October 31, 2007
October 30, 2007
October 29, 2007
October 28, 2007
October 27, 2007
October 26, 2007
October 25, 2007
October 24, 2007
October 22, 2007
The Art and Craft of Stained Glass by E.W. Twining
Windows by Lewis F. Day
Church Symbolism by F.R. Webber
October 21, 2007
October 20, 2007
In the meanwhile, going through books we use for research, I thought I'd check availability of various titles in our own library. Many of them are out-of-print and are selling for up to $250, so hard are they to find.
October 19, 2007
More painting being removed.
And yet more detail being added. At this point, the glass will probably be placed in a kiln and fired to over 1300 degrees to make the paint permanent.
After firing for about four hours, and then cooling, another layer of painting is added depending upon the effects desired. This procedure might be repeated from 3-6 firings, depending upon the details and colors desired in the glass piece. It is a good idea not to fire the same piece of glass more than a half dozen times. A good glass painter can ordinarily achieve fine results within these parameters. More firing can result in destabilization of the glass itself.
October 18, 2007
This step will be repeated with all cut glass pieces requiring this color. Now the paint is left to dry completely after which the modeling and tracery occurs. We'll show that next.
October 17, 2007
October 16, 2007
October 15, 2007
October 14, 2007
After carefully removing the buckled glass from the church door, a trace is made of the door-light to create a new pattern.
The lead of the old window is cut at the edge and systematically disassembled, attempting to keep from breaking the glass as the pieces are pulled out. This can be difficult depending on the hardness of the original improper cementing.
Replacement glass is obtained and re-cut if necessary, but an attempt is always made to salvage as much original glass as possible. Then the glass is placed on the new pattern.
Finally, it is re-leaded, a relatively simple procedure with straight lines like these. In this case, a bracing bar was also added to the completed window after cementing and cleaning to support the stained glass. We could see from prior experience that the swinging door in which it resides created damage and bowing over time. So now the door-light is better supported by the wooden frame of the door itself, and should prevent future stress and buckling.
October 13, 2007
Sometimes the bow in the panel can be gently flattened without damaging the window, but that is not the case in this situation. More to come on how this restoration proceeds.
October 12, 2007
Next we'll show a series of repairs at St. Charles nearby, and share some of the challenges of matching and replacing old stained glass, as well as removing windows from old moldings.
October 11, 2007
October 10, 2007
One such black and white photo became the inspiration for the stained glass Pieta at St. Catharine of Siena. This is a good example of what artists refer to as "derivative work" in which one artwork inspires and informs another, many times in a different medium.