Journal articles: 'Stained glass window'

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Darling, Robert. "Stained Glass Window." Christianity & Literature 44, no. 3-4 (June 1995): 344. http://dx.doi.org/10.1177/014833319504400308.

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Hutama, Krishna. "SENI RAGAM HIAS STAINED GLASS PADA BANGUNAN-BANGUNAN DI JAKARTA." Jurnal Dimensi Seni Rupa dan Desain 2, no. 2 (April 5, 2016): 99–113. http://dx.doi.org/10.25105/dim.v2i2.1266.

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AbstrakStainned glass atau yang lebih dikenal di Indoensia dengan sebutan kaca patri/kaca timah secara teknis adalah rangkaian beragam kepingan kaca berwarna atau mozaik kaca berwarna yang berfungsi untuk tempat masuknya cahaya sekaligus sebagai unsur dekoratif gedung atau rumah seperti jendela atau panel-panel jendela. Pada bangunan gereja atau katedral makna estetis stained glass dipadukan dengan makna spritualnya, antara lain sebagai sumber cahaya agung Tuhan yang menyinari tiap ruang gereja.Tulisan ini mencoba mengetengahkan seni ragam hias stainned glass ( kaca patri) pada jendela bangungan-bangunan di Jakarta AbstractStainned glas known as "kaca patri' . Technically stainned glass is an arrangement of pieces of colored glass, mozaick coloured glass which acts as light entrance,also as a decorative element of a building, such as windows or window panels. Such building like church or Catedral, the aesthetics meaning of stainned glass is combined with the spiritua; meaning, such as God's source of light that illuminates every single chapter in the Church.The purpose of this passage is presentation of the art of stainned glass on windows of buildings in Jakarta

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Lee, Sumin S., and Raymond B. Dyer. "The stained glass window appearance." Abdominal Radiology 41, no. 2 (January 6, 2016): 342–43. http://dx.doi.org/10.1007/s00261-015-0551-4.

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Boerio-Goates, Juliana. "Through a Stained-Glass Window." Dialogue: A Journal of Mormon Thought 24, no. 1 (April 1, 1991): 121–26. http://dx.doi.org/10.2307/45227731.

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Strobl, S. "Protection of historic stained glass." Glass Technology: European Journal of Glass Science and Technology Part A 61, no. 5 (November 2020): 148–52. http://dx.doi.org/10.13036/17533546.61.5.strobl.

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The process of deterioration of a stained glass window, more precisely of its component glass, lead and paint pigments, has in recent decades been researched thoroughly and is now well understood. The need for the protection in particular of the potash window glasses of the middle ages therefore is widely accepted but not the means of how to achieve this aim. Early attempts such as coatings applied on the glass or the sandwich process, known as Jacobi–Process, have failed for a variety of reasons and with disastrous consequences. Short of removing the windows to safe storage, the only response currently available is the creation of a museum like condition on site in the form of the introduction of an isothermal glazing system. Despite its unquestioned merits, the isothermal glazing system is still in dispute mainly because of its interference with a given historic setting. A variety of designs for the isothermal glazing will be discussed, all aimed at minimising their physical and visual impact on the building, making a strong case in favour of this important protective measure.

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B, Zadorozhny. "THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 2 (November 20, 2021): 38–43. http://dx.doi.org/10.23939/sa2021.02.038.

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The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.

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Mooney, Edward S. "Solve It!: Window Panes." Mathematics Teaching in the Middle School 14, no. 2 (September 2008): 95–100. http://dx.doi.org/10.5951/mtms.14.2.0095.

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Diana designs stained-glass windows. She has a large supply of square glass window panes. Some panes are yellow, and some panes are red. She wants to place them in windows like the one below in such a way that no two windows are the same, even when the design is rotated or reflected. How many different window designs can she create using any combination of red and yellow panes?

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Powell, Kendall. "Flying through an undersea ‘stained-glass window’." Nature 586, no. 7828 (October 5, 2020): 328. http://dx.doi.org/10.1038/d41586-020-02802-7.

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Zulu, Nzinga Shaka. "Sex, Race, and the Stained-Glass Window." Women & Therapy 19, no. 4 (December 7, 1996): 27–35. http://dx.doi.org/10.1300/j015v19n04_05.

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Nikolina, Topić. "tained glass from the research of the Dubrovnik cathedral | Slikano steklo odkrito med raziskavami dubrovniške katedrale." Studia universitatis hereditati, znanstvena revija za raziskave in teorijo kulturne dediščine 10, no. 1 (June 20, 2022): 73–87. http://dx.doi.org/10.26493/2350-5443.10(1)73-87.

