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The Temple of Solomon is depicted as a Gothic building under construction. Miniature from an illuminated manuscript of Josephus 's Antiquities of the Jews ( c. 93/4 AD) made for John, Duke of Berry. The construction of Gothic cathedrals was an ambitious, expensive, and technically demanding aspect of life in the Late Middle Ages .
The colored glass was delivered to the workshop of the artist, where the window was made. A large whitewashed table was painted with the full-size drawing of the window, with colors indicated. the artisans used a hot iron to crack off pieces of colored glass to fit the pattern, "grazed" or smoothed the edges, then fit them into long strips of lead.
Decoupage or découpage ( / ˌdeɪkuːˈpɑːʒ /; [ 1] French: [dekupaʒ]) is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf, and other decorative elements. Commonly, an object like a small box or an item of furniture is covered by cutouts from magazines or from ...
The figures of the third phase, at the east end, were at still grander scale than the second; The Creation of Adam [3] and the other Creation panels were finished at this stage, which took place in 1511. [40] The lunettes above the windows were painted last, using a small movable scaffold. [40]
Most windows are made up of around 25 to 30 individual panels showing distinct episodes within the narrative; only Notre-Dame de la Belle-Verrière includes a larger image made up of multiple panels. This window is actually a composite; the upper part, showing the Virgin and Child surrounded by adoring angels, dates from around 1180 and was ...
The largest part of the stained glass in the cathedral comes from the 19th century. The window in the Chapel of Saint Theodosius in the apse, for example, was made by the glass artist Gérente in 1854 donated by Emperor Louis Napoleon. The lower portions of the window depict the Emperor, the Empress Eugenie, the Bishop of Amiens and Pope Pius IX.
The finished window was set into the stone opening. Thin vertical and horizontal bars of iron, called vergettes or barlotierres, were placed inside the window to reinforce the glass against the wind. [118] The use of iron rods between the panels of glass and a framework of stone mullions, or ribs, made it possible to create much larger windows.
The color was mixed with "soft" glass, a kind of glass with a low melting point, which would allow the mixture to be fused directly with the glass of the windows. [ 21 ] The painters placed the window section on an open easel placed before a window, or put the glass flat onto a transparent table, so the artist could see the effect of the light ...