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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]
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 general characteristics of French stained glass in this period include whole panels filled with decorative canopy work, almost all in white, with just touches of stain. The canopy designs were intricate patterns of line and form to accompany the intricate details of the Flamboyant interiors.
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.
When the dazzling 16-foot-high leaded stained- glass window arrived in Canton in 1913, it made front-page news—and postponed the new church’s dedication by a week because of a shipping delay.
Medieval stained glass is the colored 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 were more common).
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