Dissertations / Theses on the topic 'Stained glass window'
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Atkinson, Caroline Sarah. "William Peckitt's Great West Window at Exeter Cathedral." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/887.
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This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.
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Merchant, Sean Robert. "Tending the Broken Window." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493285369498883.
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Betts, Edmund John. "The new East Window of St Martin-in-the-Fields Church, London : a window of opportunity for developing ordinary theology through a visual image." Thesis, University of Chester, 2014. http://hdl.handle.net/10034/611402.
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Ordinary theology is a developing concept focusing on people’s explicit religious beliefs, and relying on anecdotal evidence and other academic writers to bridge the gap with academy theology. It has influenced empirical studies of ordinary people’s experience with the Bible, doctrine and cathedral visiting. A feminist qualitative ethnographic study and action research provide other voices as alternatives to this empiricism. Theologians-in-the-arts have appropriated art to illustrate their academic theology. This thesis takes further the use of a visual image, with a recently commissioned non-figurative designed window, by a female Iranian-born artist, in an well-known London church. It enquires how far a non-specific doctrinal and non-narrative window encourages wider public participation in meaning making and metaphor generation, challenging the current static concept of ordinary theology. An interpretative paradigm with perspectives from constructivism, phenomenology, and hermeneutics shapes an inductive and qualitative approach to give attention to regular worshippers and visitors. A visual ethnographic method elicits data through semi-structured questionnaires, interviews, and journal writing. Adopting a ‘lay’ outsider participant role during the fieldwork, unstructured situational interviews with passers-by, street traders and church staff were also undertaken. Interpretive lenses of framing, the pastoral cycle, ethnomethodology, and nitty-gritty hermeneutics assisted in analysing the data. The window attracted a high degree of participation, engaging people in reflection. Over 85% of participants were professional/university and technically educated and competent in academic disciplines other than theology. The respondents initially made non-religious statements challenging ordinary theology, which focussed on explicit religion. When respondents viewed it a second time, they used religious concepts. The analysis led to the construction of ordinary portraits constructed of previously not heard voices and challenged the earlier faces of academic partners. The window is a dialogically framed ‘lived experience’ breaking the ‘is’ of metaphor and the gestalt law of closure. This research explores the ‘is not’ of metaphor. It explores the relationship of image, metaphor and concept by focussing on window parts; the images of centre, line and web. The window becomes both a working metaphor and a model of working metaphors extensively used by these participants. Ordinary theology discovers through feminist metaphorical theology that concepts are metaphorical, focusing on both dissimilarities and similarities. The window as a visual image provides an opportunity to extend the concept and metaphor of ordinary theology. It invites academic professionals to an intensive fieldwork experience using a visual image to rediscover a general process of reflection and to reveal people’s indirect and implicit metaphorical ordinary theology.
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Harrison, Katherine. "Putting the stained glass window back together : helpful and unhelpful aspects of psychological therapy with women with breast cancer : a grounded theory analysis." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/putting-the-stained-glass-window-back-together-helpful-and-unhelpful-aspects-of-psychological-therapy-with-women-with-breast-cancer-a-grounded-theory-analysis(d890be65-b264-4c1d-8ea2-cf0e035b44e2).html.
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The purpose of this study was to identify what women with primary breast cancer found helpful and unhelpful in psychological therapy. In-depth qualitative interviews were conducted with eleven women who had been supported post diagnosis, with psychological therapy. The women were, in the main, recruited from the Breast Cancer Voices network, set up by the national charity Breast Cancer Care. Data was analysed using Grounded Theory Analysis (GTA), from a social constructionist perspective. The women identified a range of helpful aspects in therapy: They all discussed their context, being thrown into the breast cancer world and analysis identified three helpful conditions; having the psychological need recognised by others, having easy access to ongoing flexible therapy and valuing the therapist's personal qualities. Three helpful interactions were identified; being enabled to express self safely, being treated as an individual whole woman and accessing the therapist's inner self. In addition, two helpful actions were identified, being helped to empower self and being taught new coping skills. The key theme was being helped to put active self back together again, which was the consequence of the therapy process. Analysis identified two unhelpful conditions, not having easy to access therapy and the therapist's personal qualities being cold and harsh. Two unhelpful interactions were also identified, being unable to express self safely and not being treated as an individual. One unhelpful action was identified, the therapy being too short. The consequence, when therapy was not set up in the right way, was that the women were re-traumatised and remained shattered. Whilst sample size was small, nevertheless the aim of generating rich in-depth data was fulfilled. The findings have theoretical implications: Treating women as whole individuals, helping the women learn individual coping skills from a pluralistic perspective and helping to empower women can be as important as the medical care. The methodological implications are experiencing a therapeutic effect of research participation, valuing the women as active co-researchers, ethically considering participant benefits alongside risks and using GTA from a social constructionist philosophy helped to understand individual experience and at the same time that breast cancer is socially constructed. The practical implications are: Referral pathways to identify women who need psychological support, a safe therapeutic space to express real fears, normalising experience post breast cancer diagnosis and putting in place a flexible therapy contract are all vital to support women with primary breast cancer.
