Stained Glass Art Nouveau

The north transept rose of donated. It represents the Virgin Mary as Queen of Heaven, surrounded by Biblical kings and prophets. Below is, mother of the Virgin, with four righteous leaders. The window includes the arms of France and Castile. The term stained glass can refer to coloured as a material or to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches, mosques and other significant buildings.

1. Large Stained Glass Window Art Nouveau

Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and. Modern vernacular usage has often extended the term 'stained glass' to include domestic and created from exemplified in the famous lamps of.

As a material stained glass is glass that has been coloured by adding during its manufacture. 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 and supported by a rigid frame. Details and yellow are often used to enhance the design. The term stained glass is also applied to windows in which the colours have been painted onto the glass and then fused to the glass in a kiln. Stained glass, as an and a, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight.

Many large windows have withstood the test of time and remained substantially intact since the. In they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as 'illuminated wall decorations'.

The design of a window may be abstract or figurative; may incorporate narratives drawn from the, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church – episodes from the; within a parliament building – shields of the constituencies; within a college hall – figures representing the arts and sciences; or within a home – flora, fauna, or landscape. Stained glass is still popular today, but often referred to as art glass. It is prevalent in luxury homes, commercial buildings, and places of worship.

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Artists and companies are contracted to create beautiful art glass ranging from domes, windows, backsplashes, etc. Main article: During the late, glass factories were set up where there was a ready supply of, the essential material for glass manufacture. Silica requires a very high temperature to melt it, something not all glass factories were able to achieve.

Such materials as, and can be added to lower the melting temperature. Other substances, such as, are added to rebuild the weakened network and make the glass more stable. Glass is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state. Copper oxides produce green or bluish green, cobalt makes deep blue, and gold produces wine red and violet glass. Much modern red glass is produced using copper, which is less expensive than gold and gives a brighter, more vermilion shade of red. Glass coloured while in the clay pot in the furnace is known as pot metal glass, as opposed to. Cylinder glass or Muff Using a blow-pipe, a 'gather' (glob) of molten glass is taken from the pot heating in the furnace.

The gather is formed to the correct shape and a bubble of air blown into it. Using metal tools, molds of wood that have been soaking in water, and gravity, the gather is manipulated to form a long, cylindrical shape. As it cools, it is reheated so that the manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is left to cool. One side of the cylinder is opened.

It is put into another oven to quickly heat and flatten it, and then placed in an to cool at a controlled rate, making the material more stable. 'Hand-blown' cylinder (also called muff glass) and crown glass were the types used in ancient stained-glass windows.

Crown glass This hand-blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a. The causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses.

Concentric, curving waves are characteristic of the process. The center of each piece of glass, known as the 'bull's-eye', is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the distinctive lump of glass left by the 'pontil' rod, which holds the glass as it is spun out. This lumpy, refractive quality means the bulls-eyes are less transparent, but they have still been used for windows, both domestic and ecclesiastical. Crown glass is still made today, but not on a large scale. Rolled glass (sometimes called 'table glass') is produced by pouring molten glass onto a metal or table and immediately rolling it into a sheet using a large metal cylinder, similar to rolling out a pie crust. The rolling can be done by hand or by machine.

Glass can be 'double rolled', which means it is passed through two cylinders at once (similar to the clothes wringers on older washing machines) to yield glass of a specified thickness (typically about 1/8' or 3mm). The glass is then annealed. Rolled glass was first commercially produced around the mid-1830s and is widely used today. It is often called, but this has nothing to do with medieval cathedrals, where the glass used was hand-blown.

Flashed glass Architectural glass must be at least 1 / 8 of an inch (3 mm) thick to survive the push and pull of typical wind loads. However, in the creation of red glass, the colouring ingredients must be of a certain concentration, or the colour will not develop. This results in a colour so intense that at the thickness of 1 / 8 inch (3 mm), the red glass transmits little light and appears black. The method employed is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming '. A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown technique described above.

