91-468: Thomas Willement (18 July 1786 – 10 March 1871) was an English stained glass artist and writer, called "the father of Victorian stained glass", active from 1811 to 1865. Willement was born at St Marylebone , London, the son of Thomas Willement, a painter of coaches and heraldry. As a young man Willement worked at his father's business at 25 Green Street, Grosvenor Square. Like many early 19th century provincial stained glass artists, Willement started out as
182-491: A plumber and glazier : two distinct trades both requiring lead-working skills. Willement became a leading and proficient stained-glass artist, reviving the medieval method of composing a window from separate pieces of coloured glass rather than painting pictures on glass with coloured enamels. Willement married Katharine Griffith in 1817. Their son, Arthur Thomas, was born in 1833 and died at Oxford in 1854, aged 21. Katherine died in 1852. Willement died in 1871, aged 84, and
273-399: A "very good example of C19 church architecture". The only remaining fabric of the medieval church are two groups of tiles in the floor of the south aisle, showing heraldic symbols and designs of foliage. Today there is only one bell in the tower, cast by Thomas Mears in 1826. It was intended to be the tenor of a ring of eight, but the other bells and framework were never added. There was
364-595: A Collection of Original Drawings of Charges, Arrangements of Early Examples, &c., with Numerous Engravings of Coats of Arms, Fac Similes of Stained Glass, and Tracings of Early Brasses . London. {{ cite book }} : CS1 maint: location missing publisher ( link ) Shaw, Henry ; Meyrick, Sir Samuel Rush (1836). Specimens of Ancient Furniture drawn from Existing Authorities . London: William Pickering. Shaw, Henry (1839). Details of Elizabethan Architecture . London: William Pickering. de Walden, Lord Howard (1904). Banners Standards and Badges, From
455-951: A Contemporary Roll, with the Names and the Arms of the Sovereign, and of the Spiritual and Temporal Peers who sat in the Parliament held at Westminster AD 1515 . Willement, Thomas (1834). A Roll of Arms of the Reign of Richard the Second . London: William Pickering. Willement, Thomas (1840). A Concise Account of the Principal Works in Stained Glass that have been Executed by Thomas Willement . Thomas Willement. Willement, Thomas (1844). An Account of
546-538: A Tudor Manuscript in the College of Arms With an Introduction by Howard De Walden . The de Walden Library. – includes Willement's tracings from 1831 Brown, Sarah (2006). "So Perfectly Satisfactory: The Stained Glass of Thomas Willement". A History of the Stained Glass of St George's Chapel, Windsor Castle . Historical Monographs Relating to St George's Chapel. 18 . Windsor: 109–145. ISBN 0-9539676-3-8 . Brown, Sarah (2020). "Medieval Stained Glass and
637-481: A brushable texture, with a binder such as gum arabic . This was painted on the pieces of coloured glass, and then fired to burn away the ingredients giving texture, leaving a layer of the glass and colouring, fused to the main glass piece. "Silver stain", introduced soon after 1300, produced a wide range of yellow to orange colours; this is the "stain" in the term "stained glass". Silver compounds (notably silver nitrate ) are mixed with binding substances, applied to
728-521: A different colour). In medieval glass flashing was especially used for reds, as glass made with gold compounds was very expensive and tended to be too deep in colour to use at full thickness. Another group of techniques give additional colouring, including lines and shading, by treating the surfaces of the coloured sheets, and often fixing these effects by a light firing in a furnace or kiln. These methods may be used over broad areas, especially with silver stain, which gave better yellows than other methods in
819-761: A great demand for the revival of the art of stained glass window making. Among the earliest 19th-century English manufacturers and designers were William Warrington and John Hardman of Birmingham, whose nephew, John Hardman Powell, had a commercial eye and exhibited works at the Philadelphia Exhibition of 1876, influencing stained glass in the United States of America. Other manufacturers included William Wailes , Ward and Hughes , Clayton and Bell , Heaton, Butler and Bayne and Charles Eamer Kempe . A Scottish designer, Daniel Cottier , opened firms in Australia and
910-685: A market across Europe, in America and Australia. Stained glass studios were also founded in Italy and Belgium at this time. St Peter ad Vincula Church, Hampton Lucy St Peter ad Vincula is the Grade I listed Church of England parish church of Hampton Lucy , Warwickshire and is part of the Barford Group of Churches. It was built in the 1820s on the site of a demolished medieval church . The medieval church of St Peter originally stood "not exactly on
1001-454: A more Classical manner, and characterised by the brilliant cerulean colour of the blue backgrounds (as against the purple-blue of the glass of Chartres) and the use of pink and mauve glass. During the mid- to late 19th century, many of Germany's ancient buildings were restored, and some, such as Cologne Cathedral , were completed in the medieval style. There was a great demand for stained glass. The designs for many windows were based directly on
