glass and intense colour common in Renaissance windows A late 20th century window showing a graded range of colours Ronald Whiting Chapel Studios Tattershall Castle UK A window by Tiffany illustrating the development and use of multi coloured flashed opalised and streaky glasses at the end of the 19th century A window in Nouveau art style illustrate the range of colours and contrasts 1898 1899 by Jozef Mehoffer Fribourg CathedralCreating stained glass windows EditThis section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed September 2022 Learn how and when to remove this template message Detail from a 13th century window in the Basilica of Saint Quentin depicting the creation of a stained glass window in Middle Ages Swiss armourial glass of the Arms of Unterwalden 1564 with typical painted details extensive silver stain Cousin s rose on the face and flashed ruby glass with abraded white motif Design Edit The first stage in the production of a window is to make or acquire from the architect or owners of the building an accurate template of the window opening that the glass is to fit The subject matter of the window is determined to suit the location a particular theme or the wishes of the patron A small design called a Vidimus from Latin we have seen is prepared which can be shown to the patron A scaled model maquette may also be provided The designer must take into account the design the structure of the window the nature and size of the glass available and his or her own preferred technique A traditional narrative window has panels which relate a story A figurative window could have rows of saints or dignitaries Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated In a window of a traditional type it is usually left to the discretion of the designer to fill the surrounding areas with borders floral motifs and canopies A full sized cartoon is drawn for every light opening of the window A small church window might typically have two lights with some simple tracery lights above A large window might have four or five lights The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery In medieval times the cartoon was drawn directly on the surface of a whitewashed table which was then used as a pattern for cutting painting and assembling the window The cartoon is then divided into a patchwork providing a template for each small glass piece The exact position of the lead which holds the glass in place is also noted as it is part of the calculated visual effect Selecting and painting the glass Edit Each piece of glass is selected for the desired colour and cut to match a section of the template An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces Details of faces hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings ground glass gum arabic and a medium such as wine vinegar or traditionally urine The art of painting details became increasingly elaborate and reached its height in the early 20th century From 1300 onwards artists started using silver stain which was made with silver nitrate It gave a yellow effect ranging from pale lemon to deep orange It was usually painted onto the outside of a piece of glass then fired to make it permanent This yellow was particularly useful for enhancing borders canopies and haloes and turning blue glass into green glass By about 1450 a stain known as Cousin s rose was used to enhance flesh tones In the 16th century a range of glass stains were introduced most of them coloured by ground glass particles They were a form of enamelled glass Painting on glass with these stains was initially used for small heraldic designs and other details By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections Scenes were painted onto glass panels of square format like tiles The colours were then annealed to the glass before the pieces were assembled A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage Assembly and mounting Edit Once the glass is cut and painted the pieces are assembled by slotting them into H sectioned lead cames All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames In modern windows copper foil is now sometimes used instead of lead 19 For further technical details see Came glasswork Traditionally when a window was inserted into the window space iron rods were put across it at various points to support its weight The window was tied to these rods with copper wire Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta This method of support was also favoured for large usually painted windows of the Baroque period Technical details Maquette by Heaton Butler and Bayne 19th century English manufacturers Exterior of a window at Se Velha de Coimbra Portugal showing a modern steel armature Thomas Becket window from Canterbury showing the pot metal and painted glass lead H sectioned cames modern steel rods and copper wire attachments Skilled glass cutting and leading in a 19th century window at Meaux Cathedral France Detail from a 19th or 20th century window in Eyneburg Belgium showing detailed polychrome painting of face History EditOrigins Edit Coloured glass has been produced since ancient times Both the Egyptians and the Romans excelled at the manufacture of small colored glass objects Phoenicia was important in glass manufacture with its chief centres Sidon Tyre and Antioch The British Museum holds two of the finest Roman pieces the Lycurgus Cup which is a murky mustard color but glows purple red to transmitted light and the cameo glass Portland vase which is midnight