Once this method was found for making red glass, other colours were made this way as well. A great advantage is that the double-layered glass can be engraved or to reveal the clear or tinted glass below. The method allows rich detailing and patterns to be achieved without needing to add more lead-lines, giving artists greater freedom in their designs.

A number of artists have embraced the possibilities flashed glass gives them. For instance, 16th-century heraldic windows relied heavily on a variety of flashed colours for their intricate crests and creatures. In the medieval period the glass was abraded; later, was used to remove the flash in a chemical reaction (a very dangerous technique), and in the 19th century sandblasting started to be used for this purpose. Modern production of traditional glass There are a number of glass factories, notably in Germany, USA, England, France, Poland and Russia, which produce high-quality glass, both hand-blown (cylinder, muff, crown) and rolled (cathedral and opalescent).

Modern stained-glass artists have a number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways. In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular and. Colours Transparent glass Ordinary appears colourless to the naked eye when it is thin, although iron oxide impurities produce a green tint which becomes evident in thick pieces or can be seen with the aid of scientific instruments.

A number of additives are used to reduce the green tint, particularly if the glass is to be used for plain window glass, rather than stained glass windows. Additives that reduce the green tint include which produces, and may result in a slightly mauve tint, characteristic of the glass in older houses in, USA. Has been used for the same purpose. Green glass While very pale green is the typical colour of transparent glass, deeper greens can be achieved by the addition of which results in a bluish-green glass. Together with it gives glass of a richer green colour, typical of the glass used to make.

The addition of chromium yields dark green glass, suitable for flashed glass. Together with tin oxide and arsenic it yields glass. Blue glass. In medieval times, blue glass was made by adding cobalt, which at a concentration of 0.025% to 0.1% in soda-lime glass achieves the brilliant blue characteristic of.

The addition of to boron-rich imparts a blue colour. The addition of at 2–3% produces a colour. The addition of, at different concentrations, produces blue, violet, or black glass. Red glass. Metallic, in very low concentrations (around 0.001%), produces a rich ruby-coloured glass ('ruby gold'); in even lower concentrations it produces a less intense red, often marketed as '. The colour is caused by the size and dispersion of gold particles.

Ruby gold glass is usually made of lead glass with tin added. Pure metallic produces a very dark red, opaque glass. Glass created in this manner is generally 'flashed' (laminated glass). It was used extensively in the late 19th and early 20th centuries and exploited for the decorative effects that could be achieved by sanding and engraving. is an important agent to make pink and red glass. When used together with cadmium sulphide, it yields a brilliant red colour known as 'Selenium Ruby'. Yellow glass.

compounds (notably ) are used as stain applied to the surface of glass and fired on. They can produce a range of colours from -red to yellow.

The way the glass is heated and cooled can significantly affect the colours produced by these compounds. The chemistry involved is complex and not well understood. The addition of sulphur, together with and iron salts, is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black. With it yields a deep yellow colour. Adding produces - glass.

Titanium is rarely used on its own and is more often employed to intensify and brighten other additives. together with sulphur results in deep yellow colour, often used in glazes.

However, cadmium is toxic. (0.1% to 2%) can be added to give glass a fluorescent yellow or green colour. Is typically not enough to be dangerous, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be.

When used with lead glass with a very high proportion of lead, it produces a deep red colour. Purple glass.

The addition of gives an colour. Manganese is one of the oldest glass additives, and purple manganese glass has been used since early Egyptian history., depending on the concentration, produces blue, or, or even glass. With added nickel acquires a purplish colour. White glass.

with and oxides produce an opaque glass, first used in to produce an imitation. White glass was used extensively by to create a range of.

A window by Tiffany illustrating the development and use of multi-coloured flashed, opalised and streaky glasses at the end of the 19th century Creating stained glass windows Design The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit. The subject matter of the window is determined to suit the location, a particular theme, or the wishes of the patron. A small design called a Vidimus (from Latin 'we have seen') is prepared which can be shown to the patron. A scaled model may also be provided. The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries.

Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated. In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full-sized cartoon is drawn for every 'light' (opening) of the window. A small church window might typically have two lights, with some simple lights above.

