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[EN] Stained-glass windows form an important part of cultural heritage. Short pulse lasers open new opportunities for safe decontamination. In this work, and for the first time, the interaction of sub-nanosecond and femtosecond pulsed lasers with some contemporary stained-glasses has been analyzed exploring their applicability to safely clean stained-glass windows. The results show that, in these materials, damage can be induced using energy levels below damage thresholds due to the heat accumulation in the coating layer that is being eliminated. The latter generates significant thermal stresses on the glass volume, which induce crack formation. In consequence, in order to apply safe stained-glass cleaning protocols, laser parameters have to be selected to control the temperature increase within this layer. To achieve the latter goal, two alternative irradiation procedures were explored in this work. As a first option, a reduction of the effective pulse repetition frequency to values lower than 20 kHz was applied. A second alternative was used for lasers with pulse repetition rates in the hundreds of kHz. In this case, the burst mode was employed controlling the number of pulses emitted and combined with an adequate time lapse selection between two consecutive burst runs. A proof of concept demonstration was carried out on a stained-glass sample from the Cathedral of Cuenca, dated at the end of the XV century., [ES] Las vidrieras constituyen un elemento esencial de nuestro patrimonio cultural. Los láseres de pulsos ultracortos ofrecen nuevas oportunidades para desarrollar procesos de restauración seguros. En este trabajo, por primera vez, se estudia la interacción de láseres pulsados emitiendo pulsos en el rango de los subnanosegundos y femtosegundos con piezas de vidrieras contemporáneas, con el fin de explorar la posibilidad de desarrollar procesos seguros de restauración de vidrieras. Los resultados muestran que, en estos materiales, incluso trabajando con niveles de energía por debajo de los umbrales de daño, se puede generar deterioro por la acumulación de calor generada en la capa que se está eliminando, lo cual puede generar niveles de tensiones térmicas que provocan la ruptura del vidrio. Por tanto, para desarrollar protocolos de limpieza seguros, los parámetros de procesado deben escogerse de tal manera que se minimice la temperatura que se alcanza en esta capa. Se han explorado dos alternativas. Una es reducir la frecuencia de trabajo hasta valores por debajo de los 20 kHz. En el caso de láseres que trabajen a frecuencias más elevadas, la alternativa es trabajar en modo burst, limitando el número de pulsos en cada serie y estableciendo tiempos de espera entre dos series. Estas ideas se han aplicado sobre una pieza de vidriera de la Catedral de Cuenca de finales del siglo XV., This work was supported by European Union's Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement N.° 766311. Partial support is obtained from Gobierno de Aragón “Construyendo Europa desde Aragón” (research group T54_20R). The use of Servicio General de Apoyo a la Investigación at the University of Zaragoza is acknowledged. This work has been performed in the framework of the Unidad Asociada de I+D+I al CSIC “Vidrio y Materiales del Patrimonio Cultural (VIMPAC)”, by INMA (CSIC-University of Zaragoza) and University of Burgos.

Laser irradiation enables the removal of unwanted surface deposits from different materials in a safe and controllable manner. Laser parameters should be carefully selected to achieve the removal of the target contaminants without inducing damage to the substrate. Ultra-short pulse lasers have opened new opportunities for safe and controlled decontamination of cultural heritage materials because the thickness of material that is affected by the laser is limited. In this study, an ultraviolet femtosecond pulsed laser was used for the removal of unwanted encrustation formed on the surface of an historical colourless stained-glass sample from the Cuenca Cathedral in Spain. One of the sides of this glass exhibits a reddish-brown grisaille that also has to be preserved. A laser cleaning process has been designed to avoid heat accumulation while controlling the thickness of ablated material. In this context, a multi-step process was selected in order to be able to eliminate, in a controlled way, the crust layer without damaging the grisaille layer, or the glass substrate. In this case, laser irradiation in beam scanning mode with a pulse repetition frequency of 10kHz proved to be effective for the safe cleaning of the glass. The latter was analysed before and after laser cleaning by optical and confocal microscopy, scanning electron microscopy, energy dispersive X-ray spectroscopy, X-ray fluorescence, and Raman spectroscopy, confirming that the crust layer was effectively eliminated without damaging the surface.

This research work was presented at the: LVIII Congress of the Spanish Society of Ceramics and Glass – Madrid, Spain May 3-6, 2022. Ps and fs lasers wereused to understand the response of stained-glasses to the radiation, analyzing the different levels of damage that the laser can induce on the glass sample (chemical, mechanical or thermal) depending on the laser wavelength. In addition, the adequate selection of the laser parameters that can limit the maximum temperature reached on the glass surface due to heat accumulation, avoiding crack generation due to thermal stresses created during laser cleaning was presented.