blue with a carved white overlay In early Christian churches of the 4th and 5th centuries there are many remaining windows which are filled with ornate patterns of thinly sliced alabaster set into wooden frames giving a stained glass like effect Evidence of stained glass windows in churches and monasteries in Britain can be found as early as the 7th century The earliest known reference dates from 675 AD when Benedict Biscop imported workmen from France to glaze the windows of the monastery of St Peter which he was building at Monkwearmouth Hundreds of pieces of coloured glass and lead dating back to the late 7th century have been discovered here and at Jarrow 20 In the Middle East the glass industry of Syria continued during the Islamic period with major centres of manufacture at Raqqa Aleppo and Damascus and the most important products being highly transparent colourless glass and gilded glass rather than coloured glass A perfume flask from 100 BC to 200 AD The Portland Vase a rare example of Roman flashed glass An alabaster window in Orvieto Cathedral ItalyIn Southwest Asia Edit The creation of stained glass in Southwest Asia began in ancient times One of the region s earliest surviving formulations for the production of colored glass comes from the Assyrian city of Nineveh dating to the 7th century BC The Kitab al Durra al Maknuna attributed to the 8th century alchemist Jabir ibn Hayyan discusses the production of colored glass in ancient Babylon and Egypt The Kitab al Durra al Maknuna also describes how to create colored glass and artificial gemstones made from high quality stained glass 21 The tradition of stained glass manufacture has continued with mosques palaces and public spaces being decorated with stained glass throughout the Islamic world The stained glass of Islam is generally non pictorial and of purely geometric design but may contain both floral motifs and text Stained glass creation had flourished in Persia now Iran during the Safavid dynasty 1501 1736 A D and Zand dynasty 1751 1794 A D 22 In Persia stained glass sash windows are called Orosi windows or transliterated as Arasi and Orsi and were once used for decoration as well as controlling the incoming sunlight in the hot and semi arid climate 22 23 Extensive stained glasses of Nasir ol Molk Mosque in Shiraz Iran and the light passing through them Stained glass in Dowlat Abad Garden at Yazd Iran From a mosque in Jerusalem this window contains highly detailed text Medieval glass in Europe Edit See also Poor Man s Bible and Medieval stained glass Stained glass as an art form reached its height in the Middle Ages when it became a major pictorial form used to illustrate the narratives of the Bible to a largely illiterate populace In the Romanesque and Early Gothic period from about 950 to 1240 the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames such as may be seen at Chartres Cathedral and at the eastern end of Canterbury Cathedral As Gothic architecture developed into a more ornate form windows grew larger affording greater illumination to the interiors but were divided into sections by vertical shafts and tracery of stone This elaboration of form reached its height of complexity in the Flamboyant style in Europe and windows grew still larger with the development of the Perpendicular style in England and Rayonnant style in France Integrated with the lofty verticals of Gothic cathedrals and parish churches glass designs became more daring The circular form or rose window developed in France from relatively simple windows with openings pierced through slabs of thin stone to wheel windows as exemplified by the west front of Chartres Cathedral and ultimately to designs of enormous complexity the tracery being drafted from hundreds of different points such as those at Sainte Chapelle Paris and the Bishop s Eye at Lincoln Cathedral While stained glass was widely manufactured Chartres was the greatest centre of stained glass manufacture producing glass of unrivalled quality 24 Medieval glass in France Detail of a 13th century window from Chartres Cathedral Charlemagne from a Romanesque window in Strasbourg Cathedral The Crucifixion window of Poitiers Cathedral Late Gothic Tree of Jesse window from Evreux Cathedral The South Transept windows from Chartres CathedralMedieval glass in Germany and Austria King David from Augsburg Cathedral early 12th century One of the oldest examples in situ Crucifixion with Ss Catherine George and Margaret Leechkirche Graz Austria The Crucifixion and Virgin and Child in Majesty Cologne Cathedral 1340 Ulm Munster The Last Judgement by Hans Acker 1430 The windows of the choir of Cologne Cathedral early 14th century Medieval glass in England Detail of a Tree of Jesse from York Minster c 1170 the oldest stained glass window in England The Poor Man s Bible Window from Canterbury Cathedral South Transept window at Canterbury Cathedral 13th century The west window of York Minster 1338 39 The Last Judgement St Mary s Church Fairford 1500 17 by Barnard Flower 25 Medieval glass in Spain Stained glass windows in the Toledo Cathedral 14th to 17th century Renaissance Reformation and Classical windows Edit Probably the earliest scheme of stained glass windows that was created during the Renaissance was that for Florence Cathedral devised by Lorenzo Ghiberti 26 The scheme includes three ocular windows for the dome and three for the facade which were designed from 1405 to 1445 by several of the most renowned artists of this period Ghiberti Donatello