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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 example is the stained glass window of the doorway of the Hôtel van Eetvelde in Brussels (1895). In France, Art Nouveau stained glass was used by Alphonse Mucha to decorate the interior of the jewelry shop of Georges Fouquet. The windows were made by Léon Fargues. The decor is now found in the Carnavalet Museum.
There was a great increase in use of the technique in several areas in the late 11th century, just as the Romanesque style matured. The immediate source of the style remains obscure; various exotic origins have been suggested, but the great expansion in the use of stained glass at the same period is probably connected. Copper or bronze bases ...
Traditionally, leadlight windows differ from stained glass windows principally in being less complex in design and employing simpler techniques of manufacture. Stained glass windows, such as those commonly found in churches, usually include design components that have been painted onto the glass and fired in a kiln before assembly.
Soldering and brazing are thought to have originated very early in the history of metal-working, probably before 4000 BC. [2] Sumerian swords from c. 3000 BC were assembled using hard soldering. Soldering was historically used to make jewelry, cookware and cooking tools, assembling stained glass, as well as other uses.
The Byzantines perfected a unique form of cloisonné icons. Byzantine enamel spread to surrounding cultures and a particular type, often known as "garnet cloisonné" is widely found in the Migration Period art of the "barbarian" peoples of Europe, who used gemstones, especially red garnets, as well as glass and enamel, with small thick-walled cloisons.
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