Na początku XV w. w Małopolsce rozpowszechniły się przedstawienia ukoronowanej Matki Boskiej z Dzieciątkiem z Dzieciątkiem z atrybutami Niewiasty Apokaliptycznej: koroną na głowie, księżycem u stóp i jaśniejącą wokół postaci promienistą glorią. Wyobrażenia takie obecne były w złotnictwie, sfragistyce, hafciarstwie, a także w malarstwie witrażowym. Obok takich przedstawień Matki Boskiej Apokaliptycznej od początków XV stulecia powstawały w Małopolsce wizerunki ukoronowanej Marii z Dzieciątkiem, stąpającej na księżycu i ujętej glorią promienistą – a zatem z atrybutami Dziewicy Apokaliptycznej, ale stojącej na tle gęstego listowia, po którym najczęściej – choć nie zawsze – pełgają płomienie. Wyobrażenia takie są najliczniej reprezentowanym typem ikonograficznym w małopolskim malarstwie witrażowym pierwszej połowy XV w., a równocześnie pozostają niezwykle rzadkie w całej sztuce zachodniej. Celem artykułu jest wskazanie okoliczności spopularyzowania takich wizerunków maryjnych w sztuce Krakowa. Przedstawienie Marii-Krzewu Gorejącego zostało przejęte przez sztukę zachodu z Bizancjum, przy czym wskazać można dwie możliwe tego drogi. Jak wykazano, jedna z nich wiedzie przez Francję, gdzie powstały rzeźbiarskie wyobrażenia Marii z Dzieciątkiem, z Mojżeszem i gorejącym krzewem, druga zaś poprzez Czechy, gdzie najwcześniejsze realizacje tego typu powstały najpóźniej w latach 70. XV w. W latach 80. XIV w. w Czechach ikonografię Marii Apokaliptycznej włączono do wyobrażeń Marii-Krzewu Gorejącego, tworząc tym samym nowy wariant przedstawieniowy, który łączy znane ze sztuki wschodniej elementy przedstawienia Marii-Krzewu Gorejącego z atrybutami charakterystycznymi dla wizerunków Matki Boskiej Apokaliptycznej. Kontaminację tą należy uznać za wariant bizantyńskiego typu ikonograficznego. Jego powstanie przypisać można arcybiskupowi Pragi Janowi z Jensteinu, w którym upatruje się fundatora zachowanego tylko we fragmencie dzieła rzeźbiarskiego w katedrze praskiej. Wysoce prawdopodobna wydaje się wyrażana w literaturze już wcześniej hipoteza, że w tym okresie, w warsztacie Mistrza z Trzeboni, także z inicjatywy praskiego arcybiskupa powstał obraz Marii-Krzewu Gorejącego. Ta sugestia zyskała obecnie na prawdopodobieństwie dzięki wskazaniu nie uwzględnianych dotąd w dyskusji naukowej dzieł: miniatury we wrocławskim mszale z lat ok. 1415 oraz grupy małopolskich witraży z lat ok. 1420-1440, z których wcześniejsze wyraźnie nawiązują do maniery Mistrza z Trzeboni. Dzieła te wskazują, że nowa ikonografia przejmowana była wraz z elementami stylu czeskiego mistrza. Ze względu m.in. na kompozycję malarskich realizacji tematu, odbiegającą od rzeźbiarskich odpowiedników monumentalizacją motywu krzewu gorejącego, ujmującego całą postać Marii, domniemywam istnienia w Roudnicach wzoru dla takiego ujęcia w postaci bizantyńskiej ikony, co jednak pozostawiam jako hipotezę. Za lokalizacją wzoru w Roudnicach przemawia pochodzenie najstarszego zachowanego w Małopolsce wizerunku Marii-Krzewu Gorejącego z kościoła kanoników regularnych laterańskich pw. Bożego Ciała na Kazimierzu w Krakowie. Zakonnicy ci zostali bowiem sprowadzeni w to miejsce w 1405 r. z placówki w Kłodzku, będącej prepozyturą klasztoru roudnickiego. Czeski wariant przedstawienia powstał w kręgu elit obytych w teologii maryjnej i aktywnie ją kreującej. Niewątpliwym źródłem nowego wizerunku było kazanie św. Bernarda z Clairvaux na oktawę Wniebowzięcia NMP, w którym rozważał on łącznie obrazy niewiasty obleczonej w słońce i krzewu gorejącego. Rozpowszechnienie nowego wariantu ikonograficznego w Małopolsce w formie witraży nie jest przypadkowe, lecz głęboko zakorzenione w inkarnacyjnej symbolice przenikniętego światłem barwnego szkła, być może na nowo dyskutowanej m.in. w Krakowie pod koniec XIV w. przy okazji recepcji pism Brygidy Szwedzkiej. Pomysł wykonania witrażu, którego treści ideowe odwołują się do teofanii jakiej doświadczył Mojżesz był jednocześnie konsekwencją dostrzeżenia performatywnych możliwości medium. Zmienny w odbiorze, zależny od światła witrażowy obraz mógł służyć jako narzędzie emocjonalnej aktywizacji w myśl zaleceń nowej pobożności, pozwalał na utożsamienie z nieobecnym na obrazie podmiotem starotestamentowej teofanii. Jednym z krakowskich centrów zainteresowania czeską odmianą devotio moderna był właśnie klasztor kanoników regularnych na Kazimierzu. Studium wskazuje jak istotną rolę w rekonstruowaniu obrazu przeszłości ma uwzględnienie innych ośrodków artystycznych i intelektualnych, jak Kraków oraz tych kategorii dzieł sztuki, które w literaturze przedmiotu są nadal najczęściej pomijane. The representation of the Virgin of the Burning Bush is an iconographic type that the West took over from Byzantium. The process may have took place along two routes: through France, where monumental images of the Virgin and Child accompanied by Moses and the burning bush appeared, or through Bohemia during the reign of Charles IV, where inspiration may have come from an icon. Among arguments supporting a hypothesis that an Eastern artwork, which had served as a model for Bohemian paintings, was held at Roudnice is the fact that one of the oldest surviving images of the Virgin of the Burning Bush comes from Corpus Christi church of the Canons Regular of the Lateran in Cracow’s Kazimierz, who were brought there in 1405 from a provostry of the Roudnice monastery in Kłodzko. The earliest Bohemian examples of the iconographic type of the Virgin of the Burning Bush must have originated no later than in the 1370s, since a stained-glass panel at Straßengel, modelled on these artworks, was executed before 1380. In the 1380s, probably on the initiative of the Archbishop of Prague Jan of Jenštejn, there came to a fusion of the images of the Virgin of the Apocalypse and the Virgin of the Burning Bush, which resulted in a new variant, of the Virgin of the Assumption of the Burning Bush, represented both in sculpture and in painting. Following Martin Pavlíček, it should be concluded that the model painting based on an Eastern iconographic type, in which the Virgin is represented standing within a huge flaming bush, was executed by the Master of Třeboň. It is attested by clear affinities with the style of the master visible in the images of the Virgin of the Burning Bush starting from around 1415 (the Wrocław Missal). Painted representations of the Virgin of the Burning Bush accompanied by attributes of the Apocalyptic Woman remained a subject matter known in a relatively limited milieu of The Bohemian variant of the image had been shaped in the circle of the elite well-versed in Marian theology, who also actively contributed to its development. The undoubted source of the new image was the sermon of St Bernard of Clairvaux for the Sunday within the Octave of the Assumption of the Blessed Virgin Mary, in which he considered jointly the representations of the woman clothed in the sun and of the burning bush. The fact that the new variant was disseminated in Lesser Poland in the form of stained glass is not accidental, but deeply rooted in the incarnational symbolism of the coloured glass penetrated by light, which may have been discussed anew in Cracow at the end of the fourteenth century, coinciding with the reception of the works of St Bridget of Sweden. An idea of executing a stained-glass panel whose message was related to theophany witnessed by Moses was at the same time a consequence of recognising performative capacities of the medium. An image executed in stained glass, whose reception changes depending on the lighting may have been intended as a means of activating emotions in keeping with the instructions of the new devotion, and allowed the viewers to identify themselves with the subject of the Old-Testament theophany, absent from the picture. And the monastery of the Canons Regular in Kazimierz was one of the places in Cracow where the Bohemian version of devotio moderna was explored.