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#17330861497521092-438: A number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways. In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and dalle de verre . The primary method of including colour in stained glass
1183-442: A rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in enamelled glass in which the colors have been painted onto the glass and then fused to the glass in a kiln; very often this technique is only applied to parts of a window. Stained glass, as an art and a craft , requires the artistic skill to conceive an appropriate and workable design, and
1274-644: A slightly mauve tint, characteristic of the glass in older houses in New England . Selenium has been used for the same purpose. While very pale green is the typical colour of transparent glass, deeper greens can be achieved by the addition of Iron(II) oxide which results in a bluish-green glass. Together with chromium it gives glass of a richer green colour, typical of the glass used to make wine bottles . The addition of chromium yields dark green glass, suitable for flashed glass. Together with tin oxide and arsenic it yields emerald green glass. The first stage in
1365-409: A stain known as "Cousin's rose" was used to enhance flesh tones. In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamelled glass . Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon
1456-423: A thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming " flashed glass ". A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown technique described above. Once this method was found for making red glass, other colours were made this way as well. A great advantage
1547-491: A traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full-sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically have two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers, with elaborate tracery. In medieval times
1638-530: Is a murky mustard color but glows purple-red to transmitted light, and the cameo glass Portland vase which is midnight blue, with a carved white overlay. In early Christian churches of the 4th and 5th centuries, there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect. Evidence of stained-glass windows in churches and monasteries in Britain can be found as early as
1729-403: Is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state. Copper oxides produce green or bluish green, cobalt makes deep blue, and gold produces wine red and violet glass. Much of modern red glass is produced using copper, which is less expensive than gold and gives a brighter, more vermilion shade of red. Glass coloured while in the clay pot in the furnace
1820-418: Is known as pot metal glass, as opposed to flashed glass . Using a blow-pipe , a glass maker will gather a glob of molten glass that was taken from the pot heating in the furnace. The 'gather' is formed to the correct shape and a bubble of air blown into it. Using metal tools, molds of wood that have been soaking in water, and gravity, the gather is manipulated to form a long, cylindrical shape. As it cools, it
1911-447: Is now sometimes used instead of lead. For further technical details, see Came glasswork . Traditionally, when a window was inserted into the window space, iron rods were put across it at various points to support its weight. The window was tied to these rods with lead strips or, more recently, with copper wires. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta . This method of support
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#17330861497522002-458: Is reheated so that the manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is left to cool. One side of the cylinder is opened, and the cylinder is then put into another oven to quickly heat and flatten it, and then placed in an annealer to cool at a controlled rate, making the material more stable. "Hand-blown" or "mouth-blown" cylinder (also called muff glass) and crown glass were
2093-415: Is still made today, but not on a large scale. Rolled glass (sometimes called "table glass") is produced by pouring molten glass onto a metal or graphite table and immediately rolling it into a sheet using a large metal cylinder, similar to rolling out a pie crust. The rolling can be done by hand or by machine. Glass can be "double rolled", which means it is passed through two cylinders at once (similar to
2184-468: Is that the double-layered glass can be engraved or abraded to reveal the clear or tinted glass below. The method allows rich detailing and patterns to be achieved without needing to add more lead-lines, giving artists greater freedom in their designs. A number of artists have embraced the possibilities flashed glass gives them. For instance, 16th-century heraldic windows relied heavily on a variety of flashed colours for their intricate crests and creatures. In
2275-412: Is to use glass, originally colourless, that has been given colouring by mixing with metal oxides in its melted state (in a crucible or "pot"), producing glass sheets that are coloured all the way through; these are known as "pot metal" glass. A second method, sometimes used in some areas of windows, is flashed glass , a thin coating of coloured glass fused to colourless glass (or coloured glass, to produce
