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This paper explores the stained glass art of Christopher Wallis (1930-2021) through the Historic Heraldic Window he created for St. Paul's Cathedral in London, Ontario. The window, created in 1990, celebrates the cathedral being granted heraldic arms on 28 May 1989, by the newly created Canadian Heraldic Authority (1988); the arms were the first granted to a religious institution in Canada by the fledgling government agency. By this time, Wallis had established himself as a leading heraldic glass artist, both domestically and internationally. For St. Paul's, he designed and created a large heraldic window for the cathedral's west transom entrance window. This paper analyzes original contracts to explore the window's creation, imagery, and overall appearance in St. Paul's west transom. [ABSTRACT FROM AUTHOR]

I begynnelsen av 1900-tallet ble produksjonen av monumentale glassmalerier reetablert i Norge. I perioden 1900 til 1913 ble de fire første glassmaleriverkstedene etablert. Reetableringen markerer starten på det moderne norske glassmaleri og er en av de viktigste forutsetningene for feltets videre utfoldelse. I artikkelen blir det diskutert hvordan reetableringen av glassmalerihåndverket foregikk, og hvilke aktører som var definerende for perioden.

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses the lacuna of scholarship on Jewish-American stained glass by presenting a historical overview of this prevalent synagogue art form (1845 to the present). Analysis of key trends reveals Jewish congregations' engagement with Christian influences by imitating the work of church stained glass in some ways while differentiating in other ways. Jewish artists and congregational leaders have also been in conversation with each other, sharing thematic and design ideas to formulate a loosely shared aesthetic and religious approach towards creating windows for their houses of worship. In accordance with the Second Commandment's prohibition against creating "graven images," God in figural form does not appear in synagogue space. Instead, a Jewish technique for eliciting a sense of Divine in the sanctuary has included a repertoire of light-filled images—including torches, lamps, fire, and celestial bodies—to convey a spiritual presence, enhanced by actual light from the sun itself as refracted through the windows. [ABSTRACT FROM AUTHOR]

In the nineteenth century, Sychrov Castle in North Bohemia became the fiefdom of a branch of the Rohan family. The windows of the residence still display a double equestrian portrait of Pierre de Rohan (1451–1513) commissioned by one of his descendants, Prince Camille de Rohan (1800–1892). The presence of these artistic models is a precious testimony to the family history, as they come from works that adorned the Château du Verger at the very end of the Middle Ages and disappeared in the eighteenth century, a hundred years before they were reused at Sychrov. This article looks back at the design of the stained-glass window and traces the origins of the artistic model used to tell the story of a vanished object through its successive copies.

During the fire at Notre-Dame de Paris Cathedral on April 15 th, 2019, the historic stained-glass windows were entirely protected by the action of firefighters and the resistance of the vault, which fulfilled its role as a shield. In this context, a group of art historians, stained glass experts, conservation scientists and university researchers was created to coordinate scientific research concerning the stained-glass windows of the cathedral. This "Glass" working group (GT Verre) defined the following priority research themes: the characterisation of surface deposits on stained glass, understanding the interaction of the former with materials and how to optimise conservation-restoration treatments, and general research to extend our knowledge of the 12 th to 20 th -century stained glass at Notre-Dame. [ABSTRACT FROM AUTHOR]

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

VTU is one of the few higher education institutions in our country, where studied classic and modern stained glass techniques and technologies. Veliko Tarnovo is a town of numerous monumental realizations of established authors and students from the Mural Painting department, FII of VTU. The student realizations are placed in various university buildings, realized in mosaic, stained glass and "A secco" techniques. The realization of the projects in a real environment is an important part in the educational process in the Mural Painting specialty. Stained glass art is part of the education in the specialty and presents the students in theory and practise in techniques Tiffany, fusing, slumping, painted glass ect. Some of the students choose to graduate with a project and realization of a stained glass work. This report will focus specifically on stained glass realisations in a real environment. [ABSTRACT FROM AUTHOR]