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The Dubrovnik Republic maintained its own glass production in the late Middle Ages, including records of window glass manufacturing. This paper will contribute to the study of stained glass in the Balkan region. It will outline late medieval stained-glass fragments (mid-14th to the first half of the 15th century) excavated from the Dubrovnik cathedral during the renewal of the building after a large earthquake in 1979 and are extremely rare in the Balkan region. Analogous examples of Dubrovnik archaeological material can be found among Western European stained-glass windows. These finds indicate that Dubrovnik was influenced by Western European technology through trade or that this way of making stained glass began to be applied in local workshops.

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Morris, Barbara H. "The Beauty of Geometry." Mathematics Teaching in the Middle School 9, no. 7 (March 2004): 358–61. http://dx.doi.org/10.5951/mtms.9.7.0358.

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Stained-glass-window design is an aesthetically pleasing and realistic application of geometry. Examples of these designs date back to medieval times. Frank Lloyd Wright's stained-glass creations are modern examples of combinations of light, color, and form that fascinate and delight the viewer (Carli 2001). This fascination and delight can be brought to life for students with a stained-glass-window geometry project.

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Jongh, Ariane Isler-De. "A Stained-Glass Window from Flavigny-sur-Moselle." Metropolitan Museum Journal 33 (January 1998): 153–67. http://dx.doi.org/10.2307/1513011.

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Weber, G., Y. Vanden Bemden, M. Pirotte, and B. Gilbert. "Study of stained glass window using PIXE–PIGE." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 240, no. 1-2 (October 2005): 512–19. http://dx.doi.org/10.1016/j.nimb.2005.06.225.

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Adlington, Laura Ware, Ian C. Freestone, and Léonie Seliger. "Dating Nathan: The Oldest Stained Glass Window in England?" Heritage 4, no. 2 (June 5, 2021): 937–60. http://dx.doi.org/10.3390/heritage4020051.

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Relatively little is known about stained glass windows in England predating c. 1170; however, art-historical evaluation by Caviness (1987) argued that four figures from the “Ancestors series” of Canterbury Cathedral, usually dated to the late 12th and early 13th century, in fact date earlier (c. 1130–1160). This would place them amongst the earliest stained glass in England, and the world. Building on our previous work, we address Caviness’s hypothesis using a methodology based upon analysis of a few, well-measured heavy trace elements and a 3D-printed attachment for a pXRF spectrometer that facilitates in situ analysis. The results confirm two major periods of “recycling” or re-using medieval glass. The first is consistent with Caviness’s argument that figures predating the 1174 fire were reused in the early 13th century. The results suggest that in addition to figures, ornamental borders were reused, indicating the presence of more early glass than previously thought. In the second period of recycling (1790s), surviving figures from the Ancestors series were removed and adapted into rectangular panels for insertion into large Perpendicular-style windows elsewhere in the cathedral. The results show that the glasses used to adapt the panels to a rectangular shape were broadly contemporary with the glasses used to glaze the original Ancestors windows, again representing a more extensive presence of medieval glass in the windows.

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Heskel, Neil S. "Epoxy resin dermatitis in a stained glass window maker." Contact Dermatitis 18, no. 3 (March 1988): 182–83. http://dx.doi.org/10.1111/j.1600-0536.1988.tb04517.x.

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Harmeyer, Dave. "An Unlikely Answer Under a Window of Stained Glass." Reference Librarian 50, no. 2 (April 3, 2009): 208–11. http://dx.doi.org/10.1080/02763870902755973.

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Carrión-Ruiz, B., S. Blanco-Pons, M. Duong, J. Chartrand, M. Li, K. Prochnau, S. Fai, and J. L. Lerma. "AUGMENTED EXPERIENCE TO DISSEMINATE CULTURAL HERITAGE: HOUSE OF COMMONS WINDOWS, PARLIAMENT HILL NATIONAL HISTORIC SITE (CANADA)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 243–47. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-243-2019.

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Abstract. The use of photogrammetry and terrestrial laser scanning for building information modelling (BIM) in the documentation and conservation of Cultural Heritage (CH) is now well established. By combining BIM with the latest visualization technologies, powerful, semi-immersive experiences can be developed to enhance the dissemination of CH. In semi-immersive experiences such as Augmented Reality (AR), digital content can be overlapped on to physical spaces, providing a new way to interact with both the physical space and the digital content. This paper discusses the translation of a digital object created using BIM, into a physical object and the utilisation of this physical object as a trigger for an AR experience. The case study looks at one of the neo- Gothic window frames from the House of Commons in the Centre Block of the Parliament Hill National Historic Site, in Ottawa, Canada. The window frame is one in a series that represents a Canadian province or territory with a stained glass feature that includes floral emblems and heraldic symbols from the respective provincial or territorial shield. The frame in this case study corresponds to the stained glass window of five provinces. Using the replica frame as a target, the user can select which stained glass windows they would like to view in the AR application. Through these combined technologies, we argue that CH can be revealed in a more interactive way and therefore more engaging manner &ndash; making even inaccessible architectural details readily available to the public.