Stained-glass windows play an important role in cultural heritage. Human and environmental factors have subjected these pieces to risks of damage. Mechanical and chemical-based cleaning methods have been used for their restoration and conservation. Additionally, short-pulse lasers have opened new opportunities for safe and controlled cleaning and restoration of these important materials. In this work, ultra-short pulsed lasers were used to clean an artificially applied coating from the surface of a contemporary colorless glass frequently used in the restoration of stained-glass windows. One of the objectives was to explore the applicability of using these types of lasers to safely clean historical stained-glass windows. It was observed that temperature rise and subsequent heat accumulation in the coating layer being removed was sufficient to generate significant thermal stresses on the underlying glass surface leading to damages even when the laser energies are lower than the damage thresholds. Some laser treatments that limit this heat accumulation were designed in this study. For laser systems operating at frequencies in the range of several hundreds of kHz, the option was to work in burst mode, limiting the number of pulses in each burst and selecting an adequate time lapse between two consecutive burst runs. A method to uniformly clean a given surface is proposed in this work. When lower frequencies are available, treatments using frequencies lower than 20 kHz are enough to safely clean the glass. When UV laser radiation is used, optical damage is also an important aspect to be considered. In this case, the cleaning protocol has to deal with both issues, to avoid heat accumulation and chemical damage.