This work aims to study the case of the stained glass window at the Royal Palace in Edfena, Egypt. The research also aims to identify the chemical composition and diagnose the manifestations of damage on the stained glass window. Therefore, the examination and analytical study were conducted using several different techniques, including AutoCAD, digital and stereo microscopies, scanning electron microscope - X-ray energy dispersion, X-ray diffraction, and microbiological examination. The microscopic study revealed that the surface of the painted glass suffers from the presence of layers of damaged products, which obscure the decorations and lead to opacity. Light holes spread across the layers of different paints with varying sizes, and pits appear as a result of corrosion. Using EDX, the element responsible for the color in the painted glass layer was determined, as well as the composition of the lead came. XRD was used to identify the crystalline compounds in the painted glass layer and the putty composition. In the end, an appropriate treatment plan was drawn up for the condition of the lead-stained glass window to preserve it from loss and damage due to its archaeological and artistic value. [ABSTRACT FROM AUTHOR]

In the 1920s, a movement of revival of sacred art began in France, which also included stained glass. Its revival was associated with a departure from the illusionistic character of stained glass of the 19th century and a reference to monumentalism and the spiritual tradition of the Middle Ages. The search for a new concept of stained glass, both in its ideological and technological aspects, resulted in the creation of “artists’ stained glass” (vitraux d’artistes), realised from the middle of the 20th century on official commissions, thanks to the cooperation of ecclesiastical institutions and state authorities, which acquired a firm legal and financial basis in the 1980s. The stages of this evolution were marked by stained glass ensembles designed by the masters of the post-war avant-garde: G. Rouault and J. Bazaine in Notre Dame de Toute Grâce on the plateau Assy (1937–1946); H. Matisse for Notre Dame du Rosaire in Vence (1940); A. Manessier in Saint Michel in Les Bréseux with the first abstract stained-glass windows (1948); F. Léger, J. Bazaine and J. Le Moal in the interior of Sacré-Coeur in Audincourt, (1949–1951); Le Corbusier in Notre Dame in Ronchamp (1951– 1955) and the modern stained glass of J. Villon, R. Bissière and M. Chagall, which was introduced for the first time to a world-class monument of architecture, the Cathedral of Saint-Étienne in Metz (1955). The restoration of the Cathedral of Saint-Cyr et Sainte-Julitte in Nevers provided an opportunity for representatives of the younger generation: R. Ubac, C. Viallat, J.M. Alberola, G. Honegger and F. Rouan (1973–2011), to showcase their vision of stained glass painting. With the exception of Alberola, all were associated with the non-figurative trends that had been developing since the 1950s. The same trend referring to the Cistercian tradition included the outstanding realisations of J.P. Raynaud in Noirlac (1975–1977), P. Soulages in Conques (1986), J. Ricardon in Acey (1991–1994) and A. Nemours, a representative of the Art Concret movement, at Salagon (1998). The return to figuration found a continuation in the projects of G. Garouste for Notre Dame de Talant (1996–1997), C. Benzaken for Saint-Sulpice in Varennes-Jarcy (1991–2007), M. Raysse, associated with the Nouveau Réalisme movement, for Notre- Dame de l’Arche d’Alliance in Paris (1986–1998) and G. Collin-Thiébaut for Saint Gatien in Tours (2010–2013). The creators of vitraux d’artistes accepted the prescribed programmatic framework without giving up their freedom of choice in means of expression and aesthetic conventions. Thanks to the research and creativity of the artists – the introduction of innovative technological processes or a new interpretation of traditional materials and craft methods – but also the courage of the ecclesiastical and, above all, state commissioners, French stained glass has fully integrated itself into the evolution of contemporary visual expression.

In 1699 François-Roger de Gaignières and Louis Boudan visited the canonesses’ chapel in Luynes, Touraine, which had been commissioned by Hardouin IX de Maillé in the late fifteenth century. Judging by the drawings they made on the spot, Gaignières’ interest in the building lay in its profusion of symbols: six of Louis Boudan’s ten drawings focused on the heraldry of the families who had left their mark on the place. In all, twelve shields, made up of fifteen different quarters, were copied by Gaignières and bear witness to the filiation, alliances and genealogy of the Maillé family. This article will examine the chapel’s heraldic programme, identifying the figures represented and studying the way in which their coats of arms occupy the space. Secondly, it will explore how digital humanities, and geodata in particular, allow us to gain a better understanding of the methods and logic underlying this emblematic marking. Gaignières, through his drawings of the Luynes chapel, provides an account of the mapping of families and lineages over a territory that goes beyond the boundaries of Touraine.

