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The Gros Cap church is a rectangular gabled wood-frame structure covered with clapboard painted white. The front facade is symmetric, with a double-door center entrance in a projecting square tower. The tower has a pointed-arch stained glass window above the doors, and three small circular windows, one in each side of the tower, above.
English Gothic stained glass windows were an important feature of English Gothic architecture, which appeared between the late 12th and late 16th centuries.They evolved from narrow windows filled with a mosaic of deeply-coloured pieces of glass into gigantic windows that filled entire walls, with a full range of colours and more naturalistic figures.
The rooms are similar in layout and size, with anterooms and lockers nearest the hallway, and the large rooms beyond through large solid oak doors with inset wood trim of different colors. The rooms have decorative beamed and coffered ceilings, two arched windows on the east, and faux arched windows to appear similar, on north and south.
Above the door is a stained glass window in a half-circle design, hinting at the very different style inside the building. For the inside, Claude & Starck went back to the Prairie Style which they used in many other buildings. Walls are painted plaster divided by birch trim boards.
The Flamboyant windows gradually abandoned mosaic-like appearance of the early stained glass windows, and came more and more to resemble paintings. [ 21 ] One distinctive feature of the flamboyant was a curvilinear design of the stone mullions within the arched top of windows which, with some imagination, resembled flames agitated by the wind.
Medieval stained glass is the colored 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).
Understanding and interpreting the windows can be difficult in an era out of contact with medieval theology, teachings and sermons commenting on the Gothic cathedrals' stained glass windows. However, the presence of the famous 12th-century School of Chartres suggests that the precise placing of the windows had meaning for their designers.
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
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