Stained Glass Art
History & Manufacture of Stained Glass Arts, Gothic and Twentieth Century, Chartres Cathedral.
Visual Arts in Cork

Stained Glass Art

In the visual arts, the term 'stained glass' commonly denotes glass to which translucent colour has been added during manufacture, as exemplified by the famous Romanesque and Gothic stained glass found in the pictorial narrative windows of the great Christian cathedrals such as Augsburg, Chartres and Notre Dame de Paris. Indeed, the fine art skills of the stained glass artists who created such medieval masterpieces as the Rose window in the west front of Chartres Cathedral have rarely been equalled, an extraordinary situation given that stained glass manufacture is now easier, and that essential materials like sand, limestone and sodium - as well as metallic oxide colouring agents like copper, cobalt, iron, nickel and lead - are more readily available. Modern knowledge of stained glass chemistry is also far superior. As well as church windows, the term also encompasses the creation of other types of stained glass, including panels, domestic windows as well as three-dimensional shapes and sculpture.

How Is Stained Glass Made?

Most glass is manufactured from a mixture of sand (silicon dioxide), limestone (calcium carbonate) and sodium carbonate - a mix known as soda-lime-silica. In medieval times, metallic oxide chemicals were added to the molten mix in order to produce the required colours. For example, the addition of copper produced blue and/or green; cobalt produced purple-blue; chromium produced chrome green or yellow; manganese or nickel produced violet; lead produced pale yellow; the colour red was more difficult to obtain, gold being the usual additive. Tonal variations of these colours were created by varying the basic soda-lime-silica mix and the amounts and combinations of colouring agent.

This molten liquid was then processed using the 'cylinder method' during which it was blown then formed into a large cylindrical shape before being flattened into thin coloured sheets. These sheets were then cut into small pieces from which the artist would assemble (jigsaw or mosaic-style) his intended stained glass pictures, using strips of lead to connect the separate panes. Final enhancements might be made by adding stains or paint to the inner surface of the finished window. For example, colour enhancements were achieved using stains such as silver nitrate, 'Cousin's rose,' and (later) various types of enamel, while facial and other figurative details were painted directly onto the inner surface of the glass using a special glass paint consisting of a mixture of lead or copper filings, gum arabic, and a medium such as vinegar, wine, or even urine. When installed, the window might be given extra support through the use of iron rods and metal frames known as ferramenta.

The Stained Glass Artist

As well as supervising the entire manufacturing process, to ensure the integrity and correct pigmentation of the glass, the artist (in practice, a team of artists) was also responsible for the design, composition and effects of the stained glass window. Typically, he began with a series of charcoal sketches, or cartoons (drawings) of the design. From these, a series of full-size cartoons or design-plans were made, which were usually drawn directly onto the surface used for cutting, painting and assembling the glass mosaic. Special attention was paid to the exact details and colour scheme of the pictorial narrative to be depicted in the window. It might illustrate a Biblical episode from the Old or New Testament, the lives of the prophets or Saints; an event from the life of Christ, or the Holy Family.

Additional symbols or motifs, identifying the individual or guild who was paying for the window, were also commonly included. All this required careful pre-planning before construction commenced.

In addition, to ensure the optimum colour scheme for the stained glass, the artist had to assess the angle, amount and intensity of the light which would pass through it. For example, bright light required stronger, darker colours. This had to be balanced against the need for colour contrast, as well as the need to provide for differing light levels according to the time of day and the seasons. In short, stained glass artistry encompassed architectural design, glass manufacture, colour chemistry, painting, enamelling, cloisonne, and a dozen other arts and crafts.

Medieval Stained Glass Windows

As a fine art form, stained glass reached its apogee during the 12th and 13th centuries when, in combination with new architectural designs, it was incorporated into the magnificent Gothic Cathedral structures of France, Belgium, UK and Germany, including the Cathedrals of St Denis, Sainte-Chapelle, St Etienne, Notre Dame Evreux, Notre Dame de Paris, Amiens, Rheims, Poitiers, Strasbourg, Chartres, Ghent, Canturbury and Augsburg. Intended to inspire and educate the largely illiterate population in the Gospel scriptures, these pictorial windows also brought a huge amount of light into previously dim places of worship, and reinforced the image and power of the Church in Rome. Famous stained glass works include the Rose window and Life of Christ window at Chartres, the Crucifixion window at Poitiers Cathedral, the Rose window at Strasbourg Cathedral, the Prophet windows at Rheims, the Ascension window at Le Mans Cathedral, the Daniel window at Augsburg, the windows depicting The story of the Magi and The Descent of Christ from Adam at Canturbury Cathedral, the St Benedict window at York Minster, and The Mucha windows at Saint Vitus Cathedral in Prague.

History

After the Romanesque and Early Gothic era (c.950-1250), architectural developments facilitated even larger areas of glass and afforded greater elaboration of structure. This process reached its height in the Flamboyant style in Europe and the Perpendicular style in Britain. At the same time, glass design became more daring, painting became more intricate, like easel art, and improvements in silver stain allowed the artist to depict yellow hair and golden garments more realistically. Although a significant amount of religious stained glass was lost in Britain during the Reformation, it continued to be produced in France (at Limoges) and in Italy (at Murano) most of it in the Classical style - witness the Early Renaissance 15th century glass in Florence Cathedral, designed by Uccello, Donatello and Ghiberti - until production was halted by the French Revolution. However, during the High Renaissance the medium declined in artistry as windows became mere transparent glass covered in paint, a process which only improved around the time of the Catholic revival (c.1810-1920) in England, which created a greatly increased demand for stained glass art. Scientists rediscovered some of the medieval stained glass techniques and colouring methods. Leading English designers during this period included William Morris (1834-1898) and Edward Burne-Jones (1833-1898).

Modern Developments

Modern art glass, which incorporates all forms of stained glass - including sculpture, stems from developments in America in the late 19th century, which duly spread to Europe. One of the first stained glass studios in America was set up by the English Bolton Brothers. Other successful American innovators included John LaFarge and Louis Comfort Tiffany. In Europe, art schools like the Bauhaus introduced glass craft into the syllabus and Frank Lloyd Wright created a number of supreme glass windows. In Ireland, stained glass was revived by Harry Clarke RHA (1889-1931) - whose important works include The Eve of St Agnes (c.1923) and The Geneva Window (1927) - Sarah Purser (1848-43) of An Tur Gloine, and Evie Hone (1894-1955). After the revival of studio ceramics and other craft media in America during the 1950s, studio glass art and glassblowing was developed by Harvey Littleton. In 1962, in partnership with Dominic Labino, Littleton opened a famous glass workshop at the Toledo Museum of Art in 1962. Other glass artists included Charles Connick, William Willet and Nicolai D’Ascenzo.

• For more information about glass craftsmanship in Ireland, see: Irish Visual Art.

• How to Update This Mini Review of Stained Glass Art.

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