This article examines the involvement of Beatrice, dowager Baroness Roos (d. 1415) in the making of art. Her patronage of masons and tomb-makers, glaziers and seal-makers, is explored in detail, showing her to have commissioned works from two of the most prominent English artists of the late medieval period. Her interest in the inventive use of heraldry and her role in the creation of a major monument in St Paul's Cathedral is established. Her right to be acknowledged as the donor of the St William window in York Minster is reasserted, and her influence on its content and meaning is demonstrated. The gift of this window made Beatrice the single most important secular benefactor of York Minster, a fact that has not been acknowledged before in print, but was recorded by the medieval cathedral chapter in the glazing of the Minster's western choir clerestory. [ABSTRACT FROM AUTHOR]

The aim of this research work was to conduct a comparative study on the effectiveness of the application of chemical cleaning versus laser cleaning in the removal of surface congruent dissolution products from a potash-lime–silica historical stained-glass sample. EDTA was selected as the chemical cleaning agent. Laser cleaning was performed using a 238 fs pulse UV (343 nm) laser. The comparative cleaning studies were carried out on a stained-glass piece supplied by the Maison Lorin Glass Restoration Workshop from Chartres, France. Given the complex nature, irregular thickness and heterogeneity of the encrustations found on the glass, the two cleaning approaches were carefully performed step by step, while monitoring the process using an optical microscope. Raman spectroscopy and field emission scanning electron microscopy were used to characterize the changes induced on the sample surface during the cleaning process. The results demonstrate that the two cleaning approaches were able to eliminate the outer surface dark layer associated with carbon compounds, as well as the external part of the white layer generated by the crystallization of salts, formed with the dissolved elements after a reaction with the air. A comparison of the advantages and disadvantages of each method is also presented.

Stained glass windows are of great importance in the artistic work of Ludvík Kolek. In this article, we want to present hitherto unpublished designs for stained glass windows for the church in Senetářov. These designs have their own symbolism and form a set with a clearly defined iconographic program. From the proposals of the Divine Trinity, it moves to the seven sacraments, and the whole composition ends with the theme of parousia. The iconology of the windows refers to theology and above all to the liturgical celebration, when Christ – light transforms created matter. [ABSTRACT FROM AUTHOR]

Investigations of historical conservation materials on historical stained glass windows of the Naumburg Cathedral in Germany offered an opportunity for the study of polymers, naturally aged in a non-controlled environment. This allowed the conservation history of the cathedral to be traced and expanded by valuable insights. The historical materials were characterized through the use of spectroscopy (FTIR, Raman), thermal analysis, PY-GC/MS, and SEC on taken samples. The analyses show that acrylate resins were predominantly used for conservation. The lamination material from the 1940s is particularly noteworthy. Epoxy resins were also identified in isolated cases. Artificial aging was used to investigate the influence of environmental influences on the properties of the identified materials. Through a multi-stage aging program, influences of UV radiation, high temperatures and high humidity can be considered in isolation. Piaflex F20, Epilox, Paraloid B72 as a modern material and combinations of Paraloid B72/diisobutyl phthalate and PMA/diisobutyl phthalate were investigated. The parameters yellowing, FTIR spectra, Raman spectra, molecular mass and conformation, glass transition temperature, thermal behavior, and adhesive strength on glass were determined. The effects of the environmental parameters on the investigated materials are differentiated. UV and extreme temperatures tend to show a stronger influence than humidity. The comparison of the artificially aged samples with the naturally aged samples from the cathedral shows that the latter were less aged. Recommendations for the conservation of the historical stained glass windows were derived from the results of the investigation. [ABSTRACT FROM AUTHOR]