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Voltolina, Stefano. "Studio e Rilievi per la Conoscenza e il Restauro della Grande Vetrata della Chiesa di San Giovanni e Paolo a Venezia." Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3426100.
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In the present work the study of the state of conservation of the Grande Vetrata (Great Stained-Glass Window) of SS. Giovanni e Paolo Church (Venice) was carried out. Themes related to restoration and conservation of stained-glass windows were also considered.
Stained-glass windows are complex and not well-knwn works of art. A clear and sure methodology for their conservation is not available.
This work started with the identification and characterization of the building, technological and decorative apparatus proper to stained-glass windows. The study of the documentation concerning past restoration works carried out on the Grande Vetrata was helpful in the definition of problems related to the conservation of each apparatus. The evolution of restoration methodologies during time was very interesting.
After this first cognitive step metric and photographic surveys of the whole stained-glass window were carried out. A survey of the distribution of degradation phenomena in the work of art was also performed.
Data obtained from all the surveys were used to build-up a map of the state of conservation of the work of art. This map will be a useful tool for people that will have to operate on the Grande Vetrata.
In the end one panel of the stained-glass window was taken to a restoration laboratory in order to carry out a series of analyses on the piece. The whole operation was carried out in co-operation with skilled stained-glass windows restorers and with the Soprintendenza per i Beni Ambientali e Paesaggistici of Venice.
The combination of the skills of restorers, scientists and architects gave all the means for a complete characterization of the conservation state of the panel. Therefore this study will provide the tools for the planning of a correct restoration work.In questo lavoro di tesi è stato eseguito uno studio approfondito dello stato di conservazione della Grande Vetrata della Chiesa di San Giovanni e Paolo a Venezia e delle problematiche connesse alla conservazione ed al restauro di questo incredibile esempio di arte vetratistica, unico nel suo genere a Venezia. Le vetrate sono opere complesse e poco conosciute. Non esistono metodologie chiare e consolidate per la loro conservazione. Il lavoro svolto in questi tre anni di dottorato è dunque partito proprio con la identificazione e la caratterizzazione dei sistemi costruttivi tecnologici e decorativi propri dell’opera vetrata e con la definizione delle problematiche connesse alla loro conservazione. Riguardo questo ultimo aspetto è stato molto utile lo studio della documentazione relativa agli interventi di restauro eseguiti nel corso dei secoli sulla Grande Vetrata: se infatti è importante conoscere gli ideatori e gli esecutori che hanno dato vita ad un’opera, non è da meno lo studiare le problematiche davanti alle quali si sono trovati i diversi restauratori e l’evoluzione delle metodologie di intervento nel tempo. Una volta compresa la natura dell’opera e delle sue possibili alterazioni sono stati eseguiti un rilievo metrico ed un rilievo fotografico ad alta definizione dell’intera vetrata. Contemporaneamente è stato effettuato un rilievo delle zone interessate dai fenomeni di degrado individuati precedentemente. I dati ottenuti dai rilievi metrico, fotografico e del degrado e dallo studio della storia della vetrata sono stati utilizzati per creare una mappa dello stato di conservazione dell’opera che possa costituire uno strumento di facile ed immediata lettura per chi dovesse trovarsi ad operare sulla vetrata. Il percorso conoscitivo si è concluso con il prelievo e l’analisi in laboratorio di un antello della vetrata. Questa operazione è stata condotta insieme ad un funzionario della Soprintendenza per i Beni Ambientali e Paesaggistici di Venezia e Laguna e ad esperti restauratori di vetrate ed ha costituito un importante momento di confronto e di apprendimento. La combinazione delle competenze relative alle problematiche di conservazione, alle tecnologie di intervento ed alla natura intima dei materiali hanno dato la possibilità di caratterizzare compiutamente lo stato di conservazione dell’antello in esame e di fornire quindi tuttti gli strumenti necessari per le progettazione di un corretto intervento di restauro.