The browning phenomenon is a pathology typical of medieval stained-glass windows of potash-lime-silica composition containing Mn. It is caused by the formation of Mn-rich brown spots at the glass surface that prevent light transmission.Previous works showed that the browning is linked to the oxidation of Mn from Mn2+/3+ in the pristine glass to Mn3+/4+ in the altered brown phases. This phenomenon is not understood yet, some studies suggested that Mn migration to the surface, oxidation and/or precipitation might be linked to biological activity. A better understanding of the phenomenon could allow the development of more targeted conservation treatments.In this study, microbiological samples were collected in situ on stained-glass windows and the cultivated microorganisms were identified. The DNA sequencing of the cultivable collected bacteria showed rich and diversified bacterial communities on in situ stained-glasses.Then, in order to improve the understanding of this phenomenon and investigate the implication of microorganisms, a mechanistic approach based on two main research axis was chosen and weathering experiments of model glasses (VM for glass with Mn and VNM for glass without Mn) representative of medieval stained glasses were designed.Firstly, glass dissolution and Mn leaching were studied in abiotic experiments (in buffered UPW solution and in sterile culture media),in biotic indirect (in presence of microbial exudates) and biotic direct (in presence of the model strain Pseudomonas putida) conditions. The analysis of the leachates showed that the stoichiometry and kinetics of glass dissolution were influenced by the presence of exudates and bacterial cells.The two studied exudates (oxalic acid and the siderophore DFOB) have different effects on glass dissolution, depending on their complexing abilities. The VM glass is more resistant to alteration in UPW when compared to VNM, but it is more significantly affected by the presence of organic ligands because of the complexation of Mn. Therefore, Mn seems to have a key role in the indirect interaction glass-bacteria.In presence of P. putida, the dissolution stoichiometry is mainly affected by the production of the pyoverdine (PVD) siderophore that forms a complex with Mn and starts the oxidation process that leads to the production of biofilm including Mn oxides. Bacterial behavior (bacterial growth, PVD production and Mn oxidation) is mutually affected by the access of the bacteirla cells to the glass elements.Then, Mn mobility through the alteration layer and its capability to form brown phases at the surface of the glass were investigated in abiotic (by imbibition experiments of Mn-rich solution on altered glass samples) and biotic (by biofilm growth of P. putida on glass surface) conditions.Brown phases at the surface of the glass were obtained via abiotic and biotic experiments and were characterized by optical and electronic (SEM, TEM) microscopy, and microprobe analysis. Both the abiotic and the biotic brown phases have common characteristics (Mn enrichment, amorphous state) with the brown phases identified on historical stained-glass samples.The confrontation of the results obtained during the different steps allowed to formulate several hypotheses about abiotic and biotic mechanisms leading to the browning of medieval stained-glass windows; Le phénomène de brunissement est une pathologie affectant les vitraux du Moyen-Age de composition silico-calco-potassique contenant du Mn. Il se traduit par l'apparition, en surface du verre, de taches brunes riches en Mn, qui entraînent une perte de transmission de la lumière et de lisibilité de l'œuvre.Des travaux antérieurs ont montré que ce brunissement est lié à l’oxydation du Mn qui passe de la forme Mn2+/3+ dans le verre sain à Mn3+/4+ dans les zones altérées. Cependant, les différentes étapes qui conduisent à la formation localisée de phases brunes, ainsi que le rôle potentiel des microorganismes dans l’apparition de la pathologie restent encore à déterminer. Une compréhension plus poussée de ce phénomène permettrait en effet d’envisager des traitements de conservation plus adaptés.Dans cette étude, l’identification par séquençage ADN des microorganismes cultivables présents sur trois sites de vitraux in situ a été réalisée. Les résultats indiquent que des populations riches et variées de microorganismes sont rencontrées sur ces vitraux.Afin d’étudier de manière ciblée la contribution microbiologique lors des différentes étapes de formation du brunissement, une approche mécanistique en deux étapes a été adoptée grâce à des expériences d’altération de deux verres modèles (verre VM avec Mn et verre VNM sans Mn). Tout d’abord, la dissolution du verre et le relâchement du Mn en solution ont été étudiés de façon abiotique (dans une solution d’EUP tamponnée et en milieu de culture stérile), biotique indirecte (en présence d’exsudats microbiens) et biotique directe (en présence de la souche modèle Pseudomonas putida). Les analyses des solutions révèlent que les cinétiques et la stœchiométrie de dissolution du verre sont influencées par la présence des exsudats et des cellules bactériennes. Les deux exsudats testés (acide oxalique et sidérophore DFOB) ont des effets différents sur la dissolution du verre dépendant de leurs capacités complexantes. Le verre VM est plus durable que VNM en EUP, mais au contraire il est plus impacté par la présence de ces ligands à cause de la complexation du Mn. Le Mn semble donc revêtir un rôle clé dans l’interaction indirecte verre-bactérie. En présence de P. putida, la stœchiométrie de dissolution du verre est principalement impactée par la production d’un sidérophore, la pyoverdine (PVD) qui complexe le Mn et enclenche le processus d’oxydation menant à la formation d’un biofilm contenant des oxydes de Mn. Réciproquement, le comportement des bactéries (croissance bactérienne, production de PVD et oxydation de Mn) est impacté par l’accès aux éléments du verre.Ensuite, la mobilité du Mn au sein de la couche d’altération et sa capacité de formation de phases brunes par voie abiotique (par expériences d’imbibition de verre altéré avec une solution riche en Mn) et biotique (par croissance de biofilm de Pseudomonas putida en surface du verre) a été étudiée. Des phases brunes ont été obtenues par voie abiotique et biotique et caractérisées par microscopie optique et électronique (MEB, MET) et par microsonde électronique. Dans les deux cas, elles présentent des caractéristiques physico-chimiques (enrichissement en Mn, caractère amorphe) similaires aux phases identifiées sur des vitraux anciens.La combinaison des résutlats obtenus au cours de ces différentes tâches a finalement permis de formuler différentes hypothèses, impliquant ou non des microorganismes, sur les mécanismes responsables de l’apparition du brunissement

This paper critically compares the performance of four non-invasive techniques that match the accuracy, flexibility, time-efficiency, and transportability required for in situ characterization of leaded glass windows: macroscopic X-ray fluorescence imaging (MA-XRF), UV-Vis-NIR, Raman spectroscopy, and infrared thermography (IRT). In order to compare the techniques on equal grounds, all techniques were tested independently of each other by separate research groups on the same historical leaded window tentatively dated to the 17th century, without prior knowledge. The aim was to assess the ability of these techniques to document the conservation history of the window by classifying and grouping the colorless glass panes, based on differences in composition. IRT, MA-XRF and UV-Vis-NIR spectroscopy positively distinguished at least two glass groups, with MA-XRF providing the most detailed chemical information. In particular, based on the ratio between the network modifier (K) and network stabilizer (Ca) and on the level of colorants and decolorizers (Fe, Mn, As), the number of plausible glass families could be strongly reduced. In addition, UV-Vis-NIR detected cobalt at ppm level and gave more specific information on the chromophore Fe2+/Fe(3+)ratio. Raman spectroscopy was hampered by fluorescence caused by the metal ions of the decolorizer in most of the panes, but nevertheless identified one group as HLLA.

