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The makers of stained glass were declared exempt from taxes at the end of the 15th century by King Charles V of France. [25] Stained glass artists also began to have a wider variety of clients; not only kings but also wealthy aristocrats and merchants. Windows were made not only for cathedrals but also for town halls and palatial residences.
The Panels of Chartres Cathedral Windows, Creation and the Good Samaritan, contain 24 stained-glass windows. Plates one through three depict shoemakers, the funders of the window. Panels four through twelve from bottom to top depict the Story of the Good Samaritan, and the other panels - thirteen to twenty-four - depict the Story of Creation.
His free hanging glass panels have been widely exhibited and collected. [2] He is the author of Stained Glass Primer , an authoritative how-to guide to stained glass technique, used widely by hobbyists and professionals since first published in 1971. [ 3 ]
Pieter Coecke van Aelst (Aalst, 14 August 1502 – Brussels, 6 December 1550) was a Flemish painter, sculptor, architect, author and designer of woodcuts, goldsmith's work, stained glass and tapestries. His principal subjects were Christian religious themes. [1] Below is an incomplete list of Pieter Coecke van Aelst's works:
The John J. Kinsella Company operated from 1872 to 1931 and was one of the larger firms producing stained glass and mirrors in Chicago at the time. They specialized in ecclesiastical stained glass art and employed some 50 people, according to the publication, Frueh's Chicago Stained Glass. [1] The stained-glass windows of St. James Ev.
In addition to Christian churches, stained glass windows have been incorporated into Jewish temple architecture for centuries. Jewish communities in the United States saw this emergence in the mid-19th century, with such notable examples as the sanctuary depiction of the Ten Commandments in New York's Congregation Anshi Chesed.
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