2366-710: The Aube department alone. At the Reformation in England, large numbers of medieval and Renaissance windows were smashed and replaced with plain glass. The Dissolution of the Monasteries under Henry VIII and the injunctions of Thomas Cromwell against "abused images" (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of these the windows in the private chapel at Hengrave Hall in Suffolk are among
2457-460: The Bible , history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church – episodes from the life of Christ ; within a parliament building – shields of the constituencies; within a college hall – figures representing the arts and sciences; or within a home – flora, fauna, or landscape. During
2548-510: The Earl of Shrewsbury . Willement's work with churches began during this period, including St Martin of Tours , Epsom in 1824, the east window of St Peter ad Vincula Church , Hampton Lucy, Warwickshire in 1837 (see image below), and Saint Michael and All Angels , Barbados in 1838. In the Great Hall of Christ's Hospital , Newgate, between 1836 and 1840 Willement installed massive windows memorialising
2639-468: The French Revolution . During the 19th century a great number of churches were restored by Viollet-le-Duc . Many of France's finest ancient windows were restored at that time. From 1839 onwards much stained glass was produced that very closely imitated medieval glass, both in the artwork and in the nature of the glass itself. The pioneers were Henri Gèrente and André Lusson. Other glass was designed in
2730-404: The ashlared limestone nave and tower , designed by Hutchinson and Rickman respectively. The nave consists of six bays with a north and south aisle. The external walls sit on a moulded plinth and the window hoods, parapet and gables are richly carved . The tower has three stages, terminating in octagonal pinnacles and a pierced, crenellated parapet. In 1858 Sir George Gilbert Scott
2821-457: The "Bishop's Eye" at Lincoln Cathedral . While stained glass was widely manufactured, Chartres was the greatest centre of stained glass manufacture, producing glass of unrivalled quality. Probably the earliest scheme of stained glass windows that was created during the Renaissance was that for Florence Cathedral, devised by Lorenzo Ghiberti . The scheme includes three ocular windows for
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2912-457: The 7th century. The earliest known reference dates from 675 AD when Benedict Biscop imported workmen from France to glaze the windows of the monastery of St Peter which he was building at Monkwearmouth . Hundreds of pieces of coloured glass and lead, dating back to the late 7th century, have been discovered here and at Jarrow . In the Middle East, the glass industry of Syria continued during
3003-470: The 7th-century BC. The Kitab al-Durra al-Maknuna , attributed to the 8th century alchemist Jābir ibn Hayyān , discusses the production of colored glass in ancient Babylon and Egypt. The Kitab al-Durra al-Maknuna also describes how to create colored glass and artificial gemstones made from high-quality stained glass. The tradition of stained glass manufacture has continued, with mosques, palaces, and public spaces being decorated with stained glass throughout
3094-641: The Armorial Insignia of the Kings and Queens of England, from Coeval Authorities . London: Thomas Willement. Willement, Thomas (1827). Heraldic Notices of Canterbury Cathedral; with Genealogical and Topographical Notes. To Which is Added a Chronological List of the Archbishops of Canterbury, with the Blazon of their Respective Arms . London: Harding, Lepard and Co. Willement, Thomas (1829). Fac Simile of
3185-715: The Basílica Nuestra Señora de Lourde and the Templo Vótivo de Maipú both located in Chile. The Catholic revival in England, gaining force in the early 19th century with its renewed interest in the medieval church, brought a revival of church building in the Gothic style, claimed by John Ruskin to be "the true Catholic style". The architectural movement was led by Augustus Welby Pugin . Many new churches were planted in large towns and many old churches were restored. This brought about
3276-540: The British Society of Master Glass-Painters . 9 (4): 127–131. Shepherd, Stanley A. (2008). "Willement, Thomas (1786–1871)". Oxford Dictionary of National Biography (online ed.) . Oxford University Press. ISBN 978-0-19-861412-8 . Wilkinson, A.L. (1964). "The works of T. Willement, 1812–1865". Journal of the British Society of Master Glass-Painters . 14 (1): 50–51. Wainwright, Clive (1972). "Thomas Willement's Stained Glass Windows in
3367-729: The Choir Aisles" (PDF) . Annual Report of the Society of the Friends of St George's and Descendants of the Knights of the Garter . 5 (3): 105–118. Stained glass Stained glass is colored glass as a material or works created from it. Although, it is traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture . Modern vernacular usage has often extended
3458-911: The Great West Window, and windows in the Oliver King and Beaufort Chapels. In 1844 Willement published An Account of the Restorations of the Collegiate Chapel of St George, Windsor: with some particulars of the heraldic ornaments of that edifice, a detailed account of the heraldy and decorations of the Chapel, and Willement's restorations thereof. In 1842 Willement contributed to the restoration of Temple Church London by architects Sydney Smirke and Decimus Burton , who sought to revert Christopher Wren 's 17th century Classical renovations to Victorian Gothic . Willement supplied three stained glass windows for
