Stained Glass
The window is formed of a decorative piece of glass. These may be white or colored and may receive a decoration. The term stained glass refers to a technique while closing a bay with fixed glass called a canopy.
Since the early Middle Ages , these parts are assembled by rods lead. This method, although still dominant today, is not the only one in use: other techniques, such as copper foil (also called the Tiffany method, the designer of Louis Comfort Tiffany ), the slab glass embedded in concrete or silicone, collage (with resins or polymers), and stained glass for free, can be used or combined.
A window is called glazing where its design is geometric and repetitive (eg diamond or terminals). Glazing is generally clear and unpainted.
A stained glass and glazing are realized following the same process involving lead and glass. The glass used is flat, with a thickness between 1.5 mm and 5 mm, and lead is in the form of H-shaped rods lying. The pieces of glass are set into the shot then the whole is maintained through the final weld made at each intersection of the shot.
The painted surface of the glasses is apparent. The weights in H are visible with their welded joints, as well as iron stiffeners and son of the copper binding to stained glass.
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Origins
The stained glass was produced from the earliest times. Both the Egyptians that the Romans excelled in the manufacture of small items of colored glass. The British Museum has two Roman coins exceptional cup of Lycurgus, whose color is mustard color purple highlights when light passes through and the Portland vase , dark blue to white incised.
In the early Christian churches of the fourth and fifth centuries, can still see many openings obscured by patterns in very thin sheets of alabaster set into wooden frames, giving a stained glass effect primitive. Similar effects were achieved with greater sophistication by Muslims in Asia Minor creators using colored glass instead of stone.
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The medieval stained glass
As an art form, the technique of stained glass reaches its fullness in the Middle Ages. During periods of Romanesque and early Gothic (950 to 1240), the openings were developed requiring larger areas of glass. Stability was ensured by robust iron frames. These models are still visible in the cathedral of Chartres and the eastern end of the nave of Canterbury Cathedral.
With the development of ornamental the gothic architecture , the openings became larger and larger, better lighting interiors. Gothic architecture innovation by introducing a partitioning of windows with vertical pillars and stone patterns. The complexity of these openings reached its climax in the huge bays of the flamboyant style in Europe.
Integrated into the trend of vertical elevation of cathedrals and parish churches, stained glass creations became increasingly bold. The circular or rose window developed in France, evolved from relatively simple openings in the walls to huge stone roses, like the west pediment of the Cathedral of Chartres. These models reached an enormous complexity, lace stone being branched into hundreds of different points, as in the Sainte Chapelle in Paris.
Stained glass in glass
This is a particular technique, very recent compared to the classical ancient art of stained glass. In 1929, in his studio in Montigny-les-Cormeilles north of Paris, Jules Albertini glass develops the first slabs of glass (glass plates of 20x30 cm, 2 to 3 cm. Thick) with Jean Gaudin mosaic that is the first artist to perform in France in glass windows; Augustus Labouret then deposited in 1933 a patent for a new technique of "stained glass tiles broken grating reinforced concrete." Charles Lorin adopts in turn. His pupil Gabriel Loire in Chartres, will make his technique of expression. It was a great success in the fifties, the Trappist monks, the Benedictine monks (Saint-Benoit-sur-Loire, in Calcat, Buckfast, ...) to adopt in their stained glass workshops as numerous workshops civilians, in relation with large orders for reconstruction and construction of modern churches. Painters, as Bazaine or Lger, made in glass make beautiful sets (see church Audincourt Doubs). If this technique is gradually increased from "fashion", some creators have made it their preferred mode of expression, such as a glass painter Henri Gurin (1929-2009) The stained-glass self This is a technique consisting of contemporary stained glass pieces of various types and textures (antique glass, slivers of glass tile, glass rods, glass beads, beach glass, recycled glass, etc.) deposited and combined between two windows, spaced about 2 cm, mounted in a frame of wood or metal. This technique was developed in early 1980 by Guy Simard, glass artist in Quebec City. While doing the same spirit, it is quite different from the technique of rolling free patented by Eric Wesselow (Prix de Rome), Canadian glass artist of Polish origin. The stained-glass self is different from traditional stained glass crimped lead in five areas: 1. While the large windows of churches or cathedrals are as large flat areas , stained glass free to watch rather a wide variety of textures. The window is then said or perceived to be more dynamic in the sense that when the point light (dot of light), the sun, for example, continues its course, or as the viewer moves relative to stained glass, the effects of Light also move from one piece of glass to another. 