A large window might have four or five lights. The east or west window of a large might have seven lights in three tiers, with elaborate tracery. In medieval times the cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window. The cartoon is then divided into a patchwork, providing a template for each small glass piece.

The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect. Selecting and painting the glass Each piece of glass is selected for the desired colour and cut to match a section of the template.

An exact fit is ensured by 'grozing' the edges with a tool which can nibble off small pieces. Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century. From 1300 onwards, artists started using 'silver stain' which was made with. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass.

By about 1450, a stain known as 'Cousin's rose' was used to enhance flesh tones. In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled.

A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead. This allows for the use of techniques such as and to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage. Assembly and mounting Once the glass is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or between the glass and the cames.

In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see. Traditionally, when a window was inserted into the window space, iron rods were put across it at various points to support its weight. The window was tied to these rods with copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period. Technical details.

Swiss armourial glass of the of, 1564, with typical painted details, extensive silver stain, Cousin's rose on the face, and flashed ruby glass with abraded white motif History Origins Coloured glass has been produced since ancient times. Both the and the excelled at the manufacture of small coloured glass objects. Was important in glass manufacture with its chief centres, and. The holds two of the finest Roman pieces, the, which is a murky mustard colour but glows purple-red to transmitted light, and the which is midnight blue, with a carved white overlay. 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. Evidence of stained glass windows in churches and monasteries in Britain can be found as early as the 7th century.

The earliest known reference dates from 675 AD when imported workmen from France to glaze the windows of the monastery of St Peter which he was building. Hundreds of pieces of coloured glass and lead, dating back to the late 7th century, have been discovered here and. In the Middle East, the glass industry of Syria continued during the Islamic period with major centres of manufacture at, and and the most important products being highly transparent colourless glass and gilded glass, rather than coloured glass. An alabaster window in, Italy Stained glass in South West Asia The production of coloured glass in existed by the 8th century, at which time the, in Kitab al-Durra al-Maknuna, gave 46 recipes for producing coloured glass and described the technique of cutting glass into artificial. The tradition of stained glass manufacture has continued, with mosques, alaces and public spaces being decorated with stained glass throughout the Islamic world. The stained glass of Islam is essentially non-pictorial, in the context of religious idology.

It is generally of purely geometric design, but may contain both floral motifs and text. See also: and Stained glass, as an art form, reached its height in the when it became a major pictorial form used to illustrate the narratives of the Bible to a largely illiterate populace. In the and Early period, from about 950 to 1240, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at and at the eastern end of. As developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone. This elaboration of form reached its height of complexity in the Flamboyant style in Europe, and windows grew still larger with the development of the in England.

Integrated with the lofty verticals of Gothic cathedrals and parish churches, glass designs became more daring. The circular form, or, developed in France from relatively simple windows with openings pierced through slabs of thin stone to wheel windows, as exemplified by the west front of Chartres Cathedral, and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at, Paris and the 'Bishop's Eye'. While stained glass was widely manufactured, was the greatest centre of stained glass manufacture, producing glass of unrivalled quality. Medieval glass in France. Stained glass windows in the (14th to 17th century) Renaissance, Reformation and Classical windows Probably the earliest scheme of stained glass windows that was created during the was that for Florence Cathedral, devised. The scheme includes three ocular windows for the dome and three for the facade which were designed from 1405 to 1445 by several of the most renowned artists of this period:, and.

Each major ocular window contains a single picture drawn from the or the, surrounded by a wide floral border, with two smaller facade windows by Ghiberti showing the martyred deacons, and. One of the cupola windows has since been lost, and that by Donatello has lost nearly all of its painted details.

In Europe, stained glass continued to be produced; the style evolved from the Gothic to the Classical, which is well represented in Germany, Belgium and the Netherlands, despite the rise of. In France, much glass of this period was produced at the factory, and in Italy at, where stained glass and faceted are often coupled together in the same window. The French Revolution brought about the neglect or destruction of many windows in France. At the in England, large numbers of medieval and Renaissance windows were smashed and replaced with plain glass.