3549-585: The Islamic period with major centres of manufacture at Raqqa , Aleppo and Damascus and the most important products being highly transparent colourless glass and gilded glass, rather than coloured glass. The creation of stained glass in Southwest Asia began in ancient times. One of the region's earliest surviving formulations for the production of colored glass comes from the Assyrian city of Nineveh , dating to
3640-555: The Islamic world. The stained glass of Islam is generally non-pictorial and of purely geometric design, but may contain both floral motifs and text. Stained glass creation had flourished in Persia (now Iran) during the Safavid dynasty (1501–1736 A.D.), and Zand dynasty (1751–1794 A.D.). In Persia stained glass sash windows are called Orosi windows (or transliterated as Arasi, and Orsi), and were once used for decoration, as well as controlling
3731-487: The Middle Ages. Alternatively they may be used for painting linear effects, or polychrome areas of detail. The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called "glass paint", "vitreous paint", or " grisaille paint". This was applied as a mixture of powdered glass, iron or rust filings to give a black colour, clay, and oil, vinegar or water for
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3822-479: The Principal Works in Stained Glass that have been Executed by Thomas Willement (1840). Modern surveys encompassing Willement's entire career may be found in Wilkinson (1964) and Wright (1964–65). A select list of buildings holding extant prominent examples of Willement's work follows. Note that a considerable proportion of Victorian-era and Gothic revival stained glass, including works by Willement, has not survived to
3913-556: The Restorations of the Collegiate Chapel of St George, Windsor: with some particulars of the heraldic ornaments of that edifice . London: William Pickering. Willement, Thomas (1862). Historical Sketch of the Parish of Davington in the County of Kent and of the Priory there dedicated to St Mary Magdalene . London: Basil Montagu Pickering. Willement, Thomas (1865). Heraldic Antiquities:
4004-546: The US. In France there was a greater continuity of stained glass production than in England. In the early 19th century most stained glass was made of large panes that were extensively painted and fired, the designs often being copied directly from oil paintings by famous artists. In 1824 the Sèvres porcelain factory began producing stained glass to supply the increasing demand. In France many churches and cathedrals suffered despoliation during
4095-727: The Victorian Restorer" . Interdisciplinary Studies in the Long Nineteenth Century . 2020 (30): 1–26. doi : 10.16995/ntn.2901 . ISSN 1755-1560 . Cheshire, Jim (2004). Stained glass and the Victorian Gothic Revival . Manchester: Manchester University Press. ISBN 0-7190-6346-9 . Harrison, Martin (1980). Victorian Stained Glass . London: Barrie & Jenkins. ISBN 0214206890 . Kirby, H.T. (1946). "Thomas Willement, An Heraldic Glass-Painter's Note Book". Journal of
4186-479: The ancient method of leading coloured pieces and integrating the visually black lines created between the colours by the lead cames into the design of the window, and developed the artistic method of arranging figures one to each single light, surmounted by a decorative canopy. Willement was also an expert on heraldry , which informed much of his work and restoration, and on which he published several authoritative works (see Bibliography ). Willement's first window
4277-1011: The architect of Goodrich Court, Edward Blore , on a number of projects, including St George's Chapel , Windsor, and the Great Hall of Hampton Court Palace . In 1831 Willement repaired and replaced the entirety of the 'ancient stained glass' in the windows of the Great Hall of Charlecote Park in Warwickshire, for George Lucy . In 1832 Willement began an extended association with architect Anthony Salvin , which would include work at Penrhyn Castle in Wales, Mamhead House in Devon, Rufford Abbey in Nottinghamshire, Scotney Castle in Kent and Harlaxton in Lincolnshire. Between 1833 and 1840 Willement repeatedly supplied windows and decorated Alton Towers , Staffordshire, for
4368-520: The arms of the Governors. In 1832 Willement was elected a fellow of the Society of Antiquaries, and at some point appointed heraldic artist to George IV . Willement became an advocate of the Cambridge Camden Society (established 1839) who promoted a return to a medieval style of architecture in the structure of new churches and the restoration of existing churches. Willement's association with
4459-462: The buildings to make a comfortable home, and installed his own heraldic glass with the motto "Thynke and Thanke". Since he owned the church as well, he refurbished it with stained glass and had Taylors of Loughborough install five bells, each cast with the same motto, in the bell tower. Davington Priory has since 1983 been the home of the musician Bob Geldof . Willement comprehensively documented his early work (1812–1840) in A Concise Account of
4550-408: The cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window. The cartoon is then divided into a patchwork, providing a template for each small glass piece. The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect. Each piece of glass is selected for