Uccello and Andrea del Castagno Each major ocular window contains a single picture drawn from the Life of Christ or the Life of the Virgin Mary surrounded by a wide floral border with two smaller facade windows by Ghiberti showing the martyred deacons St Stephen and St Lawrence One of the cupola windows has since been lost and that by Donatello has lost nearly all of its painted details 26 In Europe stained glass continued to be produced the style evolved from the Gothic to the Classical which is well represented in Germany Belgium and the Netherlands despite the rise of Protestantism In France much glass of this period was produced at the Limoges factory and in Italy at Murano where stained glass and faceted lead crystal are often coupled together in the same window The French Revolution brought about the neglect or destruction of many windows in France At the Reformation in England large numbers of medieval and Renaissance windows were smashed and replaced with plain glass The Dissolution of the Monasteries under Henry VIII and the injunctions of Thomas Cromwell against abused images the object of veneration resulted in the loss of thousands of windows Few remain undamaged of these the windows in the private chapel at Hengrave Hall in Suffolk are among the finest With the latter wave of destruction the traditional methods of working with stained glass died and were not rediscovered in England until the early 19th century See Stained glass British glass 1811 1918 for more details In the Netherlands a rare scheme of glass has remained intact at Grote Sint Jan Church Gouda The windows some of which are 18 metres 59 feet high date from 1555 to the early 1600s the earliest is the work of Dirck Crabeth and his brother Wouter Many of the original cartoons still exist 27 The Resurrection Paolo Uccello 1443 45 one of a series in the dome of Florence Cathedral designed by renowned Renaissance artists Giovanni di Domenico The Angel of the Annunciation 1498 1503 National Gallery of Art Tree of Jesse window Church of St Etienne Beauvais France Engrand Le Prince 1522 1524 Detail of Adam and Eve from the Cathedral of St Etienne Chalons en Champagne France Renaissance window in the church of SS Giovanni and Paolo Venice 16th century The Triumph of Freedom of Conscience Sint Janskerk maker Adriaen Gerritszoon de Vrije Gouda design Joachim Wtewael Utrecht 1595 1600 Domestic window by Dirck Crabeth for the house of Adriaen Dircxzoon van Crimpen of Leiden 1543 The windows show scenes from the lives of the Prophet Samuel and the Apostle Paul Musee des Arts Decoratifs Paris 27 The Passion of Christ the Capture and Crucifixion Saint Pierre Limours Essonne France 1520 Glass painting depicting Mordnacht murder night on 23 24 February 1350 and heraldry of the first Meisen guild s Zunfthaus Zurich c 1650 The story of how the Crown of Thorns passed from John of Brienne and Baldwin II of Constantinople to Saint Louis IX of France Moulins Cathedral 16th century The Death and Assumption of the Virgin Mary Church of SS Agidius and Koloman Steyr Austria Auch Cathedral France Renaissance stained glass by Arnaud de Moles detail 1507 1513 Revival in Britain Edit Main article British and Irish stained glass 1811 1918 The Catholic revival in England gaining force in the early 19th century with its renewed interest in the medieval church brought a revival of church building in the Gothic style claimed by John Ruskin to be the true Catholic style The architectural movement was led by Augustus Welby Pugin Many new churches were planted in large towns and many old churches were restored This brought about a great demand for the revival of the art of stained glass window making Among the earliest 19th century English manufacturers and designers were William Warrington and John Hardman of Birmingham whose nephew John Hardman Powell had a commercial eye and exhibited works at the Philadelphia Exhibition of 1876 influencing stained glass in the United States of America Other manufacturers included William Wailes Ward and Hughes Clayton and Bell Heaton Butler and Bayne and Charles Eamer Kempe A Scottish designer Daniel Cottier opened firms in Australia and the US Detail Apostles John and Paul Hardman of Birmingham 1861 67 typical of Hardman in its elegant arrangement of figures and purity of colour St Andrew s Cathedral Sydney One of England s largest windows the east window of Lincoln Cathedral Ward and Nixon 1855 is a formal arrangement of small narrative scenes in roundels William Wailes This window has the bright pastel colour wealth of inventive ornament and stereotypical gestures of windows by this firm St Mary s Chilham Clayton and Bell A narrative window with elegant forms and colour which is both brilliant and subtle in its combinations Peterborough Cathedral South aisle east window of St Mary Redcliffe Bristol by Clayton and Bell 1861 Revival in France Edit Further information List of French stained glass manufacturers In France there was a greater continuity of stained glass production than in England In the early 19th century most stained glass was made of large panes that were extensively painted and fired the designs often being copied directly from oil paintings by famous artists In 1824 the Sevres porcelain factory began producing stained glass to supply the increasing demand In France many churches and cathedrals suffered despoliation during the French Revolution During the 19th century a great number of churches were restored by Viollet le Duc Many of