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Авторы анализируют витражи англиканской часовни Эммануэль колледжа Кембриджского университета, созданные в честь трехсотлетия колледжа в 1884 г. Вначале в центре внимания находился портрет английского богослова Дж. Колета (1467–1519). Портрет представляет собой визуализацию важнейших биографических данных о герое и отражение исторической памяти о нем. Однако данный витраж оказался частью парного портрета Дж. Колета и английского протестантского мыслителя У. Тиндела (1494–1536). Двойной портрет может быть интерпретирован как визуальная репрезентация протестантского направления английской историографии Тюдоровской Реформации. При открытии панорамной витражной композиции из шестнадцати фигур, занимающей все восемь окон часовни, возникает третий образ – Широкой церкви, одного из направлений англиканства викторианской эпохи. Настоящее исследование подтверждает, что само видение – «оптика взгляда» – является проблемой, нуждающейся в изучении., The authors analyze the stained-glass windows in the chapel of Emmanuel College, University of Cambridge, completed in honor of the College’ s tercentenary in 1884. At first the study was focused on the portrait of the English theologian John Colet (1467–1519). Portrait is a visualization of the most important biographical data about the hero and the reflection of the historical memory about him. However, this stained-glass panel turned out to be the part of companion portrait of J. Colet and English Protestant thinker W. Tyndale (1494–1536). This portrait can be interpreted as a visual representation of the Protestant English historiography of Tudor Reformation. When we discovered a panoramic stained-glass composition that included sixteen figures in all eight windows of the chapel, a new image appeared. It is the image of Broad Church – latitudinarian churchmanship in the Victorian Anglicanism. The article confirms that this vision needs to be studied., №60 (2017)

Desde la perspectiva decimonónica de recuperación de los principios de espiritualidad del medievo, como solución regeneradora de un mundo cada vez más complejo y fragmentado, la Catedral de Burgos fue alcanzando el generalizado reconocimiento de su calidad arquitectónica. Esta se instrumentalizará proponiéndose como elocuente testimonio, con función ejemplarizante, del modelo artístico y social del Gótico. De ahí que fuera necesario cuidar todos los detalles de la gran fábrica metropolitana en la que el programa de vidrieras llevado a cabo por prestigiosos talleres bávaros se convertirá en la primera apuesta de un largo proceso de renovación del templo. Bajo tan singular marco, el doble binomio luz-arquitectura y religión-arte, entablará un enriquecedor diálogo que transformó completamente el interior catedralicio del cual somos herederos., Since the 19th-century perspective of restoration of the Middle Ages' principles of spirituality as a solution to regenerate a progressively more and more complex and fragmented world, the Burgos Cathedral has gathered wide recognition of its architectonic quality. This quality was to be instrumentalized and proposed as an eloquent testimony to illustrate the Gothic social and artistic model. This made it necessary to care for every detail in the metropolitan factory in which the stained glass programme developed by prestigious Bavarian workshops is to become the first step in a long renovation process for this church. Within such a singular framework, the twofold binomial light-architecture and religion-art, strike up an enriching dialogue that radically transformed the cathedral interior that we have inherited.

This thesis is part of the general framework of the study of structure-properties relationships in glasses. Understanding the coloring properties of transition metal ions in glass is an essential step in the study of Middle Age stained glass windows. The restoration work of the 13th century stained glass windows of the Holly Chapel of Paris provided a unique opportunity of apply the multidisciplinary approach of the question of glass color.In the particular case of blue glasses colored by, this study relied on a fundamental approach based on experimental (optical absorption, K-edge XANES and EXAFS spectroscopies) and theoretical tools (ligand field multiplet calculations of the pre-edge), to understand the local environment of Co2+ in glasses and the spectroscopic signature of Co2+ in unusual sites.The influence of the point group symmetry of Co site on the p-d hybridization and Co2+ spectroscopic signature was defined by comparison with crystalline references. Five-fold coordinated species have been identified in model glasses of simplified composition. This provided structural models based on 4-, 5- and 6-fold coordinated Co species for borate glasses and 4- and 5-fold coordinated Co species for silicate glasses, which are controlled by the charge compensating properties of the glass cations.Eventually, two main shades of blue have been identified in the 13th century glasses from the Holly Chapel of Paris, attributed to Co2+ and Fe2+, while, copper although present, mainly occurs as colorless Cu+, as a proof of reducing melting conditions. This provides first insights into the Middle Age glass manufacturing process.; Cette thèse s'inscrit dans le cadre de l'étude des relations entre structure et propriétés des verres. La coloration des verres par les métaux de transition en est une des plus belles illustrations et sa compréhension constitue une étape fondamentale de l'étude des vitraux du Moyen Age. L'opportunité unique de la dépose des vitraux du XIIIe siècle de la Sainte-Chapelle de Paris a permis d'appliquer la démarche multidisciplinaire développée dans cette thèse pour comprendre la coloration des verres.Dans le au cas des verres bleus colorés par Co2+, ce travail a nécessité une démarche s’appuyant sur la spectroscopie fondamentale combinant des méthodes expérimentales (XANES et EXAFS au seuil K du cobalt et spectroscopie d'absorption optique) et théorique (calculs multiélectroniques dans l'approche en champ de ligand des pré-seuils K), pour mieux comprendre l'environnement local du Co2+ dans les verres. L'influence de la symétrie locale du site de Co2+ sur l'hybridation p-d et sa signature spectroscopique a été montrée grâce à des références cristallines. Les espèces penta-coordonnées ont pu alors être identifiées dans des verres modèles, nous permettant de proposer des modèles structuraux impliquant plusieurs espèces. Les proportions relatives de ses espèces sont contrôlées par les capacités de compensation de charge des cations du verre.Les deux principales nuances de bleu des verres du XIIIe siècle de la Sainte-Chapelle de Paris sont dues à Co2+ et Fe2+ tandis que le cuivre, également présent, est majoritairement monovalent et incolore, preuve des conditions réductrices de fabrication des verres de cette époque.