2. The realization of a stained glass free to take about four to five times longer than traditional stained glass and the amount of glass used is multiplied by the same proportion. So that the windows are free to drink about as heavy as the slabs of glass windows. 3. A stained-glass self is constructed somewhat like a high-warp tapestry. It rises from bottom to top. The glass pieces are deposited freely in the glass box that serves as their carrier, it follows that it is absolutely impossible to produce two glass windows to free absolutely identical, which is possible, cons, in traditional stained glass. 4. A stained-glass self contains no glue or use any form of crimping. What holds the glass is only its frame, its glass container and metal or wood. This means that the glass pieces inside the stained-glass self can move if, for example, the window is rotated 180 vertically, that is to say when the top is down and the bottom pointing upward. Thus, the glass is more compact, less he can move. 5. A traditional stained glass could lead, ultimately, measuring two meters by two meters. A stained-glass free from more than one square meter involves specific technical constraints. Notably, the lateral pressure increases rapidly in the center of the window, so that the glass holding the glass pieces tend to bulge. Most part, the greater the windows must be thick. For example, windows of 4mm thick enough for a frame of 60 x 60 cm, while the need to use windows of 5 to 6 mm for a part of one square meter. The technique of stained glass leaves little room for the improvisation during production. It is a document that shows a detailed view of a stained glass window representing the scale 1 / 10. This step determines the harmony of different colored glasses. We choose the glasses according to the colors shown on the model and taking into account their nature: ancient, plated, printed ... Samples of glasses were compared on a glass display to observe the relationship between these colors. It is the "technical drawing" of the panel, made to scale 1 / 1 on bubble wrap. The network weights is drawn with precision using the model as a model. It is then calibrated so that the lenses are cut. In the case of a figurative stained glass: one proceeds to an expansion of the model. If you own a box, one can trace the pattern of pellets on the paper. In the case of a glazing: using a compass to see the baluster spacing identical. The pieces are differentiated by numbers to be easily located. These may be the number of the bay, the number of the panel in the bay and the room number in the panel. They may also indicate the reference glass attributed to them. A sheet of glass may be variations in value that will be visible on parts. It can therefore indicate the gradient direction (+/-) or intensity chosen (high, medium, low). Before being calibrated, the line is dropped on a layer. This "backup" is important for making future copies of any repairs or broken parts. It also serves to position the parts that are cut and to avoid confusion and loss. A second layer can be made to crimp that will guide being slid under the panel. After realizing the layer, the line is cut methodically. The calibration is used to keep the measurements of the panel taking into account the assembly glass / lead. It should remove the thickness of the soul of lead (1.75 mm) on the path. It is distributed on each side of the line, and then removed. We obtain strong paper sizes that serve as a guide for cutting each piece. It is done differently depending on the reason for the panel: calibration to the blade and ruler are used for rectilinear patterns (diamonds, terminals ,...) whose cut parts is often the measuring rod. The tool passes symmetrically on either side of the line. The calibration is to calibrate the scissors used for cutting curved shapes. They have a central blade measuring 1.75 mm thick which takes the lead of the soul. The cut parts are very precise because each defect may alter the results, either in action or in the ground. The templates provide a guide for each piece and their overlap with the parts must be perfect. It uses a diamond (natural or synthetic) or a glass cutter (wheel glazier). In general, the action of the cutting is done in two stages: a scratch and then stall. If the scratch is done correctly, the glass "file" and the stall is exactly in that place (the beginnings of a crack is created that helps guide cutting.) In all cases, the higher the stall is delayed, the less easy because the cut is then closed gradually. If the hand can not get the two pieces, using pliers to loosen