Relevant bibliographies by topics / Stained glasses

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Stained glasses'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Stained glasses.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Stained glasses"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
2

Bonizzoni, L., A. Galli, and M. Milazzo. "Analyses of the stained glasses of Certosa di Pavia." X-Ray Spectrometry 31, no. 1 (January 2002): 35–38. http://dx.doi.org/10.1002/xrs.530.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sterpenich, J. "Crystal-chemistry of Alteration Products of Medieval Stained-Glasses." Mineralogical Magazine 62A, no. 3 (1998): 1456–57. http://dx.doi.org/10.1180/minmag.1998.62a.3.97.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Fernandes, Paula, Márcia Vilarigues, Luís C. Alves, and Rui C. da Silva. "Stained glasses from Monastery of Batalha: Non-destructive characterisation of glasses and glass paintings." Journal of Cultural Heritage 9 (December 2008): e5-e9. http://dx.doi.org/10.1016/j.culher.2008.07.005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Verney-Carron, Aurélie, Anne Michelin, Lucile Gentaz, Tiziana Lombardo, Anne Chabas, Mandana Saheb, Patrick Ausset, and Claudine Loisel. "Role of Weathering Layers on the Alteration Kinetics of Medieval Stained Glass in an Atmospheric Medium." MRS Proceedings 1656 (August 22, 2014): 175–86. http://dx.doi.org/10.1557/opl.2014.829.

Full text
Abstract:
ABSTRACTIn order to model and predict the alteration of medieval potash-containing stained glass, it is necessary to understand the mechanisms of alteration layer formation at the glass surface and its role on the evolution of alteration kinetics. Moreover, the alteration layers observed on stained glasses are particular, as they are often fractured and heterogeneous in terms of thickness, with the appearance of pits and the detachment of scales. Contrary to silicate glasses altered in aqueous environment where the gel layer has a protective role, cracks and scales are harmful to the durability of stained glasses altered in air. In order to address these mechanistic issues, a program of experiments in the laboratory and in the field were performed. The fracturing was shown to be caused by the growth of the alteration layers and amplified by the alternation of humid and dry periods changing the density of hydrated layers. The pitting is initiated by defects at the glass surface and increased in external atmospheric medium as these defects fix the precipitated salts. However, despite fracturing and pitting, the development of an altered layer imposes a diffusive transport of the solution between the external medium and the bulk glass.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Sterpenich, Jérôme, and Guy Libourel. "Water diffusion in silicate glasses under natural weathering conditions: evidence from buried medieval stained glasses." Journal of Non-Crystalline Solids 352, no. 50-51 (December 2006): 5446–51. http://dx.doi.org/10.1016/j.jnoncrysol.2006.08.041.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Vilarigues, M., P. Fernandes, L. C. Alves, and R. C. da Silva. "Stained glasses under the nuclear microprobe: A window into history." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 267, no. 12-13 (June 2009): 2260–64. http://dx.doi.org/10.1016/j.nimb.2009.03.049.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
10

Hunault, Myrtille O. J. Y., Claudine Loisel, Fanny Bauchau, Quentin Lemasson, Claire Pacheco, Laurent Pichon, Brice Moignard, et al. "Nondestructive Redox Quantification Reveals Glassmaking of Rare French Gothic Stained Glasses." Analytical Chemistry 89, no. 11 (May 23, 2017): 6277–84. http://dx.doi.org/10.1021/acs.analchem.7b01452.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Stained glasses"

1

Capobianco, Natan. "La couleur des vitraux au XIIIème siècle. Étude chimique et spectroscopique." Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS296.

