Stained glass is coloured glass as a material or works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although 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 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.
Glassblowing is a glassforming technique that involves inflating molten glass into a bubble with the aid of a blowpipe. A person who blows glass is called a glassblower, glassmith, or gaffer. A lampworker manipulates glass with the use of a torch on a smaller scale, such as in producing precision laboratory glassware out of borosilicate glass.
Studio glass is the modern use of glass as an artistic medium to produce sculptures or three-dimensional artworks. The glass objects created are intended to make a sculptural or decorative statement. Though usage varies, the term is properly restricted to glass made as art in small workshops, typically with the personal involvement of the artist who designed the piece. This is in contrast to art glass, made by craftsmen in factories, and glass art, covering the whole range of glass with artistic interest made throughout history. Both art glass and studio glass originate in the 19th century, and the terms compare with studio pottery and art pottery, but in glass the term "studio glass" is mostly used for work made in the period beginning in the 1960s with a major revival in interest in artistic glassmaking.
Glass bead making has long traditions, with the oldest known beads dating over 3,000 years. Glass beads have been dated back to at least Roman times. Perhaps the earliest glass-like beads were Egyptian faience beads, a form of clay bead with a self-forming vitreous coating. Glass beads are significant in archaeology because the presence of glass beads often indicate that there was trade and that the bead making technology was being spread. In addition, the composition of the glass beads could be analyzed and help archaeologists understand the sources of the beads.
Polished plate is a type of hand-made glass. It is produced by casting glass onto a table and then subsequently grinding and polishing the glass. This was originally done by hand, and then later by machine. It was an expensive process requiring a large capital investment.
Cylinder blown sheet is a type of hand-blown window glass. It is created with a similar process to broad sheet, but with the use of larger cylinders. In this manufacturing process glass is blown into a cylindrical iron mold. The ends are cut off and a cut is made down the side of the cylinder. The cut cylinder is then placed in an oven where the cylinder unrolls into a flat glass sheet. William J. Blenko used this method in the early 1900s to make stained glass. The result is much larger panes and improved surface quality over broad sheet, although still containing some imperfections. These imperfect panes have led to the misconception that glass is actually a high-viscosity fluid at room temperature, which is not the case.
Pot metal is an alloy of low-melting point metals that manufacturers use to make fast, inexpensive castings. The term "pot metal" came about due to the practice at automobile factories in the early 20th century of gathering up non-ferrous metal scraps from the manufacturing processes and melting them in one pot to form into cast products. Small amounts of iron often made it into the castings but never in significant quantity because too much iron would raise the melting point too high for simple casting operations.
Architectural glass is glass that is used as a building material. It is most typically used as transparent glazing material in the building envelope, including windows in the external walls. Glass is also used for internal partitions and as an architectural feature. When used in buildings, glass is often of a safety type, which include reinforced, toughened and laminated glasses.
Leadlights, leaded lights or leaded windows are decorative windows made of small sections of glass supported in lead cames. The technique of creating windows using glass and lead came to be known as came glasswork. The term 'leadlight' could be used to describe any window in which the glass is supported by lead, but traditionally, a distinction is made between stained glass windows and leadlights; the former is associated with the ornate coloured-glass windows of churches and similar buildings, while the latter is associated with the windows of vernacular architecture and defined by its simplicity.
In glassblowing, cane refers to rods of glass with color; these rods can be simple, containing a single color, or they can be complex and contain strands of one or several colors in pattern. Caneworking refers to the process of making cane, and also to the use of pieces of cane, lengthwise, in the blowing process to add intricate, often spiral, patterns and stripes to vessels or other blown glass objects. Cane is also used to make murrine, thin discs cut from the cane in cross-section that are also added to blown or hot-worked objects. A particular form of murrine glasswork is millefiori, in which many murrine with a flower-like or star-shaped cross-section are included in a blown glass piece.
A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. The revival led to stained-glass windows becoming such a common and popular form of coloured pictorial representation that many thousands of people, most of whom would never commission or purchase a painting, contributed to the commission and purchase of stained-glass windows for their parish church.
Tiffany glass refers to the many and varied types of glass developed and produced from 1878 to 1933 at the Tiffany Studios in New York City, by Louis Comfort Tiffany and a team of other designers, including Clara Driscoll, Agnes F. Northrop, and Frederick Wilson.
A glossary of terms used in glass art
Casting is a manufacturing process in which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. The solidified part is also known as a casting, which is ejected or broken out of the mold to complete the process. Casting materials are usually metals or various time setting materials that cure after mixing two or more components together; examples are epoxy, concrete, plaster and clay. Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. Heavy equipment like machine tool beds, ships' propellers, etc. can be cast easily in the required size, rather than fabricating by joining several small pieces. Casting is a 7,000-year-old process. The oldest surviving casting is a copper frog from 3200 BC.
Medieval stained glass is the coloured and painted glass of medieval Europe from the 10th century to the 16th century. For much of this period stained glass windows were the major pictorial art form, particularly in northern France, Germany and England, where windows tended to be larger than in southern Europe. In some countries, such as Sweden and England, only a small number of original stained windows has survived to this day.
Variety Unit is an exhibit building at Shelburne Museum in Shelburne, Vermont.
Centrifugal casting or rotocasting is a casting technique that is typically used to cast thin-walled cylinders. It is typically used to cast materials such as metals, glass, and concrete. A high quality is attainable by control of metallurgy and crystal structure. Unlike most other casting techniques, centrifugal casting is chiefly used to manufacture rotationally symmetric stock materials in standard sizes for further machining, rather than shaped parts tailored to a particular end-use.
Art Nouveau glass is fine glass in the Art Nouveau style. Typically the forms are undulating, sinuous and colorful art, usually inspired by natural forms. Pieces are generally larger than drinking glasses, and decorative rather than practical, other than for use as vases and lighting fittings; there is little tableware. Prominently makers, from the 1890s onwards, are in France René Lalique, Emile Gallé and the Daum brothers, the American Louis Comfort Tiffany, Christopher Dresser in Scotland and England, and Friedrich Zitzman, Karl Koepping and Max Ritter von Spaun in Germany. Art Nouveau glass included decorative objects, vases, lamps, and stained glass windows. It was usually made by hand, and was usually colored with metal oxides while in a molten state in a furnace.
French Gothic stained glass windows were an important feature of French Gothic architecture, particularly cathedrals and churches built between the 12th century and 16th century. While stained glass had been used in French churches in the Romanesque period, the Gothic windows were much larger, eventually filling entire walls. They were particularly important in the High Gothic cathedrals, most famously in Chartres Cathedral. Their function was to fill the interior with a mystical colored light, representing the Holy Spirit, and also to illustrate the stories of the Bible for the large majority of the congregation who could not read.
Belcher mosaic windows were manufactured in the United States by the Belcher Mosaic Glass Company between 1884 and 1897. Identifiable by their unique, continuous lead matrix and use of small, glass tesserae, Belcher windows are an example of the innovation occurring in decorative glass during the nineteenth century. Also referred to as “mercury mosaics” or “metallo mosaics”, Belcher windows echo many of the larger concepts at play in American architecture during the end of the 1800s including an emphasis on the inherent nature of the material to impart design and a capitalization of developments in technology to create more affordable decorative objects. While their era of production was short lived, Belcher windows were popular and many examples still survive today, both in situ but more likely in collections.