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Kline, Joshua. "A Tiffany Window In the Virginia Museum of Fine Arts and the Patronage of The Saunders Family of Richmond." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2890.
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The aim of this research is to present an important but forgotten Tiffany interior, that of All Saints Episcopal Church, and focuses on the source for the Saunders memorial window, Christ Resurrection. After portraying the Saunders Family and the context of the window and church interior as an important part of Richmond’s history, this thesis sets up a number of inquiries regarding Christ Resurrection. What are the literary sources; what are the formal sources, from the Renaissance to the late nineteenth century; and what is the meaning of the composition? This thesis utilizes an art historical method of archival, connoisseurial, and iconological research. The analysis of the third chapter illustrates that Frederick Wilson’s composition of Christ Resurrection does not follow any one of the Evangelists. Rather it comes from an extensive pictorial tradition from Resurrection scenes of the 14th century leading into the 17th.
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Suganthan, Shanmugalingam. "Enhancement of images of stained glass windows." Thesis, University of Derby, 2003. http://hdl.handle.net/10545/213789.
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Heritage conservators are interested in using digital images in the analysis of stained glass windows. Images of stained glass are significantly different from those of most other subjects because their colour is generated by transmitted, rather than reflected light. Also the medium has a wider dynamic range between highlight and shadow areas than most "real world" scenes. In many cases the background is partially visible through the glass, typically showing trees, foliage, sky or other buildings. Images of stained glass taken with external illumination very often contain shadows, moreover, cast by structures such as protective bars and grilles. The physical structures producing the shadows are often irremovable, because they are difficult to access or constitute structural elements of the window. It is thus necessary to provide a suitable set of image processing tools to remove both background and shadows from the digital images. This research was aimed at the problem of normalising a stained glass image (or a series of images) to remove artefacts arising from imaging geometry, illumination and background. The scope of the investigation covered the statistics of stained glass images, segmentation and feature extraction, and removal of image defects, including non-uniform illumination, shadows of bars and grilles, and background. This thesis introduces systematic procedures to calculate statistics of stained glass on digital images. Some interesting features are explained. The scale invariance property of images is examined carefully, and characteristic scaling behaviours of stained glass images are found. To developed novel algorithms for segmentation and feature extraction, and removal of image defects, including nonuniform illumination, shadows of bars and grilles, and background. These algorithms have been implemented using Mattab. These techniques enable the image defects and shadows to be characterised and removed with a reasonable degree of success.
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Villaro, Izaskun. "Analysis of the energy savings gained by protective glazing on stained single-glass windows at Uppsala cathedral." Thesis, Högskolan i Gävle, Avdelningen för bygg- energi- och miljöteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22101.
