Dissertations / Theses on the topic 'Glass conservation'

This thesis examines the collection of Cypriot glass stored in the basement at Scripps and its context throughout history. The first chapter focuses on the collection itself and includes a brief summary of the founding of the Mudd family’s Cyprus Mines Corporation, which led to the collection of the glass. The repatriation of the collection is also detailed. The second chapter examines the history of Cyprus, and how valuable resources such as copper led to trade on the island. A history of glass is given: how it was made, what it was made out of, and how it was used and appreciated at different times in history. The third chapter addresses the history of the glass trade and production on Cyprus. Island-specific shapes and production are explored. This chapter also looks at how glass was valued and used by different levels of society as glass production evolved and led to a saturated market. The fourth chapter focuses on five pieces selected from the Scripps and Mudd collections. These case studies include conservation condition reports. Physical description, condition, use, and similar examples in other collections are detailed. The final chapter addresses glass conservation. It contains an analysis of previous conservation interventions, descriptions of different types of weathering and degradation, and tips for stabilizing, storing, shipping, handling, and displaying the collection.

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In order to understand the manifestation of the stained glass art of the XX century in the city of Pelotas, it was necessary to acknowledge its general aspect, its evolution and historical processes, its technological and composing characteristics, as well as its degradation process. It was possible to identify thirteen stained glass examples in the central area of the city of Pelotas using a methodology of instrumental survey of cadastral records. The stained glass examples were analyzed according to formal and technological characteristics, and also aspects regarding its conservation and changes caused by the passage of time or by human intervention. The analysis showed different types of stained glasses considering either its iconography or its technological aspect. This survey of thirteen examples of stained glass carried out in the city of Pelotas showed that they represent the economic and cultural power of the city. Although there is a large gap it is possible to consider that the stained glasses represent a cultural manifestation with European influence although not related to the Portuguese tradition. As a symbol of economic and cultural progress of the city, its manufacture has not been very much changed through the years. The religious stained glasses identified date back to the medieval tradition, they represent the narrative and the mark of their donor. The profane ones have decorative characteristics representing floral or bucolic motifs related to the New Art tradition and the movements of Applied Arts
Para compreender a manifestação da arte do vitral do século XX na cidade de Pelotas, foi necessário conhecê-la em seu aspecto geral, seu processo evolutivo, histórico, suas características tecnológicas e compositivas, assim como seu processo de degradação. A partir de uma metodologia de levantamento instrumentalizado com fichas cadastrais, foi possível identificar treze exemplares de vitrais na zona central da cidade de Pelotas. Os exemplares foram analisados quanto as suas características formais e tecnológicas e, também, quanto aos aspectos de conservação e alterações causadas pela ação do tempo ou pela intervenção humana. A análise permitiu identificar diferentes tipologias de vitrais, que r seja sob o olhar tecnológico quer sob o olhar iconográfico. O levantamento dos exemplares de vitrais pelotenses, feito nesta pesquisa, mostrou serem estes representativos do poder econômico e cultural da cidade e que, apesar de grandes lacunas, pode-se considerar que estes representam uma manifestação cultural com influência europeia sem, no entanto, se vincular à tradição portuguesa, e que, sendo um símbolo de progresso econômico e social da cidade, sua manufatura pouco se alterou desde as suas origens. Os vitrais religiosos identificados remontam à tradição medieval da narrativa e da presença da marca dos doadores. Os vitrais profanos trazem características decorativas representando motivos florais ou bucólicos, vinculados à tradição da Arte Nova e dos movimentos de Artes Aplicadas

Conserving energy in large structural buildings has become very important in today's economy. A number of buildings today are constructed with sandwich wall panels. Steel connections are most commonly used in these panels. The problem with steel is that it has a tendency to reduce the thermal resistance of the insulation. This project considers glass fiber reinforcing polymers (GFRP) and carbon fiber reinforcing polymers (CFRP) as an alternate material to steel. An experimental sandwich wall panel was constructed and subjected to freezing temperatures. The results of the experimental program were compared to a theoretical model using the ANSYS computer program. The model was verified using current analytical methods that determine the heat flux of a sandwich wall panel. The methods investigated include the parallel path, zone, parallel flow, and isothermal planes methods. The results suggest that the GFRP connectors perform slightly better than the steel and CFRP connectors.
ND EPSCoR

This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.

Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities. I do not fear death. The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am. But what am I? Am I my body- or is it much deeper? Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.

Parmi la grande diversité des productions de verres anciens appartenant aux collections muséales (vaisselle, vitres, vitraux, bijoux, perles, incrustations, statuettes, mosaïques, émaux, céramiques glaçurées…), une proportion importante montre à leur surface les signes sévères d’une altération atmosphérique (présence de sels alcalins, fracturation) conduisant à une perte de transparence voire une perte irréversible de matière. Ces œuvres sont produites essentiellement à partir du Moyen-Âge (XIIe-XIIIe siècle), avec une forte représentation aux XVIe, XVIIe et XVIIIe siècles. Les verriers ont en effet appliqué alors de nouvelles recettes par rapport à celles des périodes anciennes conduisant à une instabilité chimique du verre vis-à-vis de l’humidité ambiante. Quant aux œuvres actuellement en bon état de conservation, elles sont également susceptibles de se dégrader au cours du temps, selon leur composition et leur condition de conservation. À ce jour, le meilleur moyen de protection mis en œuvre par les conservateurs et les restaurateurs pour ralentir sensiblement cette altération est le contrôle de la température et de l’humidité de l’environnement de conservation (vitrines d’exposition spécifiques, réserves de musée). Cependant, afin de préserver cet important patrimoine culturel, il est d’un intérêt majeur de proposer de nouvelles solutions de protection qui soient à la fois plus efficaces et moins coûteuses pour les musées. C’est dans ce contexte que s’inscrit le présent projet de thèse. Il vise d’une part à faire progresser la compréhension des mécanismes d’altération atmosphérique des verres d’oxyde, d’autre part à mettre au point un traitement de protection à base de sels de zinc adapté au contexte muséal. En s’inspirant de procédés industriels qui exploitent de manière empirique l’effet protecteur des ions zinc (stockage et transport du verre plat, produits de lavage du verre en lave-vaisselle), nous avons en effet d’ores-et-déjà mis en évidence le fort potentiel de très faibles quantités de sels de zinc pour réduire efficacement les cinétiques d’altérations de compositions verrières altérables du patrimoine
In the cultural heritage field, it is of major concern to develop new protective methods for ancient glass objects that decay under atmosphere. In this framework, two complementary research directions are undertaken. The first one aims to get a better understanding of the glass atmospheric alteration mechanisms at a small scale. The second one is focused on the potentiality of a zinc salt surface treatment. By the mean of accelerated ageing experiments (temperature and humidity control) of replica glasses (alkali silicates), untreated or zinc salts treated, the evolution of the glass surface and sub-surface with atmospheric alteration are evaluated at different scales (macro – nano). These surface modifications are compared to the properties of hydrated layers of ancient glass objects that have been altered over decades. The influence of the ageing temperature and the glass composition on the atmospheric alteration mechanisms are highlighted. In particular, these parameters affect the proportion of alkali elements that are retained into the hydrated layer, which would severely impact the glass chemical durability. Positive effect of a zinc salt treatment to reduce the replica glasses hydration kinetics is shown with ageing experiments at 80 °C or 40 °C, when the glass surfaces are not pre-altered before the deposit. The formation of thermally activated zinc species that react with the glass surface are put in evidence as well as their predominant role in the protection mechanisms. Therefore, a zinc salt treatment might be considered if a heating step of the glass object is accepted (around 60 °C). However, the treatment performances seem to be strongly dependent on the surface alteration degree before the deposit. This point is critical for the relevance of the treatment for the glass artwork conservation and should be investigated deeper. Others directions of research are arisen in this work and should be followed to propose new protective methods in the longer terms

The subject of the thesis is an architectural study of the reconstruction and extension of the "Centrum" department store in Brno. It is a dominant building designed by the famous czech architect Vladimir Karfík, which is located at the Urban Conservation Area Brno. Object wasn´t realized with the full extent of the original proposal, so in the project is planned a completion of it. The new solution respects the historical quality of Urban Conservation Area Brno with a concurrent view of the location on the lucrative land in the city center. The architectural concept is based on a return to the original idea of the architect and the addition of my own creative contribution within the extension of the new floors. Draft of the extension is intended so that the individual parts of an object communicate with each other, but they are easily recognizable as well. This idea was filled by both parts linked together visually by horizontal lines and ripple, which is used on balconies of the extension and behind the facade of the current building by shielding walls. However it is emphasized the contrast between an enclosed mass and a free-flowing space. The existing part of the building is used especialy as a leasable area of trade and services. On the upper floors there are areas of administration. Furthermore, there will be a restaurant and cafe with exhibition galleries and apartments are designed on the new added floors. The building is adapted to use by person with limited mobility. Newly added uses in the object will increase the attractiveness of the building and its surroundings.