4641-473: The clothes wringers on older washing machines) to yield glass of a specified thickness (typically about 1/8" or 3mm). The glass is then annealed. Rolled glass was first commercially produced around the mid-1830s and is widely used today. It is often called cathedral glass , but this has nothing to do with medieval cathedrals, where the glass used was hand-blown. Architectural glass must be at least 1 / 8 of an inch (3 mm) thick to survive
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#17330861497524732-451: The colours applied by brush to the surface of the glass and fired to anneal them, rather than the artist piecing numerous sections of coloured glass together. Through observation and restoration of surviving windows (such as the 14th century west window of York Minster , and the 12th century Jesse Tree in the east window of the Church of St Mary, Westwell (see picture).), Willement reinvented
4823-699: The cupola windows has since been lost, and that by Donatello has lost nearly all of its painted details. In Europe, stained glass continued to be produced; the style evolved from the Gothic to the Classical, which is well represented in Germany, Belgium and the Netherlands, despite the rise of Protestantism . In France, much glass of this period was produced at the Limoges factory, and in Italy at Murano , where stained glass and faceted lead crystal are often coupled together in
4914-399: The decorated surface to the atmosphere or mechanical damage. Once the glass is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames. In modern windows, copper foil
5005-409: The design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated. In a window of
5096-491: The desired colour and cut to match a section of the template. An exact fit is ensured by "grozing" the edges with a tool which can nibble off small pieces. Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in
5187-555: The dome and three for the facade which were designed from 1405 to 1445 by several of the most renowned artists of this period: Ghiberti , Donatello , Uccello and Andrea del Castagno . Each major ocular window contains a single picture drawn from the Life of Christ or the Life of the Virgin Mary , surrounded by a wide floral border, with two smaller facade windows by Ghiberti showing the martyred deacons, St Stephen and St Lawrence . One of
5278-580: The early 1600s; the earliest is the work of Dirck Crabeth and his brother Wouter . Many of the original cartoons still exist. Stained glass was first imported to Latin America during the 17th–18th centuries by Portuguese and Spanish settlers. By the 20th century, many European artists had begun to establish their own studios within Latin America and had started up local production. With these new local studios came inventive techniques and less traditional imagery. Examples of these more modern works of art are
5369-413: The early 20th century. From 1300 onwards, artists started using "silver stain" which was made with silver nitrate . It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass. By about 1450,
5460-619: The east end of the Church depicting scenes from the life of Jesus, and other decoration. The windows were ultimately destroyed in the Blitz , but a roundel in the nave survived (see Rose Window in Selected works ). Willement's final commission was to provide the east window of the Savoy Chapel , after a fire in 1864 nearly destroyed the chapel. Willement had previously renovated the chapel ceiling and reglazed
5551-509: The east window after a fire in 1842. By 1845 Willement, aged 59, had become wealthy and looked around for a home with a suitable resonance in which to spend his later years. He purchased Davington Priory near Faversham in Kent, a nunnery established in the 12th century and complete with its own church (the buildings had been spared in the Dissolution because by 1527 there were only three elderly nuns remaining). Willement restored and extended
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#17330861497525642-686: The eastern end of Canterbury Cathedral . As Gothic architecture developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone. This elaboration of form reached its height of complexity in the Flamboyant style in Europe, and windows grew still larger with the development of the Perpendicular style in England and Rayonnant style in France. Integrated with
5733-458: The engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the Late Middle Ages . In Western Europe , together with illuminated manuscripts , they constitute
5824-420: The finest. With the latter wave of destruction the traditional methods of working with stained glass died, and were not rediscovered in England until the early 19th century. See Stained glass – British glass, 1811–1918 for more details. In the Netherlands a rare scheme of glass has remained intact at Grote Sint-Jan Church, Gouda . The windows, some of which are 18 metres (59 feet) high, date from 1555 to
5915-400: The glass paint away to make the design, or the lettering of an inscription. This was the most common method of making inscriptions in early medieval glass, giving white or light letters on a black background, with later inscriptions more often using black painted letters on a transparent glass background. These are the colours in which the glass itself is made, as opposed to colours applied to