The ornamental ceramics and stained-glass windows of the City Hall building of San Sebastian have been studied. This building is a national monument which has been restored recently. It has been studied the origin of the observed high deterioration degree of the superficial enamel of these ceramics. We have concluded that the deterioration has a physicochemical origin. The biological origin has been excluded because of the high concentration of heavy metals leached from the enamel which avoid the growth of microorganisms. It has also been observed an increase of some elements and the loss of another ones in the first µm of depth.Se ha estudiado las cerámicas y las vidrieras que sirven de adorno al edificio del Ayuntamiento de San Sebastián, considerado monumento nacional, y que ha sido objeto de una reciente restauración. Se ha observado que las cerámicas presentan un alto grado de deterioro de la capa de esmalte superficial, y se ha estudiado el posible origen de este deterioro. Se concluye que el deterioro es de origen fisicoquímico, no pudiendo este ser de origen biológico debido a las elevadas concentraciones de metales pesados que lixivian de dicho esmalte y que impiden el crecimiento de microorganismos. Se ha observado asimismo que las vidrieras presentan un aumento de ciertos elementos y pérdida de otros en los primeros µm de profundidad.

Pristatant bendruosius šiuolaikinio vitražo kaitos aspektus, straipsnyje plačiau nagrinėjama dailininkės Rasos Grybaitės sakralinio vitražo kūryba. Analizuojant svarbiausius šios menininkės įgyvendintus vitražų ansamblius Vakarų Lietuvos bažnyčiose, siekiama išryškinti juose atsispindinčias liuteroniškosios dailės tradicijas. Taip pat išsamiai aptariama šių vitražų tematika ir meniniai bruožai. Pristatomi ir parodiniai menininkės darbai bei jos muziejinė veikla. While presenting the common aspects of contemporary glass development, this article focuses on sacral stained-glass creation of Rasa Grybaite. An analysis of her most important stained-glass ensembles in the western Lithuanian churches shows that the ensembles are dedicated to highlighting Lutheran traditions. Also, the thematic and artistic features of these stained-glass works are properly discussed. Moreover, her exhibition works and museum-related activities are presented.

To sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way.; Esquisser le portrait de la communauté des peintres lyonnais, entre le début du règne de Louis XI (1461) et la crise de la fin des années 1520, a constitué le présupposé de cette recherche. Le recours aux sources (comptables, fiscales et ecclésiastiques) s’est révélé indispensable à l’étude prosopographique et à une démarche d’histoire sociale de l’art, permettant la localisation des peintres, de leurs ateliers, les quelques filiations, leur place enfin (fortune et position sociale) dans la cité. Mais au-delà de cette première approche, l’étude des commanditaires, personnages capitals de la production artistique, a permis de définir plus finement le visage de la pratique picturale lyonnaise. Entre notables, Consulat, ecclésiastiques et rois, les activités de commande dans la ville ont souligné l’absence de grands chantiers et de grandes commandes dans ces décennies de prospérité croissante. Ce sont donc les fêtes, au premier rang desquelles les entrées royales et solennelles, qui mobilisent les forces économiques, littéraires et évidemment artistiques. L’étude des protagonistes de ces cérémonies royales et urbaines comme des thèmes déployés permet de caractériser de façon plus précise l’articulation entre artistes, commanditaires et cité comme d’approfondir la connaissance sur la pratique des peintres, en effet mieux détaillée dans ce cadre.

The Mauméjean Factory, a Central Actor of the Revival of the Sacred Art Since the late 80’s, the religious heritage of the 20th century has been subject to regular investigations that bring the fragility of some edifices and decorations to public attention. If these rediscoveries happened to be beneficial to architects, painters, sculptors and glassworkers - such as Maurice Denis, Paul Tournon, Louis Barillet and others who committed themselves to diverse catholic artistic trends - we have little understanding of the role played by the important factories that were created during the last decades of the 19th century. Although the stained-glass production of the Mauméjean workshop has often been underestimated because of the large quantities and its eclecticism, it now appears to have been an essential step that led from the historicism of the late 19th century to the more drastic research conducted by post¬-war stained-glass artists., Depuis la fin des années 1980, le patrimoine religieux du XXe siècle fait l’objet d’investigations régulières qui permettent d’attirer l’attention sur l’intérêt et la fragilité d’un certain nombre d’édifices et de décors. Si cette redécouverte bénéficia aux architectes, peintres, sculpteurs ou verriers qui - comme Maurice Denis, Paul Tournon ou Louis Barillet - s’étaient engagés au sein des divers groupements d’artistes catholiques, force est de constater notre relative méconnaissance du rôle joué par les grandes manufactures qui avaient été fondées durant les dernières décennies du XIXe siècle. Longtemps sous-estimée en raison de sa monumentalité et de son éclectisme, la production de l’atelier de vitrail Mauméjean apparaît aujourd’hui comme un indispensable jalon conduisant de l’historicisme de la fin du XIXe siècle aux plus drastiques recherches menées par les verriers d’après-guerre., Manauté Benoît. La manufacture Mauméjean, un acteur essentiel du renouveau de l’art sacré. In: Histoire de l'art, N°73, 2013. Objets sacrés. pp. 117-128.