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Schalm, Olivier, Koen Janssens, Hilde Wouters, and Danielle Caluwé. "Composition of 12–18th century window glass in Belgium: Non-figurative windows in secular buildings and stained-glass windows in religious buildings." Spectrochimica Acta Part B: Atomic Spectroscopy 62, no. 6-7 (July 2007): 663–68. http://dx.doi.org/10.1016/j.sab.2007.03.006.

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Zsolt Szakács, Béla. "Silver-Stained Glass in Changing Light: The Carolingian Window-Fragments of Zalavár." Hortus Artium Medievalium 26 (May 2020): 163–71. http://dx.doi.org/10.1484/j.ham.5.121701.

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Konstantinov, Aleksandr, and Andrey Mukhin. "Architectural possibilities of using PVC window units in historical buildings." MATEC Web of Conferences 193 (2018): 04018. http://dx.doi.org/10.1051/matecconf/201819304018.

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The work presents the possibilities of using PVC window units in the historical buildings. There are reasons of their widespread use in projects of adaptation of historical buildings for modern use. The analysis of possible replacement options of window units of the historical heritage is done according to their architectural and historical values of the exterior and the interior. A review is made of the existing technological capabilities of modern PVC window systems used in the historical buildings. Examples of application of PVC window units in historical buildings of various architectural styles are given. Examples of structural solutions of window units and stained glass windows made of PVC in historical heritage are considered. The analysis of perspective ways of the use of modern types of translucent fillings in historical buildings can significantly improve the energy performance of these buildings and provide them with conditions that meet the modern requirements of comfort and safety.

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Adlington, Laura W., and Ian C. Freestone. "Using handheld pXRF to study medieval stained glass: A methodology using trace elements." MRS Advances 2, no. 33-34 (2017): 1785–800. http://dx.doi.org/10.1557/adv.2017.233.

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ABSTRACTThe surfaces of 30 pieces of glass from panel 3b of the Great East Window of York Minster (1405-1408 CE) were analyzed by handheld portable X-ray fluorescence (pXRF) and small samples from the same pieces were analyzed by electron microprobe (EPMA). Comparison of the two methods reveals significant divergences which are not systematic, particularly for elements lighter than Ti. Rather than a problem with pXRF calibration or correction software, the non-systematic error is attributable to the presence of a thin surface layer of weathered glass. Analysis of the depths of X-ray generation indicate that virtually all X-rays characteristic of Ca and K are generated within the top 50 µm of the glass. However, for heavier elements such as Rb, Sr and Zr, most emitted X-rays are generated below 100 µm. Using pXRF data for the heavier elements, it is possible to replicate the compositional groupings identified by quantitative EPMA. White glass in the window is likely to have originated in England, while colored glasses were probably obtained from the Continent. The alkali contents of the green and yellow glasses appear to have been manipulated to generate their colors. Glass which is medieval in technology but not original to the panel was identified. In particular, zirconium proved a useful indicator of glassmaking regions, and rubidium and strontium were more sensitive to differences between batches, which has interesting implications for future work.

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SOPILNIAK, А. М., A. A. TYTIUK, Т. P. YAROVA, S. YU SEREDA, and J. S. VERSHKOVA. "THE VALUE OF A RATIONAL ROOF OVERHANG OVER A STAINED-GLASS FACADE USING BIM TECHNOLOGIES." Ukrainian Journal of Civil Engineering and Architecture, no. 2 (July 9, 2022): 102–9. http://dx.doi.org/10.30838/j.bpsacea.2312.260422.102.857.

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Problem statement. These days, the issue of reducing energy consumption is relevant, including due to the roof overhang formation in winter, when the sun is below the horizon and can use solar heat for heating, and in summer, when the sun rises high above the horizon and solar radiation is maximum. The issue of roof overhangs value therefore becomes relevant in reducing energy consumption. The purpose of the article is to determine the rational roof overhang value to reduce energy consumption and the dependence between stained-glass system height and roof overhang value using Revit software. Conclusions. The roof overhang value can make a significant difference to a building's energy consumption during the heating period, allowing solar radiation to enter the house due to the large open areas of the stained-glass windows. In the summer, for example, the roof overhang can provide shade inside the house during the hottest times of the day, thereby reducing the energy consumption for air-conditioning cooling. The dependence between the height of the stained-glass window and the rational roof overhang value, which provides shade inside the room in summer and does not prevent the sun's energy from entering the room in winter, was determined.