6006-504: The glass some protection against weathering, although this can also be true for paint. They were also probably fired separately, the stain needing a lower heat than the paint. "Sanguine", "carnation", "Rouge Jean Cousin " or "Cousin's rose", after its supposed inventor, is an iron-based fired paint producing red colours, mainly used to highlight small areas, often on flesh. It was introduced around 1500. Copper stain, similar to silver stain but using copper compounds, also produced reds, and
6097-481: The glass. Ordinary soda-lime glass appears colourless to the naked eye when it is thin, although iron oxide impurities produce a green tint which becomes evident in thick pieces or with the aid of scientific instruments. A number of additives are used to reduce the green tint, particularly if the glass is to be used for plain window glass, rather than stained glass windows. These additives include manganese dioxide which produces sodium permanganate , and may result in
6188-641: The incoming sunlight in the hot and semi-arid climate. Stained glass, as an art form, reached its height in the Middle Ages when it became a major pictorial form used to illustrate the narratives of the Bible to a largely illiterate populace. In the Romanesque and Early Gothic period, from about 950 to 1240, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at Chartres Cathedral and at
6279-425: The late medieval period , glass factories were set up where there was a ready supply of silica , the essential material for glass manufacture. Silica requires a very high temperature to melt, something not all glass factories were able to achieve. Such materials as potash , soda , and lead can be added to lower the melting temperature. Other substances, such as lime , are added to make the glass more stable. Glass
6370-464: The lofty verticals of Gothic cathedrals and parish churches, glass designs became more daring. The circular form, or rose window , developed in France from relatively simple windows with openings pierced through slabs of thin stone to wheel windows, as exemplified by the west front of Chartres Cathedral, and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at Sainte-Chapelle , Paris and
6461-424: The major form of medieval pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as "illuminated wall decorations". The design of a window may be abstract or figurative; may incorporate narratives drawn from
6552-488: The medieval period the glass was abraded; later, hydrofluoric acid was used to remove the flash in a chemical reaction (a very dangerous technique), and in the 19th century sandblasting started to be used for this purpose. There are a number of glass factories, notably in Germany, the United States, England, France, Poland and Russia, which produce high-quality glass, both hand-blown (cylinder, muff, crown) and rolled (cathedral and opalescent). Modern stained-glass artists have
6643-440: The present day, due to demolition (e.g. Holy Trinity Church, Carlisle; Drakelow Hall , Derbyshire; Goodrich Court , Herefordshire), accidents (e.g. Crewe Hall , destroyed by fire), removal (e.g. Jesus College , Cambridge, St Katharine's Church , Regent's Park), and wartime bombing (e.g. Temple Church , London; Great Hall of Christ's Hospital , London; St Luke's Church , Chelsea). Willement, Thomas (1821). Regal Heraldry:
6734-462: The process. The centre of each piece of glass, known as the "bull's-eye", is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the pontil mark , a distinctive lump of glass left by the "pontil" rod, which holds the glass as it is spun out. This lumpy, refractive quality means the bulls-eyes are less transparent, but they have still been used for windows, both domestic and ecclesiastical. Crown glass
6825-476: The production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit. The subject matter of the window is determined to suit the location, a particular theme, or the wishes of the patron. A small design called a Vidimus (from Latin "we have seen") is prepared which can be shown to the patron. A scaled model maquette may also be provided. The designer must take into account
6916-400: The push and pull of typical wind loads. However, in the creation of red glass, the colouring ingredients must be of a certain concentration, or the colour will not develop. This results in a colour so intense that at the thickness of 1 / 8 inch (3 mm), the red glass transmits little light and appears black. The method employed to create red stained glass is to laminate
7007-524: The same site" as the present church. It was demolished in 1822 when the Lucy family of Charlecote Park employed Thomas Rickman and Henry Hutchinson to design and build a new parish church in the Gothic Revival style. The result is described as "one of the best examples of Victorian Gothic style in Warwickshire" and the "magnum opus" of Rickman and Hutchinson. The first phase of construction consisted of
7098-524: The same window. The French Revolution brought about the neglect or destruction of many windows in France. Nonetheless, the country still holds the largest set of Renaissance stained glass in its churches, particularly in the regions of Normandy and Champagne where there were vivid ateliers in many cities until the early 17th century with the stained glass painter Linard Gonthier being active in Troyes until 1642 . There are 1042 preserved 16th-century windows in
