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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 faces and other details were painted onto the glass in vitreous enamel colours, which were fired in a kiln to fuse the paint to the glass. The sections were and fixed into the stone mullions of the window. and reinforced with iron bars. [22] In the later Gothic periods, the windows were larger and were painted with more sophisticated ...
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.
The stone used to make the pilasters was reportedly intended by Christopher Wren to be used in the construction of St Paul's Cathedral. [64] Sash windows with glazing bars and "moulded stone heads and surrounds" were added.
Masaccio's 1426 "Saint Andrew" is a panel painting in tempora and gold leaf, once part of the Pisa Altarpiece It is now at the Getty Center in Los Angeles, California. [70] Andrew appears as part of Carlo Crivelli 's San Domenico Altarpiece (1476).
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 ...
Medieval stained glass is the coloured and painted glass of medieval Europe from the 10th century to the 16th century. For much of this period stained glass windows were the major pictorial art form, particularly in northern France, Germany and England, where windows tended to be larger than in southern Europe (in Italy, for example, frescos were more common).
The single chapel contains 670 square meters of stained glass, not counting the later west rose window, and the walls, 20.4 meters high under the vault, appear entirely to be made of glass. This was made possible by moving the supports of the wall, clusters of nine colonettes, to the exterior.