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Most European stained glass windows have no protection to reduce the damage due to environmental exposure, and this is the case of the great gothic windows in the Uppsala Cathedral. Currently, the implementation of protective glazing systems is being carried out in order to reduce the damage of the stained glass. In this connection, an analysis of the energy saving potential of the protective system is of great interest. The main obstacle in the implementation of this kind of systems is a social rejection based on the fact that the additional panes perturb the appearance of the historic building. Thus, demonstrating that there would actually be an energy saving, with the corresponding economic saving, would help approving the implementation of the protective glazing system. Measurement data needed for the analysis were available since they were used in condensation studies for the damaging analysis. However, the fact that this data was not gathered thinking of the energy saving analysis and its difficulties, some limitations have appeared in the present study. Accordingly, the needed simplifications imply some uncertainty in the results. However, the reliability of the results and the conclusions that can be drawn from the analysis are contrasted with previous similar studies. Different methods of calculation and analysis will be discussed, and finally results for the heat transfer coefficients through the open air gap and through the whole double paned system will be obtained. Furthermore, an energy saving analysis will be carried out with the winter data for both the case of the case of the Sonens fönster and the case of also implementing a similar system in the rosette of the cathedral. As a result, the conclusions drawn will be that the implemented protective glazing system reduces the heat losses through the windows to less than a third and that savings of about 8700 kWh/year and 13000 kWh/year are achieved in the case of the system being implemented only in Sonenes fönster and also in the rosette respectively. Finally, a rough study of the condensation problem will be exposed and possible matters, along with some advices, of further studies regarding more accurate analysis of both the condensation and the energy saving analysis will be presented.Church project
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Mills, Paula Jayne. "A study of the atmospheric corrosion of mediaeval stained glass windows in the United Kingdom." Thesis, University of York, 1995. http://etheses.whiterose.ac.uk/10858/.
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.Department of Architecture
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McDade, Carrie Leah Ziskin Rochelle. "The discourse of identity John La Farge's stained glass windows for Congregation B'nai Jehudah, Kansas City, Missouri /." Diss., UMK access, 2004.
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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2004."A thesis in art history. Typescript. Advisor: Rochelle Ziskin. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 139-153). Online version of the print edition.
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.Department of Architecture
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Ferrand, Jessica. "Le phénomène de brunissement des vitraux médiévaux : critères d’identification et nature de la phase d’altération." Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST1174/document.
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Les vitraux du Moyen Âge, dont les pièces de verre contiennent du manganèse, sont fréquemment atteints d'une pathologie communément appelée «brunissement ». Ce phénomène, qui se traduit par la présence de taches brunes riches en manganèse en surface ou subsurface du verre limitant le passage de la lumière et gênant la lisibilité de l'œuvre, est peu documenté et son occurrence parmi les vitraux n'est pas précisément connue. Un des problèmes majeurs pour ce qui concerne la conservation/restauration des œuvres est l'absence de traitements efficaces et durables pour cette pathologie. En France actuellement, l'absence de traitement est donc préconisée, ce qui ne satisfait ni les architectes, ni les conservateurs, ni les restaurateurs. La connaissance approfondie des processus physico-chimiques à l'origine du phénomène de brunissement est donc nécessaire pour proposer des réponses aux questions et aux attentes des conservateurs/restaurateurs. Au cours de cette thèse un panel de 24 échantillons de verres de vitraux historiques et de 3 échantillons archéologiques ont été étudiés par des méthodes microscopiques et spectroscopiques afin i) d'établir des critères d'identification du phénomène de brunissement dû au manganèse et ii) d'obtenir des informations sur la nature des phases brunes et sur le degré d'oxydation du manganèse dans ces phases. Parallèlement à l'étude des échantillons anciens, des verres modèles de composition proche de celle des vitraux médiévaux ont été synthétisés avec deux objectifs : i) la compréhension de la réaction entre le manganèse et le fer et de l'influence des paramètres de fabrication sur la couleur des verres et ii) l'étude de l'influence que peuvent avoir les bactéries dans le développement du phénomène de brunissementThe medieval stained glass windows, which glass composition contain manganese, are often affected by an alteration commonly designated as "browning". This phenomenon results in the presence of Mn-rich brown spots at the surface or subsurface of the glass thus limiting the passage of light and hindering the interpretation of the artwork. Poorly documented, the occurrence of browning among stained glass windows is not precisely described. Currently, one of the major problems in terms of conservation and restoration is that long-term treatments are not available. In these conditions, the recommendations are not to treat the affected glasses, a solution that satisfies neither the architects nor the curators, nor the restorers. In order to answer the questions and expectations of curators and restorers the comprehension of this phenomenon is essential. In this work, a panel of 24 historical and 3 archaeological stained glass samples were studied by microscopic and spectroscopic methods in order to i) establish reliable criteria for identifying the browning phenomenon due to manganese and ii) obtain information on the nature of the dark phases and the oxidation state of manganese in these phases. In parallel with the study of ancient samples, synthetic glasses with medieval-like compositions were synthesized for: i) understanding the reaction between manganese and iron, as well as the influence of the process parameters on the color of glasses and ii) studying the influence of bacteria in the development of the browning phenomenon
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Silva, Pedro Redol Lourenço da. "Os vitrais dos séculos XV e XVI do Mosteiro de Santa Maria da Vitória-estudo sobre o seu significado cultural e artístico, e sobre a sua conservação." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 1999. http://dited.bn.pt:80/29121.