The under and the injunctions of against 'abused images' (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of these the windows in the private chapel at in Suffolk are among the finest. With the latter wave of destruction the traditional methods of working with stained glass died, and were not rediscovered in England until the early 19th century. See for more details. In the Netherlands a rare scheme of glass has remained intact at Church,.

The windows, some of which are 18 metres (59 feet) high, date from 1555 to the early 1600s; the earliest is the work of and his brother. Many of the original cartoons still exist. Main article: The Catholic revival in England, gaining force in the early 19th century with its renewed interest in the medieval church, brought a revival of church building in the Gothic style, claimed by to be 'the true Catholic style'. The architectural movement was led. Many new churches were planted in large towns and many old churches were restored. This brought about a great demand for the revival of the art of stained glass window making.

Among the earliest 19th-century English manufacturers and designers were and of Birmingham, whose nephew, John Hardman Powell, had a commercial eye and exhibited works at the Philadelphia Exhibition of 1876, influencing stained glass in the United States of America. Other manufacturers included, and. A Scottish designer, opened firms in Australia and the US. West window from, (about 1900) Revival During the mid- to late 19th century, many of Germany's ancient buildings were restored, and some, such as, were completed in the medieval style. There was a great demand for stained glass.

The designs for many windows were based directly on the work of famous engravers such as. Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827. A major firm was, which commenced glass production in 1860, and is still operating as. German stained glass found a market across Europe, in America and Australia.

Stained glass studios were also founded in Italy and Belgium at this time. In the and later, one of the leading stained glass artists was Carl Geyling, who founded his studio in 1841. His son would continue the tradition as, which still exists today. Carl Geyling's Erben completed numerous stained glass windows for major churches in Vienna and elsewhere, and received an Imperial and from emperor. A window in the Late Gothic style, Olomouc, early 20th century Innovations in Britain and Europe Among the most innovative English designers were the, (1834–1898) and (1833–1898), whose work heralds the influential Arts & Crafts Movement, which regenerated stained glass throughout the English-speaking world.

Amongst its most important exponents in England was Christopher Whall (1849-1924), author of the classic craft manual 'Stained Glass Work' (published London and New York, 1905), who advocated the direct involvement of designers in the making of their windows. His masterpiece is the series of windows (1898-1910) in the Lady Chapel at Gloucester Cathedral. Whall taught at London's Royal College of Art and Central School of Arts and Crafts: his many pupils and followers included Karl Parsons, Mary Lowndes, Henry Payne, Caroline Townshend, Veronica Whall (his daughter) and Paul Woodroffe. The Scottish artist Douglas Strachan (1875-1950), who was much influenced by Whall's example, developed the Arts & Crafts idiom in an expressionist manner, in which powerful imagery and meticulous technique are masterfully combined.

In Ireland, a generation of young artists taught by Whall's pupil Alfred Child at Dublin's Metropolitan School of Art created a distinctive national school of stained glass: its leading representatives were Wilhelmina Geddes, Michael Healy and Harry Clarke. Art Nouveau or stained glass design flourished in France, and Eastern Europe, where it can be identified by the use of curving, sinuous lines in the lead, and swirling motifs. In France it is seen in the work of of Limoges. In Britain it appears in the refined and formal designs of. Main article:, established in 1857 in New York City, was the first major decorative arts studio in the United States and for many years a major producer of ecclesiastical stained glass.

Notable American practitioners include (1835–1910), who invented and for which he received a U.S. Patent on 24 February 1880, and (1848–1933), who received several patents for variations of the same opalescent process in November of the same year and is believed to have invented the copper foil method as an alternative to lead, and used it extensively in windows, lamps and other decorations. However, a reaction against the aesthetics and technique of opalescent windows - led initially by architects such as Ralph Adams Cram - led to a rediscovery of traditional stained glass in the early 1900s. Connick (1875-1945), who founded his Boston studio in 1913, was profoundly influenced by his study of medieval stained glass in Europe and by the Arts & Crafts philosophy of Englishman Christopher Whall.