positioned perpendicular to the cutting line. If the edges are not perfect after the stall, they are correct with a pair of notching. For a better finish, stone Carborundum improves the edge pieces. The organization has a different pattern and type of parts to be debited: Also known as "plumb" it begins when parts of the panel are cut and they require no further treatment decorating (painting, baking, sanding, ...). The setting includes all the steps to assemble and shot glasses. The "path of lead" determine its organization. It is studied first to obtain a strong and logical when assembling. Beyond its mechanical function, the path lead emerging pattern of stained glass; crimping must therefore respect the design to make it readable. Equipment and tools: The timeline is going to receive the support assembly. It is wood (poplar preferred) and receives two rules nailed perpendicularly on its edges. These rules are beveled to receive the lead of those around. The assembly rests in the corner formed on the left or right of the editor after it is left or right handed. The editor uses knives assembling various widths used to cut the lead to handle. You can also use a knife to lead to sickle-shaped. It has a curved blade ending in a point and a handle often provided with a stop in tin to replace the hammer. The hammer used to tap the ends of leads, to plant nails assembly, to pack the glasses in the shot (with handle) and to pack the panel when the crimp is complete. The opener is used to remove lead sinkers for the wings they receive the parts. The mounting studs are used to temporarily hold the parts during assembly. Their shape is tapered to avoid scratching the glass and they can be removed easily. Each lead must be slightly flattened at its end in order to penetrate to the heart of another already installed. A lead between two glasses should be immediately cut and flattened to the next one can cover the installation done. A lead is never cut in the middle of a room, always comes the next stop. Before being welded, the wings are folded sinkers using a spatula to fold to strengthen the panel. This tool is made of wood or plastic and can have two forms: either to fold both wings simultaneously, either to cast off one leg at a time. When all leads are assembled, the network is secured by melting a little tin on each intersection. Tin is the metal used for welding because it melts at a very low temperature (232 C). It is used in the form of rods composed of a mixture with 40% lead. Olein is applied to each intersection with a brush or by impregnating the strip of tin. This oil is used to etch the surface lead to the solder adheres. Stearin is used, which performs the same function as the olein but it has the appearance of a white waxy block that is rubbed at intersections. The soldering iron is a device that produces heat to a copper tip, it can be electric or gas. The failure may be in size and shape varies. The overlapping wings of the shot is covered and hidden under tin. The weld is slightly curved but not too big. Its shape is centered on the intersection of symmetrically and not too spread out and formed the whole is homogeneous. The second side panel is then contresoude except the lead of those around who do not. This operation ensures the seal and consolidate the window. It remains controversial among professionals because its long-term effects can affect the quality of materials. When the leads are soldered, the panel is not yet sealed. It fills the spaces between the purposes and shot glasses with a sealant liquid. It is applied using a round brush so that it penetrates between the wings of the seals and the glass surface. This requires an intensive cleaning using the sawdust and scrubbing brushes. This type of grouting is strongly discouraged in the case of an old panel with painted parts: one has then fills "the finger" with the same cement (made stronger), which avoids contact all surfaces. The sealant is a composition based of linseed oil , of whiting (Spain, Troyes) and drying (to speed drying). The panel then dried in several variants, some do not folding the wings before grouting and can also clean with newspaper, etc.. Henri Gurin (1929 - 2009) 
Major steps in making a stained glass leaded
Design
The design, color, strength and durability of the window, ... but also the quality of light that penetrate into the architecture must be defined in advance. 
The model
The model includes the path of the shot, the color of glass, paint and eventual passage of the metal fittings. It serves as a starting point for developing a quote. The model highlights the proportions of the parts against each other and relative to the size of the window (especially in the case of glassworks).
The model serves as a reference document throughout the realization of stained glass. Staining
The route
The layer
Calibration
Cutting
The crimping
Welding
The grouting
Vocabulary
See also
Bibliography
Related articles
Painters of stained glass
External Links
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