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Piniello, Françoise. "L’écriture de la lumière dans "A la Recherche du temps perdu" de Marcel Proust : étude stylistique." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2155.
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La lumière représente un thème récurrent dans A la recherche du temps perdu – on note en particulier l’importance de la lanterne magique dès l’ouverture du roman ; elle sert fréquemment de métaphore à la création artistique : aussi ai-je choisi d’étudier ce motif tant du point de vue des manifestations de la lumière elle-même que de celui de sa dimension symbolique dans l’œuvre, m’appuyant sur des analyses lexicologiques et stylistiques. Je travaille dans un premier temps sur les mots de la lumière créatrice qui regroupent le substantif lumière lui-même dont je propose une analyse sémasiologique, ainsi que certains de ses parasynonymes (entre autres : soleil, lune, jour, clarté, lueur, éclairage, ombre, reflet, rayon…) par une recherche de paradigmes de substitution dans l’œuvre. Puis, dans un deuxième temps, j’observe si dans leur structure même les phrases de Proust intègrent des propriétés de la lumière (phrases trajectoires à l’instar d’un rayon lumineux ; phrases transvertébration ; phrases vitraux), puisque les notions d’optique et de fragmentation apparaissent essentielles dans la vision du monde de l’auteur. Je dégage enfin des figures (métaphore, syllepse et antanaclase dans leur rôle stylistique, ainsi que certains fonctionnements de la coordination et) que j’analyse plus spécialement dans la mesure où elles réalisent dans un cadre plus large que celui de la phrase des caractéristiques de la lumière ; on découvre alors que l’art photographique et ses techniques peuvent éclairer de façon métaphorique l’art de Proust, l’auteur de La Recherche en appelant de façon de plus en plus insistante au cours du roman à l’image du développement photographiqueLight is a recurring theme throughout Remembrance of Things Past - the magic lantern's importance is to be noted from the novel's beginning. Light is often used as a metaphor for artistic creation. Thus, I have chosen to study this motif focusing on light-induced patterns as well as how it becomes symbolic in the context of the novel. I will use lexicological and stylistic analysis to do so.I have first worked on words connected to creative light for which I will propose a semiasiological analysis including of the substantive light itself. I have also focused on some its para synonymous terms such as sun, moon, day, brightness, glow, lighting, shade, glint, beam...by looking for paradigms used instead in the novel.Secondly, I have examined whether some of light's properties – path sentences like rays of light ; transvertebration, stained glass window sentences - are part of the structure of Proust's sentences, since focus and fragmentation structure the author' insight into his world.Finally, I have selected literary devices - metaphors, syllepses and antanaclases in their stylistic function as well as some uses of the coordination conjunction and – and analysed them in so far as they convey the characteristics of light beyond the structure of sentences. The art of photography and its techniques are then shown metaphorically shedding light and interplaying with the art of Proust, the author of Remembrance of Things Past, progressively conjuring the image of photographice development process
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Macedo, Adriane Roberta Ribeiro de. "O romance vitral de Adélia Prado." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/14716.