L’impression 2.5D est une technologie à mi-chemin entre l’impression couleur traditionnelle, à laquelle elle emprunte son procédé et la qualité de reproduction des couleurs, et l’impression 3D qui crée des reliefs et des formes. Par ses qualités visuelles, elle pourrait permettre la reproduction réaliste de multiples surfaces, mais un frein s’oppose à cette perspective : les encres brillent. En modulant la rugosité des surfaces imprimées à l'échelle du micromètre, en fréquence et en amplitude, nous avons réussi à réduire et contrôler le brillant des encres. Des stratégies d'impression différentes ont été proposées et étudiées pour diminuer l’effet scintillant et permettre l’impression d’une couche couleur mate : la création d'un espace à cinq dimensions dans lequel le brillant et la couleur sont modélisés aboutit à l'uniformisation des niveaux de brillant colorés. Les protocoles d'impression développés ont ensuite été appliqués à des cas concrets issus de la conservation – restauration du patrimoine. Plusieurs exemples distincts sont présentés, qui abordent un point particulier sur lequel l’impression 2.5D est pertinente: comblement de lacune, création de répliques réalistes, intérêt de l'aspect visuel mat pour la lisibilité des œuvres
2.5D printing is between traditional color printing, for the process and its visual quality, and 3D printing, which makes forms and reliefs by ink superposition. Because of its properties, 2.5D printing could allow the realistic reproduction of objects and surfaces, but inks are too glossy. To reduce and control this glossy aspect of inks, we modulate the roughness of the printed layers, at the micro-scale, both in frequency and amplitude. Influence of parameters was measured, and different strategies were suggested to reduce sparkle and to allow the creation of matte colored layers: by constituting a 5D space where gloss and color are modeled, we can make gloss level of colored surfaces uniform.Several case studies form the Conservation of Cultural Heritage were considered, where 2.5D printing could help the curator, the conservator or the archivist. We studied in particular the issues of the the gap filling on an archaeological object, the realistic reproduction of surfaces, and the creation of matte objects for readability

The primary goal of the conservator is to stabilize and conserve artifacts with the best possible treatment available. Ideally, these treatments are noninvasive and reversible, and maintain the integrity of the object as a top priority. In this respect, it is the responsibility of the conservator to research other possible treatments when traditional methods prove to be insufficient to properly stabilize and conserve an object. Sometimes choosing to treat with a seemingly unorthodox method is the only chance for the objects survival. Though glass is considered one of the most stable archaeological materials, noninvasive, reversible treatments are not always possible given the level of deterioration glass objects undergo within the archaeological setting, specifically the underwater or waterlogged archaeological setting. This research is a consideration and investigation of the use of silicone polymers and silanes as consolidation materials for 17th-century glass recovered from aqueous environments. Working within the Conservation Research Laboratory and the Archaeological Preservation Research Laboratory at Texas A and M University, a newly developed polymer passivation technique utilizing materials acquired from the Dow Corning Corporation was applied to archaeological glass recovered from the 1686 shipwreck La Belle, excavated in Matagorda Bay off the coast of Texas by the Texas Historical Commission from 1996 to 1997. The successful application of a hydroxyl ended silicone polymer Q-1 3563, combined with a methyltrimethoxysilane intermediate crosslinker, Q-9 1315, at a 15% solution by weight and catalyzed with dibutyltin diacetate (DBTDA Fascat 4200) occurred in 1999. This project was the first large scale application of silicone polymers and silanes to 17th-century archaeological glass recovered from a marine site. Through this investigation we answered a number of questions regarding the use and application of the silicone technologies and confirmed that these materials are a viable resource for glass consolidation and conservation in terms of the suggested conservation guidelines of the IIC. The silicone technology was successfully applied to numerous types, forms, colors and degradation levels of glass. This included successful application to composite artifacts and the retreatment of objects unsuccessfully treated with a "traditional" method.