During the Protestant Reformation of 1560, most of Scotland’s Catholic churches faced widespread destruction. Items considered idolatrous were targeted and destroyed. Significantly, stained glass windows were smashed and buried on site, or otherwise left to decay, and were replaced by austere, plain glass. In recent decades, archaeological excavations have recovered shards of this glass from several ecclesiastical sites across Scotland, allowing scholars the opportunity to better understand medieval liturgy and worship. Scientific analyses have been conducted to determine the ingredients used in manufacturing this glass, and to infer a place and timeframe of origin. These studies have proven invaluable in gaining an understanding of medieval trade links between Scotland and Europe, as well as of building and decorative phases for individual churches. Here, we consider the glass as an integral part of daily worship. Decorative patterns and colours of surviving fragments of glass, approximately dated, are considered in the wider and evolving context of medieval worship, and the prevailing religious Orders that were in Scotland at the time that many of these churches were founded. Two case-study sites are discussed in depth: Elgin Cathedral in Moray, which has yielded a significant number of glass shards through archaeological excavations; and Dunfermline Abbey in Fife, Scotland’s royal mausoleum. This inter-disciplinary study is the first to consider Scottish stained glass in terms of both its physical and chemical properties, as well as its wider religious meaning. This methodology will form the basis of future research to—for the first time—catalogue, scientifically analyse and liturgically contextualise all identifiable assemblages of Scottish medieval church glass.

The subject of the article is the poetic series Witraże [Stained Glass] by Zofia Wojnarowska, de domo Zacharkiewicz (1881–1967), published in her debut volume Poezje [Poems] in 1913. This intriguing work consists of three lyrical monologues: “Magdalena Immortalis,” “Mahadewa,” and “Sanctus Augustinus,” which can be interpreted as a unique example of a stained-glass poem in the poetry of Young Poland and evidence of the author’s religious interests. Stained glass here has been endowed with exceptional meanings as an equivalent of the spiritual experiences of the three lyrical heroes. [ABSTRACT FROM AUTHOR]

Abstract The understanding of the connection between the value of an image and the value of the materials that were used to make it is limited, especially for stained-glass windows. However, such information can bring-to-light how artistic and economic questions were intertwined and how the final artwork depended on the ranking of the materials. With this paper, we aim to illustrate the benefit of combining art historical research with scientific analysis to retrieve the selection of the quality of the materials of stained-glass windows. Therefore, the main objective of this paper is to investigate the link between the materials and the iconography in order to recover artistic choices and highlight a possible hidden symbolism for a set of window panels, used as a first case-study. Glass quality is investigated according to the following parameters: (1) the glass composition, (2) the glass forming technique, (3) the transparency and hue of the colourless glass, and (4) the rarity and complexity of the colouring technology. The results of our research indicate that the four-studied panels were originally assembled from two different glass compositional groups, K-rich glass and Ca-rich glass, and that specific attention was paid to select only high-quality materials and production techniques for the representation of the characters with higher positions in the religious hierarchy. A very interesting aspect concerns the way the bishop was rendered in one of the panels, because it seems that he actually upgraded his own prestige by requesting the use of specific materials and more attentiveness to his rendering in the panel. By this research, we proposed a first case-study with a non-destructive tool to bring a discussion on the use of different glass qualities in stained glass window. We hope to further encourage such studies on window panels across Western Europe to verify if similar observations can be made.

The work presented in this paper is part of a wider research project, which aims at documenting and analyzing stained glass windows by means of hyperspectral imaging. This technique shares some similarities with UV-VIS-IR spectroscopy, as they both provide spectral information; however, spectral imaging has the additional advantage of providing spatial information, since a spectrum can be collected in each pixel of the image. Compared to UV-VIS-IR spectroscopy, spectral imaging has rarely been used for the investigation of stained glass windows. One of the objectives of this paper is, thus, to compare the performance of these two instruments to validate the results of hyperspectral imaging. The second objective is to evaluate the potential of analyzing colored-glass pieces in reflectance modality and compare the results with those obtained in transmittance, in order to highlight the differences and similarities between the two approaches. The geometry of the systems and the backing material for the glass, as well as the characteristics of the glass pieces, are discussed. L*a*b* values obtained from the spectra, as well as the calculated color difference ΔE00, are provided, to show the degree of agreement between the instruments and the two measurement modalities.