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Rudolph, Conrad. "Inventing the Exegetical Stained-Glass Window: Suger, Hugh, and a New Elite Art." Art Bulletin 93, no. 4 (December 2011): 399–422. http://dx.doi.org/10.1080/00043079.2011.10786016.

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Ortega-Feliu, I., B. Gómez-Tubío, M. A. Respaldiza, and F. Capel. "Red layered medieval stained glass window characterization by means of micro-PIXE technique." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 269, no. 20 (October 2011): 2378–82. http://dx.doi.org/10.1016/j.nimb.2011.02.023.

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Wentz, Margaret R. "The Rose Window Stained Glass by Mike and Stephanie Podulke and Daryl Nigon." Mayo Clinic Proceedings 97, no. 12 (December 2022): 2389–90. http://dx.doi.org/10.1016/j.mayocp.2022.10.018.

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de Groot, Wim. "De glazeniersfamilie Crabeth en hun werkzaamheden in Saint-Hubert d'Ardenne." Oud Holland - Quarterly for Dutch Art History 124, no. 2-3 (2011): 81–111. http://dx.doi.org/10.1163/187501711798264175.

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AbstractThe intention of my article is to reopen the investigation into the heritage of the Crabeth family and their activities as glaziers of stained-glass windows along with other works of art they produced in the sixteenth century. For a long time it was believed that Pieter Dircksz Crabeth and his famous sons Dirck and Wouter originated from Gouda, where they achieved their greatest work: eighteen stained-glass windows for Sint Janskerk. In my contribution I give an account of the pre-Gouda period and make clear that their field of activities was wider and more far-reaching than is commonly agreed upon. Profiles of their patrons provide an insight into the network to which the Crabeths belonged. Their contacts with the land of Cuijk and the prince bishopric of Liège have been investigated and documented. Count Floris of Egmond-Buren and his commission to Pieter Crabeth to make eight windows for his castle in Grave in 1522 is highlighted. Research shows a patronage relationship between the house of Egmond and the Crabeth family. In a letter written by Abbott Nicolas de Malaise we find evidence of a stay by Dirck and Wouter Crabeth at Saint Hubert d'Ardenne around 1523 due to the rebuilding of the abbey church in Renaissance style. The impetus for this letter was a fatal accident caused by Wouter Crabeth's horse. The article goes into the judicial implications of such an event and the consequences for the person involved at that time. The letter expresses the abbot's concern about Wouter's stay in Saint-Hubert with regard to the continuity of the building project. Twenty years later Pieter and Dirck Crabeth are again invited by Abbott Remacle de Marche to produce stained-glass windows for the abbey church in Saint Hubert, which had been destroyed by fire in the intervening years. The window of Adolf von Schauenburg, who later became archbishop of Cologne, is a wonderful example from this period and it is the only known glass by Pieter Crabeth still in situ. Research into stylistic elements of the rendering of the suffragan bishop in the Gouda cartoon Confirmatio and the patron saint Lambert in the Schauenburg window show a remarkable resemblance between the two figures. In view of the activities of the Crabeths in Saint Hubert d'Ardenne, critical research is called for into the authorship of the windows in the bishopric of Liège and the probability of the glaziers being involved in glass production studios in its capital. New insights based upon thorough studies of material and written sources with detailed notes and glosses, along with recent archival investigations, are presented here in the hope that discussion about Pieter Crabeth and his sons Dirck and Wouter will be given new life and put into a wider perspective.

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Cothren, Michael W. "Why Did Louis de Roncherolles Commission a Stained-Glass Window for Beauvais in 1522?" Art Bulletin 83, no. 1 (March 2001): 7. http://dx.doi.org/10.2307/3177188.

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Cavallo, Bradley J. "Of Medici and Mamluk Power: Islamic Forms in a Renaissance Florentine Stained-Glass Window." Viator 45, no. 1 (January 2014): 311–30. http://dx.doi.org/10.1484/j.viator.1.103793.

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Marvasi, Massimiliano, Elisabetta Vedovato, Carlotta Balsamo, Azzurra Macherelli, Luigi Dei, Giorgio Mastromei, and Brunella Perito. "Bacterial community analysis on the Mediaeval stained glass window “Natività” in the Florence Cathedral." Journal of Cultural Heritage 10, no. 1 (January 2009): 124–33. http://dx.doi.org/10.1016/j.culher.2008.08.010.

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Schalm, Olivier, Ine De Raedt, Joost Caen, and Koen Janssens. "A methodology for the identification of glass panes of different origin in a single stained glass window: Application on two 13th century windows." Journal of Cultural Heritage 11, no. 4 (October 2010): 487–92. http://dx.doi.org/10.1016/j.culher.2010.05.004.