Full text
Abstract:
La richesse des couleurs des verres des vitraux médiévaux est un élément caractéristique des grandes cathédrales gothiques. La coloration du verre est principalement due à des ions de métaux, comme le cuivre, le fer et le cobalt, et dépend de paramètres de fabrication du verre, tels que sa composition chimique ou l’atmosphère du four de cuisson. Ces verres sont donc des témoins importants dans l’histoire des techniques verrières. Nous avons dans un premier temps réalisé une synthèse des compositions de verres médiévaux français publiées, afin de mieux cerner le lien entre leur évolution temporelle, leurs disparités régionales, et les matières premières utilisées. En profitant de la dépose de la Rose de la Cathédrale de Reims, nous avons utilisé un dispositif de spectroscopie optique portable spécialement conçu pour analyser de manière non-invasive la couleur des verres de ce vitrail majeur, ainsi que l’origine de leur coloration. Nous avons ainsi pu mettre en évidence la maîtrise par les verriers médiévaux de nombreux procédés de coloration, et la comparaison avec les verres issus de restaurations montre l’évolution des techniques de coloration et l’attention portée par les restaurateurs au respect des couleurs des verres anciens. Parmi ces couleurs, les verres incolores à pourpres sont colorés par un même mélange de manganèse et de fer. Grâce aux spectroscopies optiques et XANES, et la comparaison entre des verres médiévaux issus de réserves de l’État et des verres modèles les reproduisant, synthétisés par nos soins, nous avons pu montrer que la maîtrise des colorations incolores à pourpres résultait d’un contrôle des conditions oxydoréductrices de la cuisson des verres
Colour variety of medieval stained glass is a characteristic feature of gothic cathedrals. Glass colour results mainly from ions of metals such as copper, iron and cobalt, and depends on parameters from glass fabrication, like its chemical composition or the furnace atmosphere. These glasses are thus important witnesses in the history of glass technology. First, we summarised the reported French medieval glass compositions, to work out the relationship between their changes over time and geography and the prime materials that have been used. The restoration of the Rose of Reims Cathedral allowed us to use optical absorption spectroscopy, with a portable device specifically designed, to analyse in a non-invasive manner the glass colours of this major window and the origin of the colourations. We showed how medieval glassmakers mastered many colouration processes and comparison with glass from previous restorations showed the consideration of restorers for matching the colour of ancient glasses. Among the colours, colourless to purple glasses are all coloured by a mixture of iron and manganese. Thank to XANES and optical absorption spectroscopies, and to the comparison between medieval glasses from state reserves and reproduction glasses we synthesised, we show that mastering of colourless to purple colouring result from a smart control of the oxidoreductive conditions in the furnace during glassmaking
APA, Harvard, Vancouver, ISO, and other styles
2

Beltrán, González Martí. "Analysis and degradation mechanisms of enamels, grisailles and silver stains on Modernist stained glass." Doctoral thesis, Universitat Politècnica de Catalunya, 2021. http://hdl.handle.net/10803/671478.