France s finest ancient windows were restored at that time From 1839 onwards much stained glass was produced that very closely imitated medieval glass both in the artwork and in the nature of the glass itself The pioneers were Henri Gerente and Andre Lusson 28 Other glass was designed in a more Classical manner and characterised by the brilliant cerulean colour of the blue backgrounds as against the purple blue of the glass of Chartres and the use of pink and mauve glass Detail of a Tree of Jesse window in Reims Cathedral designed in the 13th century style by L Steiheil and painted by Coffetier for Viollet le Duc 1861 St Louis administering Justice by Lobin in the painterly style 19th century Church of St Medard Thouars A brilliantly coloured window at Cassagnes Begonhes Aveyron West window from Saint Urbain Troyes about 1900 Revival Edit During the mid to late 19th century many of Germany s ancient buildings were restored and some such as Cologne Cathedral were completed in the medieval style There was a great demand for stained glass The designs for many windows were based directly on the work of famous engravers such as Albrecht Durer Original designs often imitate this style Much 19th century German glass has large sections of painted detail rather than outlines and details dependent on the lead The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827 28 A major firm was Mayer of Munich which commenced glass production in 1860 and is still operating as Franz Mayer of Munich Inc German stained glass found a market across Europe in America and Australia Stained glass studios were also founded in Italy and Belgium at this time 28 In the Austrian Empire and later Austria Hungary one of the leading stained glass artists was Carl Geyling who founded his studio in 1841 His son would continue the tradition as Carl Geyling s Erben which still exists today Carl Geyling s Erben completed numerous stained glass windows for major churches in Vienna and elsewhere and received an Imperial and Royal Warrant of Appointment from emperor Franz Joseph I of Austria One of five windows donated to Cologne Cathedral by Ludwig II Ghent Cathedral Belgium A window in the Late Gothic style St Maurice s Church Olomouc Czech Republic early 20th centuryInnovations in Britain and Europe Edit Among the most innovative English designers were the Pre Raphaelites William Morris 1834 1898 and Edward Burne Jones 1833 1898 whose work heralds the influential Arts and Crafts Movement which regenerated stained glass throughout the English speaking world Amongst its most important exponents in England was Christopher Whall 1849 1924 author of the classic craft manual Stained Glass Work published London and New York 1905 who advocated the direct involvement of designers in the making of their windows His masterpiece is the series of windows 1898 1910 in the Lady Chapel at Gloucester Cathedral Whall taught at London s Royal College of Art and Central School of Arts and Crafts his many pupils and followers included Karl Parsons Mary Lowndes Henry Payne Caroline Townshend Veronica Whall his daughter and Paul Woodroffe 29 The Scottish artist Douglas Strachan 1875 1950 who was much influenced by Whall s example developed the Arts amp Crafts idiom in an expressionist manner in which powerful imagery and meticulous technique are masterfully combined In Ireland a generation of young artists taught by Whall s pupil Alfred Child at Dublin s Metropolitan School of Art created a distinctive national school of stained glass its leading representatives were Wilhelmina Geddes Michael Healy and Harry Clarke Art Nouveau or Belle Epoque stained glass design flourished in France and Eastern Europe where it can be identified by the use of curving sinuous lines in the lead and swirling motifs In France it is seen in the work of Francis Chigot of Limoges In Britain it appears in the refined and formal leadlight designs of Charles Rennie Mackintosh David s charge to Solomon shows the strongly linear design and use of flashed glass for which Burne Jones designs are famous Trinity Church Boston US 1882 God the Creator by Stanislaw Wyspianski this window has no glass painting but relies entirely on leadlines and skilful placement of colour and tone Franciscan Church Krakow c 1900 Window by Alfons Mucha Saint Vitus Cathedral Prague has a montage of images rather than a tightly organised visual structure creating an Expressionistic effect Art Nouveau by Jacques Gruber the glass harmonising with the curving architectural forms that surround it Musee de l Ecole de Nancy 1904 Innovations in the United States Edit Main article Tiffany glass J amp R Lamb Studios established in 1857 in New York City was the first major decorative arts studio in the United States and for many years a major producer of ecclesiastical stained glass Notable American practitioners include John La Farge 1835 1910 who invented opalescent glass and for which he received a U S patent on 24 February 1880 and Louis Comfort Tiffany 1848 1933 who received several patents for variations of the same opalescent process in November of the same year and he used the copper foil method as an alternative to lead in some windows lamps and other decorations Sanford Bray of Boston patented the use of copper foil in stained glass in 1886 30 However a reaction against the aesthetics and technique of opalescent windows led initially by architects such as Ralph Adams Cram led to a rediscovery of traditional stained glass in the early 1900s Charles