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Carroll, Mary, Ann Anderson, Sri Mangu, Zineb Hajjaj, and Margeaux Capron. "Aesthetic Aerogel Window Design for Sustainable Buildings." Sustainability 14, no. 5 (March 2, 2022): 2887. http://dx.doi.org/10.3390/su14052887.

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Transport of heat through windows accounts for more than 25% of heating and cooling losses in residential buildings. Silica-based aerogels are translucent with extremely low thermal conductivity, which make them attractive for incorporation into the interspaces of glazing units. Widespread incorporation of monolithic-silica-aerogel-based windows could result in significant energy savings associated with the heating and cooling of buildings. However, monolithic silica aerogels do not have the optical clarity of vision glass, due to light scattering by the solid matrix, and often have surface imperfections, both of which render these materials less appealing for glazing applications. Here, we demonstrate a variety of approaches to preparing aesthetically pleasing monolithic silica aerogel by a rapid supercritical extraction method for incorporation into glazing units, including: (1) process improvements that result in monoliths with higher visible light transmission; (2) innovative mold design for the preparation of uniform aerogel monoliths; (3) glazing designs that use thinner monoliths; and (4) the incorporation of artistic effects using dyes and laser etching to prepare glazing units with mosaic- or stained-glass-like patterns in which surface imperfections are perceived as features of the design rather than flaws.

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Nikola, Marina I., and Sergey V. Tolkachev. "The Problems of Multicultural Literature: A Poly-Chromic Stained Glass Window or a Broken Mirror?" New Philological Bulletin, no. 1 (2022): 87–96. http://dx.doi.org/10.54770/20729316-2022-1-87.

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AZZONI, C. B., D. DI MARTINO, V. MARCHESI, B. MESSIGA, and M. P. RICCARDI. "COLOUR ATTRIBUTES OF MEDIEVAL WINDOW PANES: ELECTRON PARAMAGNETIC RESONANCE AND PROBE MICROANALYSES ON STAINED GLASS WINDOWS FROM PAVIA CARTHUSIAN MONASTERY*." Archaeometry 47, no. 2 (May 2005): 381–88. http://dx.doi.org/10.1111/j.1475-4754.2005.00208.x.

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Schalm, Olivier, Joost Caen, and Koen Janssens. "Homogeneity, Composition and Deterioration of Window Glass Fragments and Paint Layers from Two Seventeenth-Century Stained Glass Windows Created by Jan de Caumont (∼1580–1659)." Studies in Conservation 55, no. 3 (September 2010): 216–26. http://dx.doi.org/10.1179/sic.2010.55.3.216.

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Hagerty, James, and Tom Johnstone. "Catholic Military Chaplains in the Crimean War." Recusant History 27, no. 3 (May 2005): 415–46. http://dx.doi.org/10.1017/s0034193200031526.

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In the choir of the chapel at St Mary’s College, Oscott, is a stained glass window dedicated to the memory of Fr John Wheble, a military chaplain who died in the Crimean War. Whereas the four upper lights of the window depict scenes from the life of St John the Apostle, Fr Wheble’s patron saint, the four lower ones show Wheble setting sail for the Crimea, giving absolution to soldiers, attending the wounded at the Battle of the Alma, and his death on board the hospital ship Arabia on November 3, 1854. St Edmund’s College, Ware, also has a Crimean window and again Fr Wheble, a benefactor of the college, is depicted along with two alumni of the college, Fr Michael Canty and Fr Denis Sheehan, who also died in the Crimea.

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Zharkikh, T. V. "Musical Stained-glasses by Olivier Messian." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 23–35. http://dx.doi.org/10.34064/khnum2-14.02.