Let the light leak in.

The lack of studies reporting the characterisation of Germanic grisaille is evident, despite the recent interest of researchers in this glass painting material. This work consists of the first assessment of Germanic grisaille’ chemical composition on a wide chronology (14th–19th centuries), that was only possible through the unique stained-glass collection of King Ferdinand II of Portugal. From the considerable amount of panels produced in Germanic territory and assembled by Ferdinand, twenty-two panels were characterised, and some trends of glass support typical composition and grisaille recipes were verified through this case study. A copper-based grisaille appears to have been the preference up to the 18th century. The 19th century shows higher diversity in composition, with new compounds (such as Co, Cr, Mn) appearing as colourising materials. However, with a limited number of analyses, and dispersed throughout time and different geographic locations, the results of this study are unprecedented, by being able to present the first overview on grisaille composition in Germanic stained glasses.

In 2021, two projects for the protection and preservation of Austrian stained glass were performed in close cooperation between the Federal Monuments Authority Austria and active members of the Corpus Vitrearum Austria. Both projects are dedicated to difficult topics that will increasingly challenge how we tackle the preservation of monuments in the coming decades. There are questions regarding the correct conservation and restoration treatment of stained glass from the late 19th and early 20th century (stained glass from the so-called art period of Historicism), which, despite all the Guidelines for the Conservation and Restoration of this endangered genre of art, is still far from being treated with the necessary care throughout the country. The protection and preservation of the original substance—the glass, the leading and the painting—are the primary focus of interest here. Using the example of the restoration campaign currently being conducted on the windows of St. Mary’s Cathedral, Linz, a cultural monument of particular importance for Austria, work is being undertaken to elaborate the feasibility of a concept that can be easily implemented in the future at other construction sites and by all the stakeholders involved. The second monitoring project presented concerns the equally important area of “preventive conservation” of medieval and modern stained glass. The focus of the work that took place here was on checking the condition of stained glass from the Middle Ages to the 20th century (with and without exterior protective glazing) and the general identification of damage and determination of the urgency of measures for conservation (using a “traffic light system” developed for this purpose).

The aim of this research work was to conduct a comparative study on the effectiveness of the application of chemical cleaning versus laser cleaning in the removal of surface congruent dissolution products from a potash-lime–silica historical stained-glass sample. EDTA was selected as the chemical cleaning agent. Laser cleaning was performed using a 238 fs pulse UV (343 nm) laser. The comparative cleaning studies were carried out on a stained-glass piece supplied by the Maison Lorin Glass Restoration Workshop from Chartres, France. Given the complex nature, irregular thickness and heterogeneity of the encrustations found on the glass, the two cleaning approaches were carefully performed step by step, while monitoring the process using an optical microscope. Raman spectroscopy and field emission scanning electron microscopy were used to characterize the changes induced on the sample surface during the cleaning process. The results demonstrate that the two cleaning approaches were able to eliminate the outer surface dark layer associated with carbon compounds, as well as the external part of the white layer generated by the crystallization of salts, formed with the dissolved elements after a reaction with the air. A comparison of the advantages and disadvantages of each method is also presented. [ABSTRACT FROM AUTHOR]

The alabaster wall monument to Robert Claudius Billing, Suffragan Bishop of Bedford, placed in the crypt of St Paul's Cathedral, commemorates the life and service of a Victorian cleric known for his work in the overcrowded parishes of east London. Supplied by Powell and Sons, a London-based glassmaking firm that made stained glass and mosaics as well as reredoses and tablets, the monument echoes the architectural style and decoration of the iconic building in which it is placed, as well as showcasing a new vitreous mosaic material known as opus sectile that the firm innovated and marketed as suitable for both wall and floor decoration. The striking opus sectile portrait of Billing preserves an image of the deceased, and together with the accompanying epitaph demonstrates the affection and high esteem in which he was held in the Diocese of London and beyond. [ABSTRACT FROM AUTHOR]