J Connick 1875 1945 who founded his Boston studio in 1913 was profoundly influenced by his study of medieval stained glass in Europe and by the Arts amp Crafts philosophy of Englishman Christopher Whall Connick created hundreds of windows throughout the US including major glazing schemes at Princeton University Chapel 1927 9 and at Pittsburgh s Heinz Memorial Chapel 1937 8 29 Other American artist makers who espoused a medieval inspired idiom included Nicola D Ascenzo of Philadelphia Wilbur Burnham and Reynolds Francis amp Rohnstock of Boston and Henry Wynd Young and J Gordon Guthrie of New York Many of the distinctive types of glass invented by Tiffany are demonstrated within this single small panel including fracture streamer glass and drapery glass John La Farge The Angel of Help North Easton MA shows the use of tiny panes contrasting with large areas of opalescent glass Window restored by Victor Rothman Stained Glass Yonkers NY Religion Enthroned J amp R Lamb Studios designer Frederick Stymetz Lamb c 1900 Brooklyn Museum Symmetrical design Aesthetic Style a limited palette and extensive use of mottled glass The Holy City by Louis Comfort Tiffany 1905 This 58 panel window has brilliant red orange and yellow etched glass for the sunrise with textured glass used to create the effect of moving water A trompe l oeil glass c 1884 Eugene Stanislas Oudinot design Richard Morris Hunt for home of Henry Gurdon Marquand New York City 20th and 21st centuries Edit Many 19th century firms failed early in the 20th century as the Gothic movement was superseded by newer styles At the same time there were also some interesting developments where stained glass artists took studios in shared facilities Examples include the Glass House in London set up by Mary Lowndes and Alfred J Drury and An Tur Gloine in Dublin which was run by Sarah Purser and included artists such as Harry Clarke A revival occurred in the middle of the century because of a desire to restore thousands of church windows throughout Europe destroyed as a result of World War II bombing German artists led the way Much work of the period is mundane and often was not made by its designers but industrially produced Other artists sought to transform an ancient art form into a contemporary one sometimes using traditional techniques while exploiting the medium of glass in innovative ways and in combination with different materials The use of slab glass a technique known as Dalle de Verre where the glass is set in concrete or epoxy resin was a 20th century innovation credited to Jean Gaudin and brought to the UK by Pierre Fourmaintraux One of the most prolific glass artists using this technique was the Dominican Friar Dom Charles Norris OSB of Buckfast Abbey Gemmail a technique developed by the French artist Jean Crotti in 1936 and perfected in the 1950s is a type of stained glass where adjacent pieces of glass are overlapped without using lead cames to join the pieces allowing for greater diversity and subtlety of colour 31 32 Many famous works by late 19th and early 20th century painters notably Picasso have been reproduced in gemmail 33 A major exponent of this technique is the German artist Walter Womacka Among the early well known 20th century artists who experimented with stained glass as an Abstract art form were Theo van Doesburg and Piet Mondrian In the 1960s and 1970s the Expressionist painter Marc Chagall produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details Important 20th century stained glass artists include John Hayward Douglas Strachan Ervin Bossanyi Louis Davis Wilhelmina Geddes Karl Parsons John Piper Patrick Reyntiens Johannes Schreiter Brian Clarke Paul Woodroffe Jean Rene Bazaine at Saint Severin Sergio de Castro at Couvrechef La Folie Caen Hamburg Dulsberg and Romont Switzerland and the Loire Studio of Gabriel Loire at Chartres The west windows of England s Manchester Cathedral by Tony Hollaway are some of the most notable examples of symbolic work In Germany stained glass development continued with the inter war work of Johan Thorn Prikker and Josef Albers and the post war achievements of Joachim Klos Johannes Schreiter and Ludwig Shaffrath This group of artists who advanced the medium through the abandonment of figurative designs and painting on glass in favour of a mix of biomorphic and rigorously geometric abstraction and the calligraphic non functional use of leads 34 are described as having produced the first authentic school of stained glass since the Middle Ages 35 The works of Ludwig Schaffrath demonstrate the late 20th century trends in the use of stained glass for architectural purposes filling entire walls with coloured and textured glass In the 1970s young British stained glass artists such as Brian Clarke were influenced by the large scale and abstraction in German twentieth century glass 34 In the UK the professional organisation for stained glass artists has been the British Society of Master Glass Painters founded in 1921 Since 1924 the BSMGP has published an annual journal The Journal of Stained Glass It continues to be Britain s only organisation devoted exclusively to the art and craft of stained glass From the outset its chief objectives have been to promote and encourage high standards in stained glass painting and staining to act as a locus for the exchange of information and ideas within the stained glass craft and to preserve the invaluable stained glass heritage of Britain See www bsmgp org uk for a range of stained glass lectures