Great part of the architectural heritage from Belém do Pará, a city located in northern Brazil, has stained-glass windows from the late 19th century onwards of different provenances. However, the alterations caused by the long exposure to the tropical environment, typical from the Amazon region, and also by the biodeterioration are still understudied. It is discussed in the literature review on conservation of stained-glass windows in Latin America, carried out in this work. This thesis presents the first study of characterization and biodeterioration of stainedglass of the following historical monuments from Belém: Mausoleum of the family Britto Pontes (BPM), Basilica Santuário de Nazaré (BSN), Church of São Raimundo Nonato (SRN), Museu de Arte Sacra (MAS), and Museu do Estado do Pará (MEP). These monuments are situated in different areas of the city. Three different glass compositions were replicated in laboratory according to historically accurate techniques, in order to be used in two distinct experiments: in situ deterioration and fungal biodeterioration. The analytical techniques used to analyse these experiments were: μ-PIXE, optical microscopy, SEM-EDS and FTIR-ATR. The μ-PIXE analysis of the historical samples indicated different compositions of sodalime silicate glass with high content of SiO2, composition typically used in the production of modern glass. The Infrared Thermography monitoring of stained glass located in situ, also revealed that fluctuations on the temperature and relative humidity inside the buildings affects mostly the metallic compounds of the panels instead of the glass pieces. The exposure of replica glass samples to the indoor environments of the five aforementioned historical monuments, indicated that after 12 months the glass surface presents a low level of alteration. The biodeterioration study allowed the characterization of fungi present on the inner surface of the stained-glass windows from MEP, BPM and BSN. The inoculation was carried out in the laboratory using spores of four species of fungi previously identified. The fungi were able to develop dense mycelia in all replica glass samples causing moderate morphological and chemical alterations at the end of five months. The results obtained with the experiments proved that the chemical stability of the sodalime glasses guarantees high resistance against hydrolytic and microbiological attacks, even under high temperature and relative humidity. Finally, preventive conservation measures were established in order to safeguard the stained-glass windows of the city of Belém.

Collections of chemicals are assemblies of substances associated to chemical operations. These collections often have a large historical significance and can be found in departments, research institutions, schools or other spaces. So far, seldom dedicated studies have been made, both to the materiality of these collections, as well as for their conservation. For this dissertation, the glass containers in the collection of historical chemicals from the National Museum of Natural History and Science from the University of Lisbon (MUHNAC) are studied, as they are the largest storage material found in the collection and present signs of active deterioration, in the form of corrosion patterns. This research followed a three-fold approach – a collection survey was performed to assess the collection’s dimension; followed by a full conservation assessment of the corrosion patterns, collection locations and environmental conditions and the establishment of the conservation condition for the collections’ glasses. Lastly, an analytical approach was taken. Glass surface measurements indicate the alkalinisation of the glasses, as a sign of active corrosion. Through the use of in situ p-XRF analyses, glass chemical composition groups are correspondent with soda-lime-silicate glasses. Samples of aqueous chemical solutions were also collected and analysed through ICP-AES and HPIC with the goal to determine if the chemicals matched the containers’ labels and if they may present glass dissolution products. One of the outcomes of this dissertation is the development of preservation guidelines, through the empirical and analytical data gathered from the study of the MUHNAC’s collection, as well as the results of a survey addressed to similar institutions holding historical collections of chemicals. The final result is the proposal of guidelines that outline selection criteria for chemicals, tools and measures for collections’ care to objects and actions for collections’ keepers. It is intended that these guidelines may aid small and large institutions in the preservation of their collections.