Copyright of Quintana: Revista do Departamento de Historia da Arte USC is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The readers of Rozalia Wojkiewicz's book W spektrum Wyspiańskiego. Witraż w poezji Młodej Polski (In Wyspiański's spectrum. Stained glass windows in Young Poland Poetry) are presented with a unique study of Stanisław Wyspiański, his work, his journey along the trail of "barbaric" cathedrals, his passion and aspirations, the spirit of the era and, above all, an analysis of stained glass - a special type of text reflected not only in poetry and one which grew out of man's aspirations to understand what is hidden, created, fragile and at the same time incomprehensible. The analysis conducted by Rozalia Wojkiewicz serves as a gradual, planned entry into the world of the Young Poland stained glass collection, explains the reasons for the interest in the subject, and presents the valuable state of research on it and the method of its observation. [ABSTRACT FROM AUTHOR]

During the Protestant Reformation of 1560, most of Scotland's Catholic churches faced widespread destruction. Items considered idolatrous were targeted and destroyed. Significantly, stained glass windows were smashed and buried on site, or otherwise left to decay, and were replaced by austere, plain glass. In recent decades, archaeological excavations have recovered shards of this glass from several ecclesiastical sites across Scotland, allowing scholars the opportunity to better understand medieval liturgy and worship. Scientific analyses have been conducted to determine the ingredients used in manufacturing this glass, and to infer a place and timeframe of origin. These studies have proven invaluable in gaining an understanding of medieval trade links between Scotland and Europe, as well as of building and decorative phases for individual churches. Here, we consider the glass as an integral part of daily worship. Decorative patterns and colours of surviving fragments of glass, approximately dated, are considered in the wider and evolving context of medieval worship, and the prevailing religious Orders that were in Scotland at the time that many of these churches were founded. Two case-study sites are discussed in depth: Elgin Cathedral in Moray, which has yielded a significant number of glass shards through archaeological excavations; and Dunfermline Abbey in Fife, Scotland's royal mausoleum. This inter-disciplinary study is the first to consider Scottish stained glass in terms of both its physical and chemical properties, as well as its wider religious meaning. This methodology will form the basis of future research to—for the first time—catalogue, scientifically analyse and liturgically contextualise all identifiable assemblages of Scottish medieval church glass. [ABSTRACT FROM AUTHOR]

The requirements of ecological design for materials for various environmental objects are considered. The types of glasses and glass-ceramic materials for the design of environmental objects are presented. A wide range of surface-treatment methods for glasses and glass materials is shown, which determine their high decorative expressiveness along with operational properties. A classification of glass products is given according to the methods of forming and surface treatment, which determine the artistic, operational-technical, and physicochemical properties of glasses and glass materials. Particular attention is paid to stained-glass windows and the technology of their manufacture. [ABSTRACT FROM AUTHOR]

The work presented in this paper is part of a wider research project, which aims at documenting and analyzing stained glass windows by means of hyperspectral imaging. This technique shares some similarities with UV-VIS-IR spectroscopy, as they both provide spectral information; however, spectral imaging has the additional advantage of providing spatial information, since a spectrum can be collected in each pixel of the image. Compared to UV-VIS-IR spectroscopy, spectral imaging has rarely been used for the investigation of stained glass windows. One of the objectives of this paper is, thus, to compare the performance of these two instruments to validate the results of hyperspectral imaging. The second objective is to evaluate the potential of analyzing colored-glass pieces in reflectance modality and compare the results with those obtained in transmittance, in order to highlight the differences and similarities between the two approaches. The geometry of the systems and the backing material for the glass, as well as the characteristics of the glass pieces, are discussed. L*a*b* values obtained from the spectra, as well as the calculated color difference ΔE00, are provided, to show the degree of agreement between the instruments and the two measurement modalities. [ABSTRACT FROM AUTHOR]

Stained glass paint layers made with vitreous paints can be a challenging subject for analyses. Their heterogenic structure requires proper experimental methodology in order to obtain valuable data. The main goal of this paper is to present the advantages of macro-XRF scanning (MA-XRF) in the non-destructive investigation of historical grisaille paint layers on the basis of research conducted on seven stained glass panels from the Dominican Monastery in Kraków, the Diocesan Museum in Kielce and the National Museum in Poznań (Poland). The obtained results showed the capabilities of MA-XRF scanning in technology recognition, the legibility of damaged fragments of painted depictions, as well as with distinguishing the elemental composition between vitreous paints in different colours. Additionally, SEM-EDS measurements are presented so as to acquire quantitative results and additional information concerning light elements.