conferences tours portfolios of recent stained glass commissions by members and information on courses and the conservation of stained glass Back issues of The Journal of Stained Glass are listed and there is a searchable index for stained glass articles an invaluable resource for stained glass researchers After the First World War stained glass window memorials were a popular choice among wealthier families examples can be found in churches across the UK In the United States there is a 100 year old trade organization The Stained Glass Association of America whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines instruction and training to craftspersons The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form The current president is Kathy Bernard Today there are academic establishments that teach the traditional skills One of these is Florida State University s Master Craftsman Program which recently completed a 30 ft 9 1 m high stained glass windows designed by Robert Bischoff the program s director and Jo Ann his wife and installed to overlook Bobby Bowden Field at Doak Campbell Stadium The Roots of Knowledge installation at Utah Valley University in Orem Utah is 200 feet 61 m long and has been compared to those in several European cathedrals including the Cologne Cathedral in Germany Sainte Chapelle in France and York Minster in England 36 There are also contemporary stained glass artists in the US who are creating stained glass windows based on grids rather than reconizable images 37 De Stijl abstraction by Theo van Doesburg Netherlands 1917 Expressionist window by Marc Chagall at All Saints Church Tudeley Kent UK Christ of the Eucharist designed by Dom Charles Norris from Buckfast Abbey Devon England slab glass One of four 64 metre 210 ft high stained glass panels Rio de Janeiro Cathedral Brazil Sergio de Castro detail of Jonah window for the Collegiate of Romont Switzerland Postmodernist symbolism Tree of Life at Christinae church Alingsas Sweden The abstract stained glass ceiling of the Victoria Quarter Leeds 1990 by Brian Clarke which spans the 400 foot length of the street to form a covered arcade Thin slices of agate set into lead and glass Grossmunster Zurich Switzerland by Sigmar Polke 2009 Stained glass skylight at Palau de la musica catalana in Barcelona SpainCombining ancient and modern traditions Edit Madonna and Child by Joseph Ehrismann late 1910s Eglise Saint Andre Meistratzheim Combines a traditional representation in a mandorla with an Art Nouveau style celestial background Mid 20th century window showing a continuation of ancient and 19th century methods applied to a modern historical subject Florence Nightingale window at St Peters Derby made for the Derbyshire Royal Infirmary Figurative design using the lead lines and minimal glass paint in the 13th century manner combined with the texture of Cathedral glass Ins Switzerland St Michael and the Devil at the church of St Michael Paternoster Row by English artist John Hayward combines traditional methods with a distinctive use of shard like sections of glass Buildings incorporating stained glass windows EditChurches Edit Stained glass windows were commonly used in churches for decorative and informative purposes Many windows are donated to churches by members of the congregation as memorials of loved ones For more information on the use of stained glass to depict religious subjects see Poor Man s Bible Important examples Cathedral of Chartres in France 11th to 13th century glass Canterbury Cathedral in England 12th to 15th century plus 19th and 20th century glass York Minster in England 11th to 15th century glass Sainte Chapelle in Paris 13th and 14th century glass Florence Cathedral Italy 15th century glass designed by Uccello Donatello and Ghiberti St Andrew s Cathedral Sydney Australia early complete cycle of 19th century glass Hardman of Birmingham Fribourg Cathedral Switzerland complete cycle of glass 1896 1936 by Jozef Mehoffer Coventry Cathedral England mid 20th century glass by various designers the large baptistry window being by John Piper Brown Memorial Presbyterian Church extensive collection of windows by Louis Comfort TiffanySynagogues Edit In addition to Christian churches stained glass windows have been incorporated into Jewish temple architecture for centuries Jewish communities in the United States saw this emergence in the mid 19th century with such notable examples as the sanctuary depiction of the Ten Commandments in New York s Congregation Anshi Chesed From the mid 20th century to the present stained glass windows have been a ubiquitous feature of American synagogue architecture Styles and themes for synagogue stained glass artwork are as diverse as their church counterparts As with churches synagogue stained glass windows are often dedicated by member families in exchange for major financial contributions to the institution Places of worship Edit The dazzling display of medieval glass at Sainte Chapelle Paris Sunlight shining through stained glass onto coloured carpet of Nasir ol Molk Mosque The stained glass windows and dome flanking the Torah ark of the Holocaust Memorial Synagogue Darmstadt designed by artist Brian Clarke Interior of the Blue Mosque Istanbul Stained glass windows in the Mosque of Srinagar Kashmir St Andrew s Cathedral Sydney has a cycle of 19th century windows by Hardman of Birmingham Cathedral of St John the Baptist in Savannah Georgia Coventry Cathedral England has a series of windows by different designers