Early Modern glass from the Iberian Peninsula has - so far - seldom been investigated. The project, combining chemical analysis with a stylistic approach, and focusing on composition and technology, aims to characterise glass objects circulating in the national territory, in an attempt to identify their origins and to eventually bring to light a Portuguese centre of glass production. The chemical composition of more than 200 glass fragments was determined by means of μ-PIXE down to a level of tens of μg/g. The results obtained allowed one to select some objects to further extend the analysis to the trace and rare earth elements (REE) down to the ng/g level, through the use of LA-ICP-MS. Glass colours and natural hues were studied by means of UV-Vis reflectance spectroscopy and, when necessary, enamels were studied by means of μ-EDXRF and μ- Raman microscopy. From all the objects analysed, it was possible to conclude that the great majority of the glass dating upto the 17th century, is of a soda-lime-silica type, which indicates a Mediterranean tradition. Venetian or façon-de-Venise shapes were identified, and for some of them a Venetian provenance was confirmed. For other façon-de-Venise shapes, the composition presented differences that led to the conclusion that new façon-de-Venise production centres could be recognised. From the only assemblage containing glass fragments dated to the medieval period, it was possible to attest the presence of Venetian glass in the Portuguese territory from at least the 14th century. Additional objects showed particular compositional features, such as high and very high alumina contents for instance, that, as far as it is known, do not match up with any of the known glass production centres in Europe. Allying the stylistic characteristics with the glass chemical composition, allowed one to identify some objects possibly belonging to a Portuguese production. Several glass fragments belonging to wine bottles were retrieved from archaeological excavations in Lisbon and were chemically characterised. The chemical analysis revealed an HLLA composition for all of them. For some of these fragments it was possible to propose an English provenance. Besides the chemical characterisation, a systematic analysis of the bottle shape was proposed since the shape can be an important factor in determining its chronology. A small percentage of the fragments were identified chemically as having mixed-alkali compositions, potassium-rich glass, and lead glass compositions. The latter two chemical formulations were found among the assemblages from Lisbon and the objects with these compositions were dated to the 18th century. These constitute evidence that Portugal followed European tendencies in their glass and its compositions. This is the first systematic chemical characterisation of Early Modern glass circulating in Portugal, providing new insights into trade between Portugal and its trade allies. As a part of the study, and to prolong the survival of these glass assemblages, simple and low cost optical sensors were developed for the in situ detection of the organic pollutant formic acid, which is emitted by materials usually used in storage and in the display of glass. The detection of the presence of this acid can play an important role in the preservation of this valuable heritage; glass.

Glass crystal models are didactic instruments used since the 19th century to support crystallography classes. Their implementation in Portugal occurred during the end of the 19th century with the appearance of the Portuguese Liceus. In these institutions, it was important that classes were not exclusively taught recurring to school textbooks. Following this, high schools, universities, and polytechnics were gradually provided with teaching collections to ensure that students have a tridimensional vision of what was taught in science education. Therefore, this kind of models are an important material evidence of teaching methodologies of mineral and geology science in the 19th and 20th centuries. The Passos Manuel high school, in Lisbon, owns a significant collection of scientific heritage, part of which is currently on a long-term loan at the National Museum of Natural History and Science from the University of Lisbon, which includes a set of 98 glass crystal models. Apart from glass, these models are composed by paper/textile adhesive tapes, adhesives, cardboard, textile lines and metal nuts and screws. On a first approach, some models seem to have been subjected to repairing processes, presenting different conservation conditions. This study aims to perform an assessment of the current condition of the Passos Manuel high school glass crystal models collection, as well as its material characterization. To achieve these main objectives, a custom condition scale for glass crystal models was developed and the collection characterization was done based on portable equipment (p-XRF), or by collecting small samples further analyzed using optical microscopy and ATR-FTIR techniques. This study represents an initial approach for the development of a conservation and restoration methodology for glass crystal model collections.

