Stained Glass

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The term stained glass can refer to colored glass as a material or to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches, mosques and other significant buildings. The three-dimensional structures and sculpture of the three-dimensional sculpture of the stained glass were also used. Modern vernacular use has often extended the term "stained glass" to include domestic leadlight and art objects created from cam glasswork exemplified in the famous lamps of Louis Comfort Tiffany.

As a material stained glass that has been colored by adding metallic salts during its manufacture. The colored glass is crafted into stained glass in which small pieces of glass are arranged to form patterns or pictures, held together by 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 which the colors have been painted on the glass and then fused to the glass in a kiln.

Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit in the space for which it is made, must resist wind and rain, and also, especially in the big windows, must support its own weight.

Many large windows have withstood the test of time and are intact since the late Middle Ages. In Western Europe they constitute the major form of 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. 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 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 flora, fauna, or landscape.

The outline of a window can be theoretical or non-literal; May merge narratives from the Book of Scripture, history, stained glass ornaments or writing; Can speak to holy people or supporters, or use typical themes, specifically armorial.

Windows inside a building could be topical, tinted glass chimney screen for example: inside a congregation - scenes from the life of Christ; Inside a parliament building - the shields of the public voting; Inside a school corridor - figures speaking to expressions of human experience and science; Or inside a house - greenery, wildlife or scene.

Many large windows have stood the test of time and have remained in place since the end of the medieval period. In Western Europe, they constitute the significant type of pictorial execution for having survived.

In this specific circumstance, the reason for a stained glass window is not to allow those who work inside to see the outside world or even fundamentally to concede the light, but rather to control it. Therefore, stained glass windows have been described as "enlightened divisor improvements".

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