Late 20th century stained glass from Temple Ohev Sholom Harrisburg Pennsylvania by Ascalon Studios West Window Church of the Good Shepherd Rosemont Pennsylvania Mausolea Edit Mausolea whether for general community use or for private family use may employ stained glass as a comforting entry for natural light for memorialization or for display of religious imagery Stained glass in the crypt Mausoleum of the Cathedral of Our Lady of the Angels Los Angeles Commemoration of War Dead Community Mausoleum of All Saints Cemetery Des Plaines Illinois Chapel stained glass showing the Resurrection of Jesus All Saints Cemetery Community Mausoleum Des Plaines Illinois Stained glass window in the Benedum mausoleum Homewood Cemetery Pittsburgh PennsylvaniaHouses Edit Stained glass windows in houses were particularly popular in the Victorian era and many domestic examples survive In their simplest form they typically depict birds and flowers in small panels often surrounded with machine made cathedral glass which despite what the name suggests is pale coloured and textured Some large homes have splendid examples of secular pictorial glass Many small houses of the 19th and early 20th centuries have leadlight windows Prairie style homes The houses of Frank Lloyd Wright Shabaka stained glass at the Palace of Shaki Khans Sliding pantry door installed in a suburban home Public and commercial buildings Edit Stained glass has often been used as a decorative element in public buildings initially in places of learning government or justice but increasingly in other public and commercial places such as banks retailers and railway stations Public houses in some countries make extensive use of stained glass and leaded lights to create a comfortable atmosphere and retain privacy Stained glass in the Town Hall Liberec Czech Republic Windows of the Hungarian Room University of Pittsburgh The Federal Palace Switzerland Abstract design by Marcelle Ferron at a Metro station in Montreal Quebec Canada Windows by Mordecai Ardon at the Jewish National and University Library JerusalemSculpture Edit The Four Seasons 1978 by Leonard French at La Trobe University Sculpture Park in Melbourne Australia Fused glass sculpture 2012 by Carlo Roccella fr Glass Sculpture in Paris France Contemporary Free standing Glasshenge series 2013 2014 by Tomasz Urbanowicz at Wroclaw Airport PolandSee also EditArchitectural glass Architecture of cathedrals and great churches Art Nouveau glass Autonomous stained glass Beveled glass British and Irish stained glass 1811 1918 English Gothic stained glass windows French Gothic stained glass windows Float glass Glass beadmaking Sagrada board game Stained glass conservation Studio glass Suncatcher Venetian glass WindowReferences Edit Stained Glass in Medieval Europe Department of Medieval Art and The Cloisters The Metropolitain Museum of Art Retrieved 13 June 2019 Facts about Glass Creating Coloured Glass Pot metal glass Boppard Conservation Project Glasgow Museums Investigations in Medieval Stained Glass Materials Methods and Expressions xvii eds Brigitte Kurmann Schwarz Elizabeth Pastan 2019 BRILL ISBN 9004395717 9789004395718 google books Facts about Glass Early Glass Painting Boppard Conservation Project Glasgow Museums Historic England 287 288 Barbara Butts Lee Hendrix and others Painting on Light Drawings and Stained Glass in the Age of Durer and Holbein 183 2001 Getty Publications ISBN 089236579X ISBN 9780892365791 google books Steinhoff Frederick Louis 1973 Ceramic Industry Industrial Publications Incorporated Chambers s encyclopaedia Pergamon Press 1967 Facts about Glass Silver Stain Boppard Conservation Project Glasgow Museums Historic England 290 Modern Methods for Analysing Archaeological and Historical Glass section 7 3 3 5 2013 ed Koen H A Janssens Wiley ISBN 1118314204 9781118314203 google books In fact Jean Cousin the Elder was only born in 1500 at the same time as the tehnique claims that he was the first French painter in oils might be more valid Facts about Glass Sanguine and Carnation Boppard Conservation Project Glasgow Museums Historic England 288 a b Historic England 290 Examples of Writing in Stained Glass Boppard Conservation Project Glasgow Museums a b Illustrated Glass Dictionary www glassonline com Retrieved 3 August 2006 Chemical Fact Sheet Chromium Archived 15 August 2017 at the Wayback Machine www speclab com Retrieved 3 August 2006 a b Geary Theresa Flores 2008 The Illustrated Bead Bible Terms Tips amp Techniques Sterling Publishing Company Inc p 108 ISBN 9781402723537 Substances Used in the Making of Coloured Glass 1st glassman com David M Issitt Retrieved 3 August 2006 Uranium Glass www glassassociation org uk Barrie Skelcher Retrieved 3 August 2006 Facts about glass Assembling a stained glass panel Boppard Conservation Project Glasgow Museums Discovering stained glass John Harries Carola Hicks Edition 3 1996 Ahmad Y Hassan The Manufacture of Coloured Glass and Assessment of Kitab al Durra al Maknuna History of Science and Technology in Islam a b Mehrizi Zahra Sadat Abooei Marasy Mohsen 23 December 2017 The Comparative Study of Art of Manufacturing Orosi and Stained Glass Windows in Iran and Europe Journal of History Culture and Art Research 6 6 233 doi 10 7596 taksad v6i6 1231 ISSN 2147 0626 Omidi Ali Golchin Navid Masoud Seyed Ehsan 3 September 2022 Evaluating the visual comfort of Orosi windows in hot and semi arid climates through climate based daylight metrics a quantitative study Journal of Asian Architecture