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Analysis of the glasses has shown they were originally the same colour and corroded identically, meaning that all the glass-painters used the same glass. The one exception is the Life of Saint Eustace window, whose glass has a different colour and has corroded differently, giving credence to Grodecki's conclusion that it was produced by an ...
Download as PDF; Printable version; ... Stained glass is colored glass as a material or works ... the nature and size of the glass available and his or her own ...
Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
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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While most of the work of Wailes' workshop is to be found in the North of England, other commissions came from further afield. The most significant window glazed by the firm, and one of the prize commissions of the industry, was the glazing of the west window of Gloucester Cathedral, an enormous window of c.1430 in the Perpendicular Gothic style, of nine lights and four tiers.
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In the Stained Glass Museum at Ely is a design for a three light stained glass window for St Matthew's Church, Surbiton. The centre light shows the Virgin Mary and the Jesus Child. The outer lights shows angels, one holds a spear pointed at the large serpent which appears at the bottom of the three lights. This was executed in around 1920.