The understanding of the connection between the value of an image and the value of the materials that were used to make it is limited, especially for stained-glass windows. However, such information can bring-to-light how artistic and economic questions were intertwined and how the final artwork depended on the ranking of the materials. With this paper, we aim to illustrate the benefit of combining art historical research with scientific analysis to retrieve the selection of the quality of the materials of stained-glass windows. Therefore, the main objective of this paper is to investigate the link between the materials and the iconography in order to recover artistic choices and highlight a possible hidden symbolism for a set of window panels, used as a first case-study. Glass quality is investigated according to the following parameters: (1) the glass composition, (2) the glass forming technique, (3) the transparency and hue of the colourless glass, and (4) the rarity and complexity of the colouring technology. The results of our research indicate that the four-studied panels were originally assembled from two different glass compositional groups, K-rich glass and Ca-rich glass, and that specific attention was paid to select only high-quality materials and production techniques for the representation of the characters with higher positions in the religious hierarchy. A very interesting aspect concerns the way the bishop was rendered in one of the panels, because it seems that he actually upgraded his own prestige by requesting the use of specific materials and more attentiveness to his rendering in the panel. By this research, we proposed a first case-study with a non-destructive tool to bring a discussion on the use of different glass qualities in stained glass window. We hope to further encourage such studies on window panels across Western Europe to verify if similar observations can be made. [ABSTRACT FROM AUTHOR]

Stained glass windows created by Jean-Pierre Raynaud and Pierre Soulages for the Abbeys of Noirlac and Conques employ a minimalistic style sensitive to their Romanesque contexts but also express qualities one might call Cistercian, even though only one of the commissions was created for an actual Cistercian abbey. As a form of monasticism, "Cistercian" signifies values of simplicity, poverty, and austerity presented by the founders of the Cistercian Order as essential to the monastic life and embodied in the rigor of their architecture. Natural light is a key element in Cistercian fenestration, differing significantly from the display of color associated with Gothic stained glass. I argue that a form of neo-Cistercianism is evident in and exemplified by the works of Raynaud and Soulages for their respective abbey commissions, in which an aesthetic of restraint and economy aims, above all, to treat the configuration of light as the primary consideration. [ABSTRACT FROM AUTHOR]

One of the most important problems facing the restorer in stained glass restoration is the completion of missing glass pieces to which vitreous paints containing metal oxides were applied that require a high temperature for installation, starting from 550 °C and increasing according to the colored oxide nature and the smelter used. The present paper discusses the preparation of blue vitreous paint for nanoparticles Co3O4 to improve its thermal and color properties. It compares the color prepared from the cobalt nano oxide Co3O4 and cobalt oxide CoO mainly used to color the glass blue since the pharaonic periods. Examination and analysis methods, i.e., XRD, FTIR, SEM, EDX, and TEM, were used in characterizing the cobalt nano oxide. STEM, SEM, and stereo microscope were used to study the prepared color samples. Results showed that the particles size of the prepared Co3O4 of 0.78 nm gave an excellent blue color when applied to the glass at a temperature of 620 °C compared to the color resulting from CoO, which was installed at a temperature of 700 °C according to mixing rates. That paved the way for reducing the proportion of the smelter in the color mixture to increase color resistance to weathering deterioration factors, especially moisture. [ABSTRACT FROM AUTHOR]

The lack of studies reporting the characterisation of Germanic grisaille is evident, despite the recent interest of researchers in this glass painting material. This work consists of the first assessment of Germanic grisaille' chemical composition on a wide chronology (14th–19th centuries), that was only possible through the unique stained-glass collection of King Ferdinand II of Portugal. From the considerable amount of panels produced in Germanic territory and assembled by Ferdinand, twenty-two panels were characterised, and some trends of glass support typical composition and grisaille recipes were verified through this case study. A copper-based grisaille appears to have been the preference up to the 18th century. The 19th century shows higher diversity in composition, with new compounds (such as Co, Cr, Mn) appearing as colourising materials. However, with a limited number of analyses, and dispersed throughout time and different geographic locations, the results of this study are unprecedented, by being able to present the first overview on grisaille composition in Germanic stained glasses. [ABSTRACT FROM AUTHOR]