Straipsnyje nagrinėjami žymaus lietuvių dailininko Algirdo Dovydėno pastaraisiais dešimtmečiais sukurti vitražai, puošiantys sakralines erdves. Plačiau analizuojami ansambliai, esantys Rainių Kančios ir Kryžių kalno pranciškonų vienuolyno koplyčiose. Taip pat detaliai aptariami vitražai, įkomponuoti Vilniaus Šv. Mikalojaus, Domeikavos Lietuvos kankinių ir Nidos Švč. Mergelės Marijos Krikščionių Pagalbos bažnyčiose. Pristatomi šių kūrinių teminiai ypatumai, analizuojama jų plastinė išraiška. A. Dovydėno sakralinių vitražų raida apibendrinama išryškinant dailininko darbų evoliuciją novatoriškos meninės traktuotės linkme. The author analyses the stained-glass works of artist Algirdas Dovydenas which are integrated in many sacral areas. The works decorating Rainiai Martyrdom chapel and the Franciscan Monastery chapel near the Hill of Crosses are analyzed in detail. Also great attention is paid to the stained-glass works embedded in St. Nicholas church in Vilnius, church of Lithuanian Martyrs in Domeikava, and church of Blessed Virgin Mary Christian Relief in Nida. The thematic peculiarities and plastic expression of the beforementioned works are presented. Moreover, the author’s great knowledge and original usage of the techniques of glass art will be emphasized. Lastly, the development of A. Dovydenas sacral stained-glass works is summarized by highlighting the evolution of his works towards an innovative artistic approach.

New trends of interaction between architecture and arts This paper deals with new interaction trends between architecture and arts, also trying to answer a question whether the location of artwork in contemporary architecture has changed. In today”s variety of artistic and stylistic tools in architecture, artists are looking for new means of expression, non­traditional ways of arrangement of their artwork. They started making there­dimensional stained­glass pieces from fragmented thick glass blocks and thin colored glass by placing them freely in interior spaces. Abandoning traditional plane tapestry, artists make spatial compositions out of yarn. The form of murals and their place in architecture have been changing. New meanings are sought for modern plastic art as the traditional understanding of sculpture has been redefined. Sculptures are placed in unusual places, such as under bridges, on roofs of residential houses, etc. New expression means, such as the so­called Earth Art and others are used. Installations are applied in architecture, urban areas and alterative spaces (abandoned buildings, unrepresentative urban areas, etc.). Discussions are held whether graffiti should be considered an art, way of artistic self­expression or simple impairment of walls and fences emphasizing illegality and secrecy as an essential feature of graffiti. Article in Lithuanian. Santrauka.Straipsnyje nagrinėjamos architektūros ir dailės sąveikos naujos tendencijos, analizuojama, ar keičiasi dailės kūrinių dislokacija šiuolaikinėje architektūroje. Architektūroje vyraujant meninių, stilistinių priemonių įvairovei, dailininkai ieško naujų meninės raiškos priemonių, netradicinio dailės kūrinių įkomponavimo. Pradėta kurti erdvinius vitražus iš skaldytų storo stiklo blokų ir plono spalvoto stiklo, juos laisvai derinant interjero erdvėje. Dailininkai, atsisakę tradicinio plokštuminio gobeleno, kuria erdvines kompozicijas iš siūlų. Keičiasi sieninės tapybos kūrinių forma, jų vieta architektūroje. Moderniajai plastikai siekiama suteikti naujų prasmių, keičiasi tradicinė skulptūros samprata. Skulptūros statomos neįprastose vietose – po tiltais, ant gyvenamųjų namų stogų ir pan. Naudojamos naujos meninės raiškos priemonės, pvz., vadinamasis „žemės menas“ ir kt. Kuriamos instaliacijos architektūroje, miesto plotuose, daugiausia alternatyviose erdvėse – apleistų pastatų patalpose, neišvaizdžiose miesto vietose. Svarstoma, ar grafitai (ital. graffiti) yra kūryba, meninės raiškos būdas ar paprasčiausia sienų, tvorų teplionė, pabrėžiama grafito ypatybė – nelegalumas, slaptumas. Reikšminiai žodžiai: vitražai – stiklo erdvinės struktūros, erdvinis gobelenas, sienų tapyba, modernioji plastika, „žemės menas“, instaliacijos, grafitai, miesto viešoji erdvė.

General Study of the Stained Glass of the Cathedral St. Peter in Poitiers; Présentation de l'ensemble des vitraux de la cathédrale de Poitiers

Stained glasses form an important element in human history. Since stained glasses are multifunctional, they have been utilized both in religious and civil architecture. Various conservation techniques such as mechanical, chemical, and the latest one being laser-based cleaning have been utilized. This work aims at making contributions to the knowledge about laser-glass interaction. The three main laser-glass interactions are photo-thermal, photo-chemical, and photo-mechanical. Experiments were carried out in burst and in continuous mode using a 800 ps n-IR laser with a wavelength of 1064nm. A pulsed/burst mode produces a sequence of a defined number of pulses with a high repetition rate. Contemporary glasses and historical pieces were used. The results realized will be important in the establishment of a laser tool selection criterion for decontamination/conservation of actual in-situ historic stained glasses and also develop a dynamic, automated, or semi-automated laser conservation method for historic glass. Complementary analytical techniques used include scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS), confocal microscopy among others. The generally expected outcomes are to develop a practical criterion to apply lasers in cultural heritage; develop skills necessary to select, operate safely and apply lasers to problems in cultural heritage materials in general.