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The present dissertation has as objective to reflect on the process of construction of the narrative speech of Cacos para um vitral, workmanship of Adélia Prado, published in 1980. thus, we elaborate the following question: Knowing that the organization give to the composition to the romance Cacos para um vitral deives a digialogical construction, equivalent and multi-meaming, where is discursive dimension modality retakes the similar literal logic to the composition of stain glass window? Ahead of the object and the problematic one considered, we raise two hypotheses, first, the architextura of the composition of the stain glass window, second, the metalinguistic method cooperates with the assembly of double metaphor: stain glass window text. The research discloses, among other conclusions, that the organization of the text is brock up in direction, approaching the process of construction of the text and the composition of stain glass window
A presente dissertação tem como objetivo refletir sobre o processo de construção do discurso narrativo de Cacos para um vitral, obra de Adélia Prado, publicada em 1980. para tanto, elaboramos a seguinte pergunta: sabendo que a organização dada ao romance Cacos para um vitral deriva uma construção dialógica, equivalente e plurissignificativa, em que dimensão esta modalidade retoma a lógica textual similar à composição de um vitral? Diante do objetivo e da problemática propostos, levantamos duas hipóteses: primeira a arquitextura do romance Cacos para um vitral, retoma a modalidade discursiva metafórica da composição do vitral; segunda o método metalingüístico coopera com a montagem da dupla metáfora: texto-vitral. A pesquisa revela, entre outras conclusões, que a organização do texto é fragmentada no sentido de romper com as estruturas da linearidade. A metalinguagem é empregada no sentido operativo, aproximando o processo de construção do texto e a composição do vitral
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Stevenin, Anne-Blanche. "Luc-Olivier Merson (1846-1920) : de la peinture d’histoire à la peinture décorative." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040268.
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Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècleIn 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography
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Gastinne-Biclet, Armelle. "Image et parole : le vitrail de Saint Lubin à Chartres : sens et fonction de ses images à la fin du XIIe siècle." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH040.
Full textAbstract:
L’énigme du vitrail de saint Lubin à Chartres, qui montre une histoire de vin au centre de la vie du saint, se résout si l’on en pratique une lecture symbolique respectueuse des schèmes mentaux médiévaux : le mystère eucharistique central du vin permet au jeune Lubin de devenir un saint, dans sa vocation propre de consacré (le chanoine lettré du XIIème siècle transparaissant sous le moine du VIème siècle), prêtre et évêque, Bon Pasteur dispensateur des dons divins. La présence insolite de petits personnages dans la bordure correspond à une reprise en compte du peuple des laïcs à travers le mystère eucharistique et participe, avec les vignettes introductives, à une parénèse homilétique invitant tous les spectateurs à la conversion. Un enseignement théologique par l’image trouve son langage dans des images scripturaires interprétées par la glossa ordinaria et actualisées, constituées en chapitre de somme théologique fidèle à l’enseignement patristique de la figura et de la veritas, - le rapport veritas-figura du sang versé et du vin de la Cène étant de même type que celui qui régit le rapport de l’Ancien et du Nouveau Testaments, ainsi que celui de la Vie de l’Eglise terrestre et de l’Eschatologie ; il utilise les ressources constructives de la logique sans se soumettre à son hégémonie destructrice du mystère. Loin d’une publicité pour la relique du saint, l’évêque ou le chapitre, le vitrail s’inscrit ainsi dans la démarche contemporaine de l’école biblico-morale parisienne qui partage avec Saint-Victor, en particulier Richard, le projet de fonder la réforme morale du clergé et du peuple sur l'étude à la fois historique et symbolique de la Bible et sur la prédicationThe enigma of saint Lubin stained glass window at Chartres, showing a wine story in the middle of the saint’s life, can be resolved by a symbolic interpretation of it’s images, if paying regard to the medieval mental schemes : the central Eucharistic mystery of the wine enables the young Lubin to achieve sainthood, through his own vocation of consecrated (the learned canon of XIIth century appearing under the VIth century monk), priest and bishop, Good Sheperd dispensing divine gifts. The unusual presence of small human figures at the outer framework of the stained glass window emphasises the important role to be played by the laity in the Eucharistic mysteries. It takes part, with the introductive images, to a preached exhortation of the window, inviting all spectators to be converted. It’s theological teaching imports as it’s means of expression the images of the Scriptures, as interpretated by glossa ordinaria, updated, and organised into a Theological Sum chapter, remaining faithfull to the Fathers’ teaching about figura and veritas, the relationship figura-veritas of the wine of the Last Supper and the blood of Christ being of the same ‘type’ as between the Old and the New Testaments, or between the Life of earthly Church and Eschatology, using the constructive resources of Logic, without submitting to its mystery devastating hegemony. Far from being an advertisement for the relic of the saint, for the bishop or the canons, the stained-glass window thus takes place in the contemporaneous stream of the Parisian ‘Biblico-moral School’, who shared with Saint-Victor, in particular with Richard, the project to lay foundations for a moral reformation of Clergy and Laity on the study, -as well historical as symbolic-, of the Bible, and on preaching
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Baird, Shirley May. "The stained glass war memorial windows of Charles William Kelsey." Thesis, 1995. http://spectrum.library.concordia.ca/110/1/MM05144.pdf.
