We do not have a record of how the Rorers and Mary Allison may be related. Every pledge counts! Make yours today! Latest Podcast. Latest Sermons by Rev. Joyce Shin January 9, - am by Rev. Hits on the glass and spills of any kind on the window ledges could create serious problems. We know there is a re-learning curve here. Roadway Repair: dial or go to Atl. Connick was a leading designer of medieval-style windows characteristic of the style.
Wright's rectilinear organic abstractions developed simultaneously with the similar aesthetic of the various European Secessionists.
The creation of this style was aided by the development of zinc and copper cames in These cames-much stiffer than lead-made it possible to carry out the linear designs of Prairie School windows with fewer support bars to interfere with the design. At first, these windows had only an elitist following, but they were soon widely accepted and proliferated during the early 20th century. By , stained and leaded glass was being mass-produced and was available to almost everyone. Leading home journals touted leaded glass windows for domestic use, and a nationwide building boom created an unprecedented demand for stained and leaded art glass windows, door panels, and transoms.
Mail order catalogs from sash and blind companies appeared, some offering over low-cost, mass produced designs although the same catalogs assured buyers that their leaded glass was "made to order".
The fading popularity of the ornate Victorian styles, combined with inferior materials used for mass production, and America's entry into World War I which reduced the availability of lead , essentially eliminated the production of quality leaded glass.
The last mail order catalogs featuring stained glass were published in the mids, and tastes changed to the point that the House Beautiful Building Annual declared: "the crude stained glass windows in many of the Mansard-roof mansions of the 'eighties [s] prove how dreadful glass can be when wrongly used.
However, leaded glass panels have survived in uncounted numbers throughout the country, and are now once again appreciated as major features of historic buildings. Dating and documenting historic leaded glass. Before deciding on any treatment for historic leaded glass, every effort should be made to understand-and to record-its history and composition.
Documentation is strongly encouraged for significant windows and other elements. Assigning an accurate date, maker, and style to a stained glass window often requires extensive research and professional help. A documentation and recording project, however, is worth the effort and expense, as insurance against accidents, vandalism, fire and other disasters.
The better the information available, the better the restoration can be. The following sources offer some guidelines for dating leaded windows. Building context. The history of the building can provide ready clues to the history of its leaded windows, doors, and other elements. The construction date, and dates of major additions and alterations, should be ascertained.
Later building campaigns may have been a time for reglazing. This is especially the case with churches and temples. They were often built with openings glazed with clear leaded glass. Stained glass was added later as finances allowed. Conversely, the windows may be earlier than the building. They may have been removed from one structure and installed in another once again, this is more likely with religious structures.
Bills, inventories, and other written documents often give clues to the date and composition of leaded glass. Religious congregations, fraternal lodges, and other organizations may have written histories that can aid a researcher.
Inscriptions and signatures. Many studios and artists affixed signature plates to their work-often at the lower right hand corner. Tiffany post Tiffany Studios, like others, did not always sign pieces and the absence of an inscription cannot be used to rule out a particular studio or artist. Windows may feature dated plaques commemorating a donor. However, these do not always indicate the date of the window, since windows were often installed before a donor was found.
Nevertheless, these features help establish a reasonable date range. Composition and other stylistic elements. These elements are more subjective, and call for a fairly broad knowledge of architecture and art history.
Do the windows fit the general style of the building? The style of the window may point to a general stylistic period e. The imagery or iconography of the windows may also reveal their overall historical context and establish a general time period. Framing and surround. Framing elements and the window surround can reveal information central to dating the window. Do moldings match other interior trim? Has the opening been altered? Is the window set in an iron frame posts , a steel frame generally post-World War I , a cast stone frame seen as early as the s, but popular after , or a terra cotta frame generally after ?
Reinforcement and leading details. Does the window or other element have round bars or flat bars? Flat bars began to appear about ; round bars, used since the Middle Ages, remained in use until the s, when flat bars supplanted them. Cames can also give dating clues. Zinc cames, for example, developed by a Midwestern company in association with Frank Lloyd Wright, first appeared in In general, however, dating a window by the came alone is difficult.
Over one hundred varieties of lead came were available in the early 20th century. Moreover, came was sometimes produced to look old. Henderson's Antique Leading from the s was made "to resemble the old hand wrought lead" and also carried "easy-fix" clip-on Georgian-style ornaments. The glass itself can help in dating a window. Opalescent glass, for instance, was patented by John LaFarge in Tiffany patented two variations on LaFarge's technique in the same year. Opalescent glass is translucent, with variegated colors resulting from internally refracted light.
It features milky colored streaks. Pre glass is usually smooth translucent colored glass painted or not ; glass with bold, deep colors is typical of the s and s, along with jewels, drapery glass and rippled glass. But such flamboyance faded out with the rest of Victoriana by about However, stained glass styles of the late 19th century continued to appear in ecclesiastical buildings after they passed from general fashion.
Leaded beveled plate glass was popular in residential architecture after , and was used profusely until the s. The level of documentation warranted depends upon the significance of the window, but it is very important to document repair and restoration projects before, during, and after project work. Photographs will normally suffice for most windows see "Photographing Stained Glass Windows" on page.