Stained glasses form an important element in human history. Since stained glasses are multifunctional, they have been utilized both in religious and civil architecture. Various conservation techniques such as mechanical, chemical, and latest one being laser-based cleaning have been utilized. This work aims at making contributions to the knowledge about laser-glass interaction. The three main laser-glass interactions are photo-thermal, photo-chemical, and photo-mechanical. Experiments were carried out in burst and in continuous mode using an 800 ps n-IR laser with a wavelength of 1064nm. A pulsed/burst mode produces a sequence of a defined number of pulses with a high repetition rate. Contemporary glasses and historical pieces were used. The results realized will be important in the establishment of a laser tool selection criterion for decontamination/conservation of actual in-situ historic stained glasses and also develop a dynamic, automated, or semi-automated laser conservation method for historic glass. Complementary analytical techniques used include scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS), confocal microscopy among others.

Stained glasses form an important element in human history. Since stained glasses are multifunctional, they have been utilized both in religious and civil architecture. Various conservation techniques such as mechanical, chemical, and latest one being laser-based cleaning have been utilized. This work aims at making contributions to the knowledge about laser-glass interaction. The three main laser-glass interactions are photo-thermal, photo-chemical, and photo-mechanical. Experiments were carried out in burst and in continuous mode using an 800 ps n-IR laser with a wavelength of 1064nm. A pulsed/burst mode produces a sequence of a defined number of pulses with a high repetition rate. Contemporary glasses and historical pieces were used. The results realized will be important in the establishment of a laser tool selection criterion for decontamination/conservation of actual in-situ historic stained glasses and also develop a dynamic, automated, or semi-automated laser conservation method for historic glass. Complementary analytical techniques used include scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS), confocal microscopy among others., Presented at the ArchMAT EMJMD Master Workshop and Fieldwork, Universidad de Burgos, Spain and the Atapuerca Archaeological Site Burgos Spain. 20th-22nd November 2019.

Stained glasses form an important element in human history. Since stained glasses are multifunctional, they have been utilized both in religious and civil architecture. Various conservation techniques such as mechanical, chemical, and the latest one being laser-based cleaning have been utilized. This work aims at making contributions to the knowledge about laser-glass interaction. The three main laser-glass interactions are photo-thermal, photo-chemical, and photo-mechanical. Experiments were carried out in burst and in continuous mode using a 800 ps n-IR laser with a wavelength of 1064nm. A pulsed/burst mode produces a sequence of a defined number of pulses with a high repetition rate. Contemporary glasses and historical pieces were used. The results realized will be important in the establishment of a laser tool selection criterion for decontamination/conservation of actual in-situ historic stained glasses and also develop a dynamic, automated, or semi-automated laser conservation method for historic glass. Complementary analytical techniques used include scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS), confocal microscopy among others. The generally expected outcomes are to develop a practical criterion to apply lasers in cultural heritage; develop skills necessary to select, operate safely and apply lasers to problems in cultural heritage materials in general., This work was presented at the conference: ''Latest Technologies applied to the Conservation of Cultural Heritage: problems and solutions'' held between 25th and 27th November 2019 at the University of Zaragoza Spain.

Transparency is a fundamental feature to preserve on a stained-glass panel. The passage of light is the essence of this art form and, as so, a crucial piece of its original intention, both through the colored glass as through the paintings. Medieval stained-glass is characterized by a relatively high content of alkali and alkali-earth ion oxides, mainly potassium, calcium and sodium, and low contents of silica compared to contemporary glass. These ions are leached, and when in contact with the atmosphere a gel-layer (hydrated silica-rich surface) is formed, and consequently there is the formation of a corrosion crust. This is mainly composed by insoluble salts such as calcium carbonate (CaCO3), sulfate (CaSO4) and oxalate (CaC2O4), which are very difficult to remove from the glass surface. The methods that present higher efficiency for the removal of those crusts – like chelate agents (e.g. EDTA solutions), weak acids and ionic resins – are the same that may induce damage or long-term risks to the glass surface. The aim of this research was to develop a new product – an ionic liquid (IL) – for the removal of medieval stained-glass corrosion that is effective and harmless both for the stained-glass and for the user. To assure the complete removal of both corrosion and cleaning material (the ionic liquid) after the procedure, the IL was functionalized using a light emitting marker – intrinsically luminescent ionic liquid. It was our objective to have an IL with a dual function: having a binding site for metal cations (in this case, Ca2+), while exhibiting bright fluorescence. The effects on the surface of model glass of three different ILs, an EDTA solution and the effect of a high relative humidity (RH) environment are described and compared. A comparison between the efficiency of two ILs and an EDTA solution for the corrosion crusts removal was made using corroded archaeological stained glass samples. The tests performed confirmed the effectiveness of the cleaning material in removing the corrosion crusts, and also demonstrated that there were no detected alterations to the glass surface even when in direct contact with the ionic liquids for a long period of time.