7189-509: The skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled. A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead came . This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing
7280-632: The society introduced him in 1840 to Augustus Pugin , the ecclesiastical architect and designer of churches. Willement worked on several projects for Pugin (including the chapel of the Convent of our Lady of Mercy , Handsworth, and the Chapel and School of the Hospital of St John, Alton ), however Willement ultimately suffered a falling-out with Pugin, who was sometimes critical of Willement's historical accuracy, and accused him of being mercenary. The break with Pugin did not set back Willement's success, and Willement
7371-407: The surface of glass, and then fired in a furnace or kiln. They can produce a range of colours from orange -red to yellow. Used on blue glass they produce greens. The way the glass is heated and cooled can significantly affect the colours produced by these compounds. The chemistry involved is complex and not well understood. The chemicals actually penetrate the glass they are added to a little way, and
7462-418: The technique therefore gives extremely stable results. By the 15th century it had become cheaper than using pot metal glass and was often used with glass paint as the only colour on transparent glass. Silver stain was applied to the opposite face of the glass to silver paint, as the two techniques did not work well one on top of the other. The stain was usually on the exterior face, where it appears to have given
7553-559: The term "stained glass" to include domestic lead light and objets d'art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany . As a material stained glass is glass that has been colored by adding metallic salts during its manufacture, and usually then further decorating it in various ways. The colored glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead, called cames or calms, and supported by
7644-589: The types used in the traditional fabrication of stained-glass windows. Crown glass is hand-blown glass created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a potter's wheel . The centrifugal force causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses. Concentric, curving waves are characteristic of
7735-460: The work of famous engravers such as Albrecht Dürer . Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827. A major firm was Mayer of Munich , which commenced glass production in 1860, and is still operating as Franz Mayer of Munich, Inc. . German stained glass found
7826-619: Was also favoured for large, usually painted, windows of the Baroque period. Coloured glass has been produced since ancient times. Both the Egyptians and the Romans excelled at the manufacture of small colored glass objects. Phoenicia was important in glass manufacture with its chief centres Sidon , Tyre and Antioch . The British Museum holds two of the finest Roman pieces, the Lycurgus Cup , which
7917-510: Was appointed, by Royal Patent, "Artist in Stained Glass" to Queen Victoria . In July 1840 Willement was appointed by the Dean and Canons of Windsor to supply four heraldic windows for the Quire of St George's Chapel , Windsor, beginning an association with the Chapel which would last until 1861. During this period, Willement designed and completed thirty new stained glass windows for the Chapel, and restored
8008-579: Was buried alongside his wife in the vault of St Mary Magdalene, Davington , which he had restored (see Davington Priory ). The great period of medieval stained glass manufacturing between 1100 and the Tudor period ended in England after the Dissolution of the Monasteries under Henry VIII and the destruction of the Church's artworks by Puritans during the Parliamentary period . Those few windows produced between 1500 and 1800 were generally of painted glass:
8099-518: Was employed to add a chancel and north porch , both of which are richly decorated in the Gothic Revival style. A statue of St Peter in chains sits over the north porch along with the Lucy arms. The east window , depicting the life of St Peter, was restored after it was damaged when an American aircraft crashed nearby during the Second World War . The building was Grade I listed on 5 April 1967 as
8190-527: Was installed in 1812 in Caerhays Castle , Cornwall for John Trevanion , and Willement established a lucrative business decorating and installing heraldic stained glass in the country houses of landed gentry . In 1829 Willement installed windows in Goodrich Court , Herefordshire for Sir Samuel Meyrick , to whose Specimens of Ancient Furniture (1836) he later contributed. Willement would later work with
8281-477: Was mainly used in the 18th and 19th centuries. "Cold paint" is various types of paint that were applied without firing. Contrary to the optimistic claims of the 12th century writer Theophilus Presbyter , cold paint is not very durable, and very little medieval paint has survived. As well as painting, scratched sgraffito techniques were often used. This involved painting a colour over pot metal glass of another colour, and then before firing selectively scratching
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