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Charles William Kelsey (1877-1975) trained in England and emigrated to Montreal in 1922. His stained glass designs can be found in England, Australia, the United States and in over sixty-eight churches in Canada. This thesis focuses on his war memorial windows commissioned between 1921 and 1956. Forty-two windows were studied: ten memorials for World War I, twenty-two memorials for World War II and ten memorials for both World Wars. Research is divided into three main areas: how Kelsey developed his reputation as a stained glass artist in Canada, the influences of the English stained glass revival of the late nineteenth century that are found in his designs and the choice of themes incorporated into his war memorial windows. Since his main patrons were the Anglican and United Churches, these windows also provide examples of the prevailing taste in religious memorials and demonstrate the variety of accepted and recognized symbols and subjects for war memorial windows.
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Chien, Miao-Ting, and 簡妙庭. "The Investigation of Catholic Church: "Stained Glass" Windows in Tainan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/61971281815599017457.
Full textAbstract:
碩士國立臺南藝術大學
博物館學與古物維護研究所
103
Stained-glass windows, which are not well known in Taiwan, appeared first during the reign of Japan. In order to preserve them well, research and documentation should be undertaken. Therefore, in this paper, The Investigation of Catholic Church: “Stained Glass” Windows in Tainan City as an example for research. After introducing the development of stained glass windows, manufactured technology and materials in general, the field research presents not only the motifs with their iconography on glass windows and short history of these six churches with stained glass, but also the spreadsheet recorded the location of windows distribution in churches. Finally, the technology, materials used handheld XRF analyzer and the condition of the stained glasses from these churches will be examined and documented, as a basis for future preservation archives.
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Pinto, Amanda Monteiro Corrêa. "Stained-glass windows of historical buildings from Belém do Pará (Brazil): a conservation approach." Doctoral thesis, 2018. http://hdl.handle.net/10362/57405.
Full textAbstract:
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.
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MA, JIA-LING, and 馬嘉伶. "A Study of the Application of Patterns of Church Stained Glass Windows on Wedding Dresses." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/u8b2zw.
Full textAbstract:
碩士建國科技大學
美容科技研究所
105
Stained glass is featured prominently in classical art and architecture. The Christian churches used the images from the Bible to preach. Observing that weddings often take place in churches, that the Bible contains stories of marriage, and that the design of weddings dress, dominated by white gown, lace, paillettes and jewelry, requires innovations, this thesis intends to bring together images of church stained glass and wedding dresses to demonstrate that the images can not only decorate buildings and objects, but also introduce new ideas into the visual design of wedding dress. The design of wedding dress is diverse and ever-changing, and conveying its significance with the Bible stories depicted by the stained glass may provide a uniqueness with different feelings and memories to every bride. Exploring wedding dresses as a union of Russian punch needle embroidery, French DMC embroidery floss, and Taiwanese yarn and satin, the thesis focuses on eight examples combining the Bible stories and wedding dresses. For example, stories such as the Creation of the Heavens and the Earth, the crucifixion of Jesus Christ, and Jesus walking hard road for fourteen days the connotation of mission which was emphasized on the illustrated Biblical stories. By reviewing literature and analyzing aesthetic ideas and images, the thesis presents wedding dresses with religious connotations. Transformed by the stained-glass images, they tell edifying, encouraging Bible stories that may inspire various artistic ideas. It hopes to stimulate profounder visual responses, and contribute to the development and prospect of cultural creativity.
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Zylstra, Bernard, Evelyn Kuntz Hielema, and Marty Ruiter. "Perspective vol. 14 no. 2 (Apr 1980)." 2013. http://hdl.handle.net/10756/251305.
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