Abstract This work presents the first results of the iconographic study and analytical characterisation of a set of four stained-glass panels that are part of the collection of National Palace of Pena (Sintra, Portugal). These panels were collected by the King Ferdinand II in the mid-nineteenth century, for his main residence the Palace of Necessidades (Lisbon, Portugal), and only first presented to the general public in 2011. This study contributes with the knowledge of Technical Art History and Heritage Science to a better and deeper understanding of their history, materials and techniques used in the production, where an art-historical and a scientific approach are applied to attribute their origins. Based on the analysis of the formal and stylistic characteristic of the panels, it is proposed that the drawings used for the production of three of these panels may be based on the design and painting being carried out in the same workshop, and that the four panels have the same provenance (Germany). The composition of the glass and grisaille was determined and colourising elements were identified. Through this approach, conclusive correlation between the analysed glasses was possible: all are calcium rich or calcium–potassium rich types, and the results also suggest that the same source of silica was used for their production. A typical mixture of glass and lead oxide was found in the grisaille applied on the painted panels. However, less usual was the use of a copper oxide pigment for the black grisaille. All these findings support the proposals made regarding provenance and production period (fifteenth century).

In 2021, two projects for the protection and preservation of Austrian stained glass were performed in close cooperation between the Federal Monuments Authority Austria and active members of the Corpus Vitrearum Austria. Both projects are dedicated to difficult topics that will increasingly challenge how we tackle the preservation of monuments in the coming decades. There are questions regarding the correct conservation and restoration treatment of stained glass from the late 19th and early 20th century (stained glass from the so-called art period of Historicism), which, despite all the Guidelines for the Conservation and Restoration of this endangered genre of art, is still far from being treated with the necessary care throughout the country. The protection and preservation of the original substance—the glass, the leading and the painting—are the primary focus of interest here. Using the example of the restoration campaign currently being conducted on the windows of St. Mary's Cathedral, Linz, a cultural monument of particular importance for Austria, work is being undertaken to elaborate the feasibility of a concept that can be easily implemented in the future at other construction sites and by all the stakeholders involved. The second monitoring project presented concerns the equally important area of "preventive conservation" of medieval and modern stained glass. The focus of the work that took place here was on checking the condition of stained glass from the Middle Ages to the 20th century (with and without exterior protective glazing) and the general identification of damage and determination of the urgency of measures for conservation (using a "traffic light system" developed for this purpose). [ABSTRACT FROM AUTHOR]

In the second half of the nineteenth century, there was a growing interest in Western countries for Islamic stucco glass windows, which were known from descriptions in books and as imported artifacts. Among the oldest publications is Émile Prisse d’Avennes’ (1807-1879) L’art arabe d’après les monuments du Kaire depuis le VIIe siècle jusqu’à la fin du XVIIIe. One year after its publication in 1877, its illustrations inspired the geometrical patterns of the windows of the Moroccan House, a neo-Moorish pavilion in the park of Linderhof Palace (Ettal, Germany).

Nineteenth-century American artist Sarah Wyman Whitman continues to gain importance as a designer for book covers and stained glass, and also for her affinity with the American Arts and Crafts movement. Whitman's works straddle nineteenth-century mass production and nineteenth-century spiritual morality. Grappling with how to align these two seemingly opposing forces informs Whitman's designs, writings, and artworks. Even though she worked in two industries greatly changed by mass production, stained-glass and book design, her art maintains an appeal to the individual. Her democratic ideals and noble messages imbue her art with a sense of handicraft and virtue. However, her skill in creating economical and innovative book covers and technically superior stained-glass windows demonstrates her understanding of technology. This article argues that Whitman, through a combination of faith and technical savvy, used her art to serve her optimal goal of filling the world with virtue. [ABSTRACT FROM AUTHOR]