碩士
國立臺灣大學
生物環境系統工程學研究所
106
Heat-insulating film is a material applied to glass windows to achieve heat insulation and keep infrared and ultraviolet rays out by reflecting and absorbing solar energy. Frequently applied to glass windows of external building walls, in addition to effectively enhancing building energy conservation through the principle of external shading during the summer, heat-insulating film is also an alternative for reducing indoor thermal discomfort. However, due to the differed heat and humidity climatic conditions of Taiwan situated in the subtropics, how heat-insulating film can be applied on the glass of external walls of buildings in Taiwan remains an issue worth exploring. How to apply heat-insulating film material at the opening of building glass is the main research issue. This study adopted the actual measurements of the experimental house as the basis, while building energy consumption simulation software EnergyPlus was used to simulate indoor environmental values of the experimental house. Actual thermal environment measurements were taken inside the experimental house in different seasons, which were compared with traditional clear glass and external shading. Research results show that: 1. The actual measurement results of heat-insulating film, clear glass, and external shading were compared. It was found that the heat-insulating film indeed effectively reduced the indoor temperature. 2. As far as the heat insulation performance of heat-insulating film is concerned, the impact caused by low temperatures in the winter and outdoor at night was not obvious. The use of heat-insulating film and indoor wall PS panels possess certain heat and temperature insulation effects, while the heat-insulating film’s heat-insulating performance is slightly improved in spring and autumn. For heat-insulating film in the scorching summer, the higher the outdoor temperature, the better the heat-insulation performance of the external wall glass with heat-insulating film attached; 3. Through the actual experimental module measurements, simulated external walls of the experimental house, and the interrelationship between the outdoor temperature and indoor thermal environment, using comparative analysis, and the optical performance parameters of glass and heat-insulating film, the radiant heat and conductive heat were calculated, and the results of the indoor thermal load and external wall heat conduction of the experimental house were simulated and calculated. The heat-insulating film with a lower solar heat gain coefficient; SHGC produced better energy conservation and thermal comfort improvement results.

O projeto de estágio decorreu na empresa vetraria Muñoz de Pablo s.l., localizada em Segóvia (Espanha) a qual está vocacionada para conservação e restauro de vitrais. O projeto de estágio com a duração de cinco meses visou a aprendizagem e aperfeiçoamento nas técnicas de conservação e restauro de vitral, tendo este estágio englobado o trabalho de estaleiro assim como todo o trabalho de atelier. Os trabalhos de conservação e restauro incidiram em duas obras localizadas em Madrid, sendo elas o hospital Niño Jesus e a clarabóia do palacete na Calle de san Marcus, ambos com diversos problemas estruturais e sujidades aderentes. Todas as propostas de tratamento apresentadas estão de acordo com a ética de conduta do conservador restaurador, seguindo os princípios de intervenção mínima respeitando assim a integridade e valor histórico da obra, assim como os princípios de reversibilidade de tratamentos. O caso de estudo do hospital Niño Jesus corresponde a uma proposta de intervenção maior que levará cerca de mais quatro anos a ser concluída, tendo se realizado um tratamento preliminar aos vitrais mais danificados no sentido de permitir a planificação de intervenções futuras. Por seu lado, claraboia da Calle de san Marcus o projeto estava inserido na reabilitação do palacete. Ambos os trabalhos permitiram a compreender todos os processos relacionados com a intervenção de conservação de vitrais tais como, documentação prévia, remoção do vitral, registo fotográfico, transporte para o atelier, intervenção, remontagem, aplicação de proteções exteriores e ainda as especificidades de cada obra no contexto da conservação e restauro ou da reabilitação. A intervenção em ambos os casos permitiu restabelecer a leitura das obras e a recuperação da sua funcionalidade original.
The internship project took place at the company Muñoz de Pablo S.L. located in Segovia (Spain). This company is devoted to the conservation and restauration of stained glass. The main goal of this five-month internship project was the learning and knowledge improve of the stained-glass conservation and restoration both in workshop and within rehabilitation of in situ works. The conservation and restauration work focused on two artworks, namely the Niño Jesus hospital and the skylight of a palace located in the San Marcus street, both in Madrid. These two case studies had several structural problems and adhered surface dirts. All conservation proposals presented are in accordance with the conservation and restoration Code of Ethics following the principles of minimum intervention thus respecting the integrity and historical value of the work, as well as the principle of reversibility of treatments. The intervention carried out in Niño Jesus hospital case study can be considered a previous emergency treatment in order to ensure the conservation of the stained-glass in higher risk, since the intervention in the entire set will take more four years to be finished. On the other hand, the intervention in the skylight of the Calle de San Marcus palace was programed within the building’s rehabilitation. Both interventions allowed us to understand all phases and procedures related with the conservation and restoration treatments of stained glass such as: previous documentation, in situ removal, photographic record, transportation to the workshop, intervention, reassembly of the sets, outside protections application, and also, the specificities of each work in the context of conservation and restoration or rehabilitation The intervention allowed, in both cases, the restoration of the aesthetic reading of the stained glass and recovery of its original functionality.