and Building Engineering 21 5 2114 2130 doi 10 1080 13467581 2021 1971534 ISSN 1346 7581 S2CID 244263358 Herbermann Charles ed 1913 Stained Glass Catholic Encyclopedia New York Robert Appleton Company Fairford Church Sacred destinations com 20 October 2007 Retrieved 24 March 2014 a b Lee Seddon and Stephens pp 118 121 a b Vidimus Dirck Peterz Crabeth Archived 30 July 2014 at the Wayback Machine Issue 20 accessed 26 August 2012 a b c Gordon Campbell The Grove Encyclopedia of Decorative Arts Oxford University Press ISBN 0 19 518948 5 a b Peter Cormack Arts amp Crafts Stained Glass Yale University Press 2015 Joining glass mosaics Le grand dictionnaire Qu amp 233bec government s online dictionary entry for gemmail in French 8 April 2003 Archived from the original on 2 April 2003 Retrieved 24 March 2014 Gemmail Encyclopaedia Britannica 1 Gemmail Time a b Harrod Tanya The Crafts in Britain in the 20th Century Yale University Press 4 Feb 1999 ISBN 978 0300077803 p 452 Stained glass 20th century Encyclopaedia Britannica Encyclopaedia Britannica Inc O Hear Natasha 8 December 2016 History illuminated The evolution of knowledge told through 60 000 pieces of glass CNN com Archived from the original on 20 April 2017 Retrieved 19 April 2017 Koestle Cate Jonathan Grids A Kraussian Perspective on New Windows for the Church Religion and the Arts 18 no 5 2014 672 699 Historic England Practical Building Conservation Glass and glazing by Historic England 2011 Ashgate Publishing Ltd ISBN 0754645576 9780754645573 google booksFurther reading EditMartin Harrison Victorian Stained Glass Barrie amp Jenkins 1980 ISBN 0214206890 The Journal of Stained Glass Burne Jones Special Issue Vol XXXV 2011 ISBN 978 0 9568762 1 8 The Journal of Stained Glass Scotland Issue Vol XXX 2006 ISBN 978 0 9540457 6 0 The Journal of Stained Glass Special Issue The Stained Glass Collection of Sir John Soane s Museum Vol XXVII 2003 ISBN 0 9540457 3 4 The Journal of Stained Glass America Issue Vol XXVIII 2004 ISBN 0 9540457 4 2 Peter Cormack Arts amp Crafts Stained Glass Yale University Press 2015 ISBN 978 0 300 20970 9 Caroline Swash The 100 Best Stained Glass Sites in London Malvern Arts Press 2015 ISBN 978 0 9541055 2 5 Nicola Gordon Bowe Wilhelmina Geddes Life and Work Four Courts Press 2015 ISBN 978 1 84682 532 3 Lucy Costigan amp Michael Cullen 2010 Strangest Genius The Stained Glass of Harry Clarke The History Press Dublin ISBN 978 1 84588 971 5 Theophilus ca 1100 On Divers Arts trans from Latin by John G Hawthorne and Cyril Stanley Smith Dover ISBN 0 486 23784 2 Elizabeth Morris 1993 Stained and Decorative Glass Tiger Books ISBN 0 86824 324 8 Sarah Brown 1994 Stained Glass an Illustrated History Bracken Books ISBN 1 85891 157 5 Painton Cowen 1985 A Guide to Stained Glass in Britain Michael Joseph ISBN 0 7181 2567 3 Husband TB The Luminous Image Painted Glass Roundels in the Lowlands 1480 1560 2000 Metropolitan Museum of Art Lawrence Lee George Seddon Francis Stephens 1976 Stained Glass Mitchell Beazley ISBN 0 600 56281 6 Simon Jenkins 2000 England s Thousand Best Churches Penguin ISBN 0 7139 9281 6 Robert Eberhard Database Church Stained Glass Windows Cliff and Monica Robinson Database Buckinghamshire Stained Glass Stained Glass Association of America History of Stained Glass Robert Kehlmann 1992 20th Century Stained Glass A New Definition Kyoto Shoin Co Ltd Kyoto ISBN 4 7636 2075 4 Kisky Hans 1959 100 Jahre Rheinische Glasmalerei Neuss Verl Gesellschaft fur Buchdruckerei OCLC 632380232 Robert Sowers 1954 The Lost Art George Wittenborn Inc New York OCLC 1269795 Robert Sowers 1965 Stained Glass An Architectural Art Universe Books Inc New York OCLC 21650951 Robert Sowers 1981 The Language of Stained Glass Timber Press Forest Grove Oregon ISBN 0 917304 61 6 Hayward Jane 2003 English and French medieval stained glass in the collection of the Metropolitan Museum of Art New York The Metropolitan Museum of Art ISBN 1872501370 Virginia Chieffo Raguin 2013 Stained Glass Radiant Art Los Angeles Getty Publications ISBN 978 1606061534 Conrad Rudolph Inventing the Exegetical Stained Glass Window Suger Hugh and a New Elite Art Art Bulletin 93 2011 399 422 Conrad Rudolph The Parabolic Discourse Window and the Canterbury Roll Social Change and the Assertion of Elite Status at Canterbury Cathedral Oxford Art Journal 38 2015 1 19External links Edit Wikimedia Commons has media related to Stained glass BSMGP The home of British Stained Glass SGAA Sourcebook Find a Studio The Stained Glass Association of America Preservation of Stained Glass Church Stained Glass Window Database recorded by Robert Eberhard covering 2800 churches in the southeast of England Institute for Stained Glass in Canada over 10 000 photos a multi year photographic survey of Canada s stained glass from many countries 1856 to present The Stained Glass Museum Ely England Vitromusee Romont Romont FR Switzerland Stained glass workshops UK Stained glass guide UK Stained Glass Glass Victoria and Albert Museum Archived from the original on 23 December 2012 Retrieved 16 June 2007 Gloine Stained glass in the Church of Ireland Research carried out by Dr David Lawrence on behalf of the Representative Church Body of the Church of Ireland partially funded by the Heritage Council Stained glass windows by Sergio de Castro in France Germany and Switzerland Retrieved from https en wikipedia org w index php title Stained glass amp oldid 1123652407, wikipedia, wiki, book, books, library,

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