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Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to “decipher”) and convey to the listener the author’s intention. That why consideration of the synesthetic aspect of the works of the French Master appears relevant. The purpose of this study is to reveal some features of the musical-visual ideas of O. Messiaen, the understanding of which is necessary for adequate perception and reproduction of his music. The material of the work is, mainly, the composer’s own statements, on which the generalizations made in the article based, and which the main conductors in the infinite multicolor spiritual world of the French composer are. The studies results. The child impressions, when Olivier together with his parents visited monuments, museums, churches – the Notre-Dame, the SaintChapel, the Chartres Cathedral, the Cathedral in Bourge – became the sources of the sound-color visions of the French genius. Magical colors of the MiddleAges stained glasses left an amazing feeling, an imprint, which did not disappear during his whole life. Stained-glasses as “the light, captured by the human” [7] are the constant awe and the love of O. Messiaen. In childhood, while reading W. Shakespeare, Olivier made stained glass-like scenery using transparent wrappers and packaging materials painted in different colors, then put the decorations to the windows. The sunshine, going through them, was lightening the little boy’s theater like the footlights. Later, the light, as something Divine, will become the main semantic emphasis in the works of the composer. Messiaen puts the color music above the church and religious, the color music, according him, does the same as medieval stained glass: “it brings us blinding admiration .... All sacred art ... should be, first of all, something like a rainbow of sounds and colors” [6]. Like a stained glass window consists of pieces of glass, so music consists of “pieces-cadres”, but, unlike cinematic montage, a stained glass has a mystical nature. From the inside, a stained glass shows one picture of the world, from the outside – another; it is a rosy view of the world and, at the same time, a prism, through which one can see the musical diversity. So, for O. Messiaen, the basis of the foundations is a religion related closely to philosophy; they serve music, and music serves the color music. A musicologist K. Zenkin defines the color music of O. Messiaen as the highest form of sacred music, as “the answer of human to God” [2, p. 171]. Being 11 and having become a student of Paris Conservatory, Olivier for the first time heard the opera by his teacher, Paul Dukas, “Ariadne and Bluebeard”. Messiaen was amazed by the episodes, where the main heroine consistently opens seven doors and finds herself in seven halls, filled with seven different kinds of precious stones; each one was characterized by different tone and timbre. Later, O. Messian continued the searches of his teacher in area of color-sound. About incredible enjoyment by the color the composer says in connection with painter-orphist Robert Delaunay, calling his paintings “colored dreams”. In the pictures of latter, he was most attracted by the principle of simultaneous contrast. The concept of “simultaneous contrast” refers to the phenomenon, in which our eyes, perceiving any color, involuntarily require a different color addition. For example, red requires green, yellow – purple, since these colors are diametrically opposed to each other on the color wheel, etc. If there is no such addition, the eye can simultaneously find (generate) it. As O. Messian had such rare natural quality as synesthesia, while listening to music, in his imagination different colors, corresponding to different sounds, appeared. Borrowing the painting principle of the simultaneous contrast, the composer applied it in his musical works, for example, in chord constructions. Messian’s “colour hearing” was connected not with tones, like to N. Rimsky-Korsakov or A. Skryabin, but with chords. Chords, in understanding of French composer, are the analogues of colors; changing of the chords leads to the changing of the colors and its patterns. The composer is characterized by the “vertical” perception of the sound-color range, but the “chord” factor does not exhaust his color perception, since O. Messiaen operates with the frets, which he calls “systems”. Each system is associated with a specific coloring of sounds. Colors and sounds are arranged for him on the principle of gamma. In the color scheme of O. Messiaen, there is no yellow color, instead of it an orange-golden one is introduced. Especially the composer likes violet or lilac color, belonging to the category of complex, which includes extremely cold blue and extremely warm red. This color has a lot of shades: with the dominance of red-scarlet, with the dominance of blue-hyacinth. In the Middle Ages, in the symbolism of stained glass windows, the first one identified Love to Truth, and the latter – Truth of Love. O. Messian perceived the laws of the universe through the prism of “infinite colors”. For the composer, painting becomes the basis of his artistic method and generates musical images. He felt the colors in the music by the “inner vision”. The subjective vision of sound colors was using by O. Messiaen in the process of creating musical canvases, called, in its turn, to affect the “inner vision” of the listeners.

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Werner, Winter Jade, and John Wiehl. "Chasing David Copperfield’s Memory of a Stained Glass Window: Or, Meditations on the Postsecular and Postcritical." Lit: Literature Interpretation Theory 32, no. 1 (January 2, 2021): 1–9. http://dx.doi.org/10.1080/10436928.2021.1876612.

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Van Wersch, L., C. Loisel, F. Mathis, D. Strivay, and S. Bully. "Analyses of Early Medieval Stained Window Glass From the Monastery of Baume-Les-Messieurs (Jura, France)." Archaeometry 58, no. 6 (December 4, 2015): 930–46. http://dx.doi.org/10.1111/arcm.12207.

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Friedrich, Jacek. "Ikonografia witraży Wiktora Ostrzołka w gdańskim kościele Mariackim (1977–1980)." Porta Aurea, no. 20 (December 21, 2021): 206–17. http://dx.doi.org/10.26881/porta.2021.20.09.