Full text
Abstract:
Materials and methods used in the production of modernist (late 19th and early 20th century) stained glass from the city of Barcelona with special regards to the degradation mechanisms of enamels, grisailles and silver stains have been studied. Coloured enamels from the raw materials used in the Rigalt, Granell & cia modernist workshops from Barcelona were produced and compared to those found in the buildings and belonging to the private collection of J.M. Bonet workshop to explore the reason for the reduced stability of the blue and green enamels. The chemical composition has been determined (and pigments identified) by means of Laser Ablation Inductively-Coupled Plasma Mass Spectrometry (LA-ICP-MS), X-Ray Diffraction (XRD) and UV-Vis-NIR spectroscopy, and the thermal properties of the enamels measured by Differential Scanning Calorimetry (DSC) and Hot Stage Microscopy (HSM). The enamels are made of a lead-zinc borosilicate glass characterised by its low sintering temperatures and high stability against chemical corrosion, in particular to water corrosion. However, the relatively narrow range of firing temperatures necessary for correct adherence of the enamels to the contemporary glass base may have required the addition of a high lead borosilicate flux, which would have increased the lead content of the enamel, decreasing the firing temperature but also its stability. The historical enamels show a lead, boron and zinc depleted silica rich amorphous glass, with precipitated lead and calcium sulphates or carbonates, characteristic of extensive atmospheric corrosion. The blue and green enamels show a heterogeneous layered microstructure more prone to degradation which is augmented by a greater heating and thermal stress affectation produced by the enhanced Infrared absorbance of blue tetrahedral cobalt colour centres and copper ions dissolved in the glass and, in particular, of the cobalt spinel particles
S'han estudiat els materials i mètodes utilitzats en la producció dels vitralls modernistes (finals del segle XIX i començaments del segle XX) de la ciutat de Barcelona, especialment en relació als mecanismes de degradació d’esmalts, grisalles i grocs de plata. S'han produït i estudiat els esmalts de color a partir de les matèries primeres utilitzades pel taller Rigalt, Granell & cia de Barcelona, per comparar amb mostres originals pertanyents a la col·lecció privada del taller J.M. Bonet vitralls per així estudiar la raó de la reduïda estabilitat dels esmalts blaus i verds. La composició química i els pigments han estat identificats per LA-ICP-MS, espectroscòpia d'UV-Vis-NIR i XRD, i les propietats tèrmiques dels esmalts han estat mesurades amb DSC i HSM. Els esmalts són vidres borosilicats de plom i zinc caracteritzats per baixes temperatures de sinterització i una gran estabilitat contra la corrosió química, especialment respecte a la corrosió de l'aigua. No obstant, el relativament estret marge de temperatures necessari per una correcta adherència dels esmalts al vidre base de l’època podria haver requerit l’addició d’un fundent amb un alt tant per cent de plom i bor, que podria haver augmentat la proporció de plom a l’esmalt disminuint la temperatura de treball juntament amb la seva estabilitat. Els esmalts històrics presenten una composició alterada a on plom, bor i zinc han disminuït en front a un augment de la proporció de silici a la fase vítria, amb l’aparició de precipitats de sulfats o carbonats de plom i calci, característics de l’efecte de la corrosió atmosfèrica. Els esmalts blaus i verds presenten una microestructura en capes heterogènies que són més susceptibles a la degradació, la qual augmenta degut a la calor i l’estrès tèrmic respecte al vidre base que provoca una major absorbància a la regió de l’infraroig proper deguda a la presència d’estructures tetraèdriques dels ions de cobalt i coure dissoltes a la fase vítria, i en particular de les partícules d'espinel·les de cobalt
Se han estudiado los materiales y métodos utilizados en la producción de los vitrales modernistas (finales del siglo XIX y principios del siglo XX) de la ciudad de Barcelona, especialmente en relación a los mecanismos de degradación de esmaltes, grisallas y amarillos de plata. Se han producido y estudiado los esmaltes de color a partir de las materias primas utilizadas por el taller Rigalt, Granell & cia de Barcelona, para luego comparar con muestras originales de la colección privada del taller J.M. Bonet vitralls y así estudiar la razón de la reducida estabilidad de los esmaltes azules y verdes. La composición química y los pigmentos han sido identificados por LA-ICP-MS, espectroscopía UV-Vis-NIR, y las propiedades térmicas de los esmaltes han sido medidas con DSC y HSM. Los esmaltes son vidrios borosilicatos de plomo y zinc caracterizados por bajas temperaturas de sinterizado y una gran estabilidad contra la corrosión química, especialmente contra la corrosión del agua. No obstante, el relativamente estrecho margen de temperaturas necesario para una correcta adherencia de los esmaltes al vidrio base de la época podría haber requerido la adición de un fundente con un alto tanto por ciento de plomo y boro, que podría haber aumentado la proporción de plomo en el esmalte disminuyendo la temperatura de trabajo junto con su estabilidad. Los esmaltes históricos presentan una composición alterada donde plomo, boro y zinc han disminuido a favor de un aumento de la proporción de silicio en la fase vítrea, con la aparición de precipitados de sulfatos o carbonatos de plomo y calcio, característicos del efecto de la corrosión atmosférica. Los esmaltes azules y verdes presentan una microestructura en capas heterogéneas que es mas susceptible a la degradación, que aumenta debido a la temperatura y al estrés térmico respecto al vidrio base que provoca una mayor absorbancia en la región del infrarrojo cercano debido a la presencia de estructuras tetraédricas de los iones de cobalto y cobre disueltos en la fase vítrea, así como a la presencia de partículas de espinelas de cobalto
APA, Harvard, Vancouver, ISO, and other styles
3

Cheshire, James Peter. "Early Victorian stained glass." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244419.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Allen, Jasmine. "Stained glassworlds : stained glass at the International Exhibitions 1851-1900." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/3991/.

