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Verre églomisé [vɛʁ e.ɡlɔ.mi.ze] is a French term referring to the process of applying both a design and gilding onto the rear face of glass to produce a mirror finish. The name is derived from the 18th-century French decorator and art-dealer Jean-Baptiste Glomy [ 1 ] (1711–1786), who was responsible for its revival.
In early Christian churches of the 4th and 5th centuries, there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect. [20] [21] Evidence of stained-glass windows in churches and monasteries in Britain can be found as early as the 7th century.
The size of individual mirrors was still small: the 17 seemingly large window-like panes in the Hall of Mirrors are in fact stitched from 357 small pieces of mirror glass. [12] In 1687, Bernard Perrot developed a process of glass casting that enabled first truly large glass mirrors, impossible to make using the traditional glass blowing process.
Kiln-formed glass sculpture "United Earth" by Tomasz Urbanowicz. Several of the most common techniques for producing glass art include: blowing, kiln-casting, fusing, slumping, pâté-de-verre, flame-working, hot-sculpting and cold-working. Cold work includes traditional stained glass work as well as other methods of shaping glass at room ...
The designs of the glass displayed rich decoration, an elegance of figures and a precision of gestures not seen before in stained glass. [ 9 ] [ 13 ] The Sainte-Chapelle window styles found an immediate echo in the windows of other 13th century cathedrals and churches, notably Soissons Cathedral , made shortly after Sainte-Chapelle, likely by ...
Large 18th-century Rococo pier glass in the Amalienburg Pavilion, Schloss Nymphenburg. A trumeau mirror is a type of wall mirror originally manufactured in France in the later 18th century. It takes its name from the French word trumeau, which designates the space between windows. Such a mirror, usually rectangular, could also hang above an ...
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