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In 1966, a commemorative decoration appeared inside St Mary’s Church in Gdansk: its main component was the painting showing Poland’s Baptism placed in the chancel. Meanwhile, a pillar by the Priests’ Chapel was decorated with a standard bearing striped concentration camp uniform cloth with numbers of priests -prisoners in Nazi camps. This referred directly to the décor of the Priests’ Chapel created not long before, and in which Polish priests murdered during WW II had been commemorated in 1965. Thus the millennial decoration of the chancel clearly associated the history of the Polish state with the history of Christianity in Poland, while the decoration of the Priests’ Chapel emphasized the martyrology of Polish priests. Both motifs were clearly continued in two large –size stained glass windows installed in the church in the late 1970s: one of them fills in the window in the Priests’ Chapel, while the other is to be found in the window closing the church’s chancel. Both were designed by Wiktor Ostrzołek, a leading stained glass designer in post -WW II Poland. The iconographic programme of the first refers to the martyrology of priests, yet it does not limit itself to priests -martyrs in recent history, but shows those connected with it from the very beginning: St Adalbert, Five Martyr Brothers, St Stanislaus, St John Sarkander, St Andrew Bobola and Maximilian Kolbe. Respective figures are interconnected with the use of a clear red line serving as a metaphor of the martyrs’ blood. Its continuity connecting St Adalbert with St Maximilian, thus the beginnings of the Polish state with the present, at the same time shows the continuity of the presence of the Catholic Church in Polish history. This continuity is even more unequivocally expressed by the iconographic programme of the chancel stained glass. Here it is the figure of Mary that stands out; she enshrouds the presentations referring to the Church’s mission, and in particular to the Church’s mission in Poland, in her protective mantle. A deep interconnection between the history of Poland and the Roman Catholic Church was presented in the three acts of entrusting Poland to God and Mary: the Baptism of Poland in 966, the Lvov Oath of John Casimir in 1656, and the Jasna Góra Pledge connected directly with the 1966 millennial celebrations.

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Quilty, Patrick G., and Gillian Winter. "Robert Falcon Scott: a Tasmanian connection." Polar Record 48, no. 2 (July 12, 2011): 192–94. http://dx.doi.org/10.1017/s0032247411000283.

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ABSTRACTThe Edge Anglican church (originally St Alban's) in the northern Hobart suburb of Claremont has above its main altar a triptych stained glass window, a memorial to Robert Falcon Scott R.N. New information suggests that the designer/manufacturer was Auguste Fischer of Melbourne, a close associate of the church's architect, Alan Cameron Walker of Hobart. The window was promised by Mrs Edith Knight at the laying of the foundation stone of the church in July 1913, five months after Scott's death became known to the world. Lady Ellison-Macartney attended the ceremony. She was Scott's sister and wife of the recently appointed governor of Tasmania, Sir William Ellison-Macartney. Other members of Scott's family were also living in Hobart at the time. The Ellison-Macartneys and their daughter Esther attended the dedication of the window on 17 October 1915. Admiral E.R.G.R. Evans, second in command of Scott's expedition, spoke to The Royal Society of Tasmania on 29 March 1930, on the topic of Scott's last Antarctic venture.

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Eastell, Kevin. "The Silent Witness of Montrelais." Moreana 40 (Number 156), no. 4 (December 2003): 41–64. http://dx.doi.org/10.3366/more.2003.40.4.6.

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The writing of Thomas More’s A Dialogue of Comfort against Tribulation is set against the background of the complex political situation of Europe in the early 16th century. In this survey, the internal European power struggles are explored and the external Muslim threat is discussed. Using the stained-glass east window within the church of Montrelais, France, as an illustration, the author examines the detailed commentary provided by this primary source evidence, installed within the building in 1535. The exploration includes the political and theological elements present in the work, along with the compositional significance of its artistic design. An appreciation is made of this remarkable window about the times of tribulation its construction witnessed, with its depictions of François I, Charles V, Suleiman the Magnificent and Henry VIII.

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Rose, Els. "Recalibrating through Remembrance." Religion & Theology 23, no. 1-2 (2016): 76–94. http://dx.doi.org/10.1163/15743012-02301006.

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The twelfth and thirteenth centuries witness a complex appeal to the “age of the apostles,” referring to the first centuries of Christianity as model and foundation. Both the Catholic Church and various apostolic movements claim to be true imitators of the vita apostolica. In early thirteenth-century centres of reform, the apostles as founding figures of the Christian religion are frequently visualized, most elaborately in stained glass windows where the apocryphal Acts or “Lives” of the apostles inspired the scenes distributed over the panes of each window dedicated in general to one apostle (or pair of apostles). The choice of scenes and the analysis of what in the apocryphal Acts is left out reveals the way the Catholic Church, in its endeavour to reform, applied the apostles as breaches and bridges in the development of its doctrine and self-definition, also in response to claims to apostolicity outside the mainstream Church.

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Weber, G., Y. Vanden Bemden, M. Pirotte, and B. Gilbert. "Erratum to “Study of stained glass window using PIXE–PIGE” [Nucl. Instr. and Meth. B 240 (2005) 512]." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 248, no. 1 (July 2006): 191–92. http://dx.doi.org/10.1016/j.nimb.2006.04.055.

