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In early windows, before the introduction of stone tracery, the leaded panels of glass were inserted into an iron lattice or framework of upright and horizontal bars forming squares. The framework became a part of the design. In some cases, such as the upper windows, the figures were so large that they filled the whole window.
Stained glass windows were so large that the walls between were reduced to little more than piers. Horizontal mullions, called "transoms", often had to be added to the windows to give them greater stability. [22] Tracery was a major feature of decoration. In the larger churches, the entire surface from ground to summit, including the ...
Between 1255 and 1260 another new tendency appeared in French windows; large panels surrounding the colored figures were filled with grisaille, or grey or white glass. In the south, in Clermont-Ferrand , window-makers continued to use small panes of glass of a single color, while in other cathedrals, such as Tours Cathedral , multiple colors ...
When the dazzling 16-foot-high leaded stained- glass window arrived in Canton in 1913, it made front-page news—and postponed the new church’s dedication by a week because of a shipping delay.
John E. G. Povey House, Portland, Oregon, home of one of the Povey Brothers. The company was founded by David Lincoln Povey, the son of English-born stained glass window maker Joseph Povey, who immigrated to the United States in 1848 and subsequently worked in stained glass in Philadelphia, New York City, and Newark, New Jersey.
The west window was smaller, with thick spokes of stone. The larger transept windows were added in about 1250 (north) and 1260 (south), with much more ornate designs and thinner mullions, or ribs, between the glass. The north window was devoted to the events of the Old Testament, and the South to the teachings of Christ and the New Testament. [11]
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