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The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead, called cames or calms, and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design.
The peintre verrier, or glass painter, selected the colors, choosing from small sample colored pieces provided by the glassmaker. Once the plan was approved, An exact copy of the plan, in full size, was drawn in charcoal on the top of a large table covered with plaster.
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 ...
Customer support is a range of consumer services to assist customers in making cost-effective and correct use of a product. [ 9] It includes assistance in planning, installation, training, troubleshooting, maintenance, upgrading, and disposal of a product. [ 9] These services may even be provided at the place in which the customer makes use of ...
Soda–lime glass (for containers) [2] Borosilicate (low expansion, similar to Pyrex, Duran) Glass wool (for thermal insulation) Special optical glass (similar to Lead crystal) Fused silica Germania glass Germanium selenide glass Chemical composition, wt% 74 SiO 2, 13 Na 2 O, 10.5 CaO, 1.3 Al 2 O 3, 0.3 K 2 O, 0.2 SO 3, 0.2 MgO, 0.01 TiO 2, 0. ...
Harry Clarke (1889–1931) was an Irish stained-glass artist and book illustrator. He produced more than 130 stained glass windows, he and his brother Walter having taken over his father's studio after his death in 1921. [ 1] His glass is distinguished by the finesse of its drawing and his use of rich colours, and an innovative integration of ...
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]
The primary aim of conservation is to slow the rate of deterioration, caused by various factors, to the point where the loss of significance, such as historic information and/or aesthetic value can be kept to a minimum (Pye 2001, Ch. 5). However, in the case of stained glass, these efforts are complicated by the nature of the medium itself.