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Płotkowiak, Maciej. "STAINED-GLASS WINDOW SET IN THE CHURCH OF OUR LADY THE QUEEN OF THE CROWN OF POLAND IN SZCZECIN." space&FORM 2020, no. 41 (February 15, 2020): 279–98. http://dx.doi.org/10.21005/pif.2020.41.e-02.

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Gasten, Andrea. "A Nineteenth-Century Drawing after a Lost Sixteenth-Century Stained-Glass Window in the St. Jacobskerk in The Hague." Simiolus: Netherlands Quarterly for the History of Art 29, no. 3/4 (2002): 139. http://dx.doi.org/10.2307/3780932.

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Ryba, Grażyna. "Brąz i szkło w symbolice przestrzeni granicznej. Między sacrum wnętrza świątyni chrześcijańskiej a zewnętrznym profanum." Sacrum et Decorum 14 (2021): 53–72. http://dx.doi.org/10.15584/setde.2021.14.4.

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Bronze and glass are materials that have been used for centuries in Christian church decoration as carriers of symbolic meaning. When the front façade of a church had a carved bronze door and the window placed on the axis above it was glazed, often filled with stained glass, there was a symbolic juxtaposition of material and colour: the carved bronze door in the earthly zone of the secular and the colourful glass images placed above it symbolising the sacred. The article cites examples indicating the search for new forms of expression and the formation of a new symbolism related to metal and glass in contemporary sacred art. The changes involve the introduction of colour into the decoration of bronze doors, glass inlays and the gradual domination of large panes of glass. Often, the expressiveness of glass begins to be complemented by forms created using new techniques of handling artificial light. The artists’ exploration often leads to the expansion of the church entrance, inclusion of various forms of installations, and increasingly often they turn to the use of new media. Contemporary artists are to a large extent inspired by the Church’s stance, which emphasises the importance of the liminal space between the sacred and the secular, and consequently more and more often refers to the symbolism of the door and sponsors new innovative solutions.

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Jakubowska-Krawczyk, Katarzyna, and Marta Zambrzycka. "Między azylem a więzieniem. Metafora domu w powieściach Dom z witrażem Żanny Słoniowskiej i Dim dla doma Viktorii Ameliny." Przegląd Wschodnioeuropejski 13, no. 1 (June 27, 2022): 223–36. http://dx.doi.org/10.31648/pw.7666.

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In this article we analyse the topos of the home in two novels set in Lviv: “Home for Dom” by Viktoria Amelina and “The house with the Stained-glass Window” by Zhanna Sloniovska. In both of them, the eponymous ‘home/house’ contains family secrets which are meant to be representatives of the Eastern European fate. The metaphor of a home has several meanings in both novels: it refers to an apartment, a home-city (Lviv) and a homeland. On both dimensions, the home has not been presented as stable and unchanging space. It is rather a symbol of transience than permanence. In both novels, the family stories reflect the problems of identity and memory of the inhabitants of modern Ukraine.

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Alberta, Silvestri, Molin Gianmario, and Pomero Valentina. "The stained glass window of the southern transept of St. Anthony's Basilica (Padova, Italy): study of glasses and grisaille paint layers." Spectrochimica Acta Part B: Atomic Spectroscopy 66, no. 1 (January 2011): 81–87. http://dx.doi.org/10.1016/j.sab.2010.11.015.

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Kusztal, Justyna, and Małgorzata Turczyk. "Witraże dziecięcego „bycia w życiu” – dobrostan versus obrazy codzienności." Problemy Wczesnej Edukacji 43, no. 4 (December 31, 2018): 86–95. http://dx.doi.org/10.26881/pwe.2018.43.08.

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The aim of the article is to present the situation of children in Poland in the light of the analysis of documents of public institutions and non-governmental organizations whose domain of activity is the protection of children’s rights. The context of the analyzes undertaken by the authors is an interdisciplinary current of childhood studies, and in particular the discourses devoted to caring for a child. Nowadays, the most visible discourse of child’s well-being requires observing particular areas of children’s participation in social life and asking questions about the actual situation of the child in our country, development opportunities and difficulties in implementing children’s rights and ensuring its well-being. This means attempting to describe a child’s stained glass window „being in life”, actual or only apparent participation in particular areas of child’s activity in recent years.

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Gimeno, D., and M. Pugès. "Caracterización química de la vidriera de Sant Pere i Sant Jaume (segundo cuarto del s. XIV, Monestir de Pedralbes, Barcelona)." Boletín de la Sociedad Española de Cerámica y Vidrio 41, no. 2 (April 30, 2002): 225–31. http://dx.doi.org/10.3989/cyv.2002.v41.i2.682.

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Journal articles on the topic 'Stained glass window'

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