Connick created hundreds of windows throughout the USA, including major glazing schemes at Princeton University Chapel (1927-9) and at Pittsburgh's Heinz Memorial Chapel (1937-8). Other American artist-makers who espoused a medieval-inspired idiom included Nicola D'Ascenzo of Philadelphia, Wilbur Burnham and Reynolds, Francis & Rohnstock of Boston and Henry Wynd Young and J. Gordon Guthrie of New York.

A trompe l'oeil glass c. 1884, design, for home of,. 20th and 21st centuries Many 19th-century firms failed early in the 20th century as the Gothic movement was superseded by newer styles. At the same time there were also some interesting developments where stained glass artists took studios in shared facilities. Examples include the in London set up by and and in Dublin, which was run by and included artists such as.

A revival occurred in the middle of the century because of a desire to restore thousands of church windows throughout Europe destroyed as a result of World War II bombing. German artists led the way. Much work of the period is mundane and often was not made by its designers, but industrially produced.

Other artists sought to transform an ancient art form into a contemporary one, sometimes using traditional techniques while exploiting the medium of glass in innovative ways and in combination with different materials. The use of set in was a 20th-century innovation., a technique developed by the French artist Jean Crotti in 1936 and perfected in the 1950s, is a type of stained glass where adjacent pieces of glass are overlapped without using lead to join the pieces, allowing for greater diversity and subtlety of colour. Many famous works by late 19th- and early 20th-century painters, notably, have been reproduced in gemmail. A major exponent of this technique is the German artist.

Among the early well-known 20th-century artists who experimented with stained glass as an form were and. In the 1960s and 1970s the painter produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details. Important 20th-century stained glass artists include, at, at Couvrechef- La Folie , and (Switzerland), and the Loire Studio of. The west windows of England's, by, are some of the most notable examples of symbolic work. In Germany, stained glass development continued with the inter-war work of and, and the postwar achievements of Joachim Klos, Johannes Schreiter and Ludwig Shaffrath.

Trends included the abandonment of figurative designs and of painting on glass in favour of a mix of biomorphic and rigorously geometric abstraction and the calligraphic non-functional use of leads. The works of demonstrate the late 20th-century trends in the use of stained glass for architectural purposes, filling entire walls with coloured and textured glass. In the 1970s young British stained-glass artists such as were influenced by the large scale and abstraction in German twentieth-century glass.

In the UK, the professional organisation for stained glass artists has been the British Society of Master Glass Painters, founded in 1921. Since 1924 the BSMGP has published an annual journal, The Journal of Stained Glass.

It continues to be Britain's only organisation devoted exclusively to the art and craft of stained glass. From the outset, its chief objectives have been to promote and encourage high standards in stained glass painting and staining, to act as a locus for the exchange of information and ideas within the stained glass craft and to preserve the invaluable stained glass heritage of Britain.

See www.bsmgp.org.uk for a range of stained glass lectures, conferences, tours, portfolios of recent stained glass commissions by members, and information on courses and the conservation of stained glass. Back issues of The Journal of Stained Glass are listed and there is a searchable index for stained glass articles, an invaluable resource for stained glass researchers. In the United States, there is a 100-year-old trade organization, The Stained Glass Association of America, whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines, instruction and training to craftspersons. The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form. The current president is B.

Gunar Gruenke of the. Today there are academic establishments that teach the traditional skills. One of these is Florida State University's Master Craftsman Program, which recently completed a 30 ft (9.1 m) high stained-glass windows installed in. The installation at in is 200 feet (61 m) long and has been compared to those in several European cathedrals, including the in Germany, in France, and in England.

Large Stained Glass Window Art Nouveau

Design of etched glass text and cathedral glass books set as a, LGBT pride Libraries, artist: Lynette Richards Buildings incorporating stained glass windows Churches Stained glass windows were commonly used in churches for decorative and informative purposes. Many windows are donated to churches by members of the congregation as memorials of loved ones. For more information on the use of stained glass to depict religious subjects, see.