For highly significant windows generally, those which were not mass produced , rubbings as well as written documentation are recommended. The leading patterns in such windows are complex, particularly in plated windows which have several layers.
Rubbings are therefore encouraged for each layer; they are invaluable if a disaster strikes and reconstruction is required. Annotated rubbings of the leadwork should be done with a wax stone on acid-free vellum.
To document windows properly, inscriptions should be recorded word for word, including misspellings, peculiarities in type style, and other details.
Names and inscriptions in or on windows can indicate ethnic heritage, particularly in churches or civic structures where windows often reflect styles and themes from the congregation's or community's origins.
Lastly, any conjectural information should be clearly noted as such. Photographing stained glass windows. Significant windows should be recorded with a positive color film, such as Kodachrome, with a low ISO, since it is more stable, and images should be printed on Resin-Coated paper. Photographing stained glass from the interior is not difficult if a few basic pieces of equipment are used and if a few simple rules are observed.
A strong tripod, shutter cable release, light meter, and camera with through-the-lens metering will make the job easier. The key is to photograph windows in even, moderate daylight with the interior dimmed lights off and, if necessary, with the other windows covered. Although some stained glass is dazzling in sunlight, the camera lens and film react differently from the human eye, which can quickly equalize the high contrast of light and dark glass.
Film cannot discriminate this intense contrast, and the result can be a washed-out exposure or "hot spots. A light meter should be used to average out variations within the window, with special consideration for the focal point or most important feature of the window, such as a face.
Since there is no precise formula for obtaining a balanced exposure, shots should be bracketed three to five shutter speeds up and down to find the best exposure. When photographing on sunny days, shoot away from the sun; shoot eastern windows in the afternoon, western windows in the morning, southern windows at either time, and northern windows at midday. The glass should also be photographed from the inside with reflected light from a flash positioned away from the camera to provide a raking light and to avoid reflected "hot spots".
Although photographing with a flash will neutralize the transmitted light and black out the glass, interior photography is valuable because it reveals the location and condition of the cames, braces, tie-wires, and other elements.
Shoot the windows as centered and straight on as possible to minimize distortion and to keep the window frames from blocking details. Windows should also be photographed from the outside if there is no protective glazing to interfere with the view. This is particularly important with opalescent glass, which was often meant to be read from the exterior as well. As a final note, to photograph glass consistently well, it is essential to limit the variables by using the same film, camera, and lenses , and to record the camera settings, to compare with the developed pictures and to adjust accordingly next time.
Deterioration of stained and leaded glass. Three elements of leaded glass units are prone to damage and deterioration: the glass itself ; the decorative elements mostly applied paint ; and the structural system supporting the glass.
Glass is virtually immune to natural deterioration. Most American glass is quite stable due to changes in glass composition made in the midth century, particularly the increased silica content and the use of soda lime instead of potash as a source of alkali.
Rarely, however, glass impurities or poor processing can cause problems, such as minor discoloration or tiny internal fractures particularly in opalescent glass. And all glass can be darkened by dirt; this can often be removed see " Cleaning ". However, while glass does not normally deteriorate, it is susceptible to scratching or etching by abrasion or chemicals, and to breakage.
The greatest cause of breakage or fracture is physical impact. Leaded glass in doors, sidelights, and low windows is particularly susceptible to breakage from accidents or vandalism. When set in operable doors or windows, leaded glass can crack or weaken from excessive force, vibration, and eventually even from normal use.
Cracks can also result from improperly set nails or points that hold the window in the frame, or more rarely, by structural movement within the building. Leaded glass that is improperly annealed can crack on its own from internal stress.
Annealing is the process by which the heated glass is slowly cooled; the process is akin to tempering metal. Glass can also disintegrate from chemical instability or the intense heat of a fire. Finally, windows assembled with long, narrow, angular pieces of glass are inherently prone to cracking. Often the cause of the cracks can be determined by the path they travel: cracks from impact typically radiate straight from the source.
Stress cracks caused by heat or improper annealing will travel an irregular path and change direction sharply. Painted glass, typically associated with pictorial scenes and figures found in church windows, often presents serious preservation challenges. If fired improperly, or if poor quality mixtures were used, painted glass is especially vulnerable to weathering and condensation.
Some studios were notorious for poorly fired paints particularly those working with opalescent glass , while others had outstanding reputations for durable painted glass. Paints can be applied cold on the glass or fused in a kiln. Since they are produced from ground glass, enamels do not "fade," as often suggested, but rather flake off in particles. Several steps in the painting process can produce fragile paint that is susceptible to flaking.
If applied too thick, the paint may not fuse properly to the glass, leaving small bubbles on the surface. This condition, sometimes called "frying," can also result from poor paint mixtures or retouching.
Paint failure is more commonly caused by under firing i. The Shepherds Watch donated by Mr. William Gilbert in memory of his wife, Mrs.
Annis Waugh Gilbert Resurrection donated by Mrs. George F. Love in memory of hers husband, Rev. Love
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