Full text
Abstract:
Studies of nineteenth-century stained glass are sparse, and tend to focus on the medium in its ecclesiastical and architectural settings. This thesis broadens such approaches by placing stained glass in its wider cultural, political, economic and global contexts by considering its display at ten international exhibitions held in England, France, the USA and Australia between 1851 and 1900. These temporary exhibitions provide a unique vantage point from which to survey the perception, practice, and status of stained glass during the peak of the medium’s revival. Drawing on contemporaneous written and visual sources, as well as recent studies of nineteenth-century culture, this study explores the extent to which the international displays of stained glass at these exhibitions shaped and developed the appreciation, application, understanding and permeation of stained glass throughout the nineteenth-century. This thesis demonstrates how the classification and various modes of displaying stained glass impacted future perceptions and displays of the medium. It considers the ways in which stained glass was part of a broader culture of spectacle in this period. It identifies those who made and exhibited stained glass for display at the international exhibitions, revealing their motives for participating and additional roles as reviewers and judges of exhibits. This project reveals, for the first time, the significance of the international exhibitions in the history of stained glass. It draws on nineteenth-century critical reviews, visual records and exhibits (both extant and non-extant) and offers close readings of specific stained glass exhibits, which are analysed in relation to stylistic developments, and to medieval and modern glazing techniques. Finally, the thesis demonstrates how stained glass was a symbolic and iconographic vehicle for expressions of nationalism and imperialism at these international events. By considering the presence of stained glass in the international exhibition environments, this thesis suggests the medium is a crucial and neglected aspect of nineteenth-century modernity.
APA, Harvard, Vancouver, ISO, and other styles
5

Boggio, Paolo. "The Stained Glass Island: analytical commentary." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573692.

Full text
Abstract:
The portfolio of compositions and the present commentary are the fulfilment of my research degree in Composition as a part-time distance learning student from 2004 to 2011 at the Birmingham Conservatoire. My research is entitled The Stained Glass Island and it includes five works for different instrumentations, from large orchestra to solo instrument. The two main works are for large orchestra: The Stained Glass Island I and The Stained Glass Island II. The supporting chamber works are for quintet (Oskar’s Circus), for trio (Oskar’s Dance) and for solo instrument (Oskar’s Dream). A number of musical materials coming from the orchestral works flow into the chamber works and vice versa, with the aim to explore their expressive and musical possibilities through different instrumental forces. The portfolio also includes a CD with recordings of my works premièred in the US, Spain, Italy and the UK, on the occasion of international composition competitions and concert series. The initial inspiration for my research comes from The Dreaming Youths (Die träumenden Knaben), eight colour lithographs and a poetic text by Oskar Kokoschka, the expressionist painter and poet. Kokoschka’s narration of a fantastic journey, his use of stylisation, the deformed figures, the emphasis on intense contrasting inner moods and the allusive and hallucinated poetic language impressed me greatly, creating powerful visual and emotional suggestions for the composition of this series of works. This commentary begins with a short background focusing on a number of compositions by other composers that were particularly influential on my work. The next chapter explains my harmonic technique and how it tries to express in music the main aspects of Kokoschka’s work. After a short analysis of Die traümenden Knaben lithographs and poetic text the following chapters analyse my works in greater detail. The conclusion looks at the motivation of this research, its development and outcomes, in light of the whole work, its performances and achievements during these years.
APA, Harvard, Vancouver, ISO, and other styles
6

Suganthan, Shanmugalingam. "Enhancement of images of stained glass windows." Thesis, University of Derby, 2003. http://hdl.handle.net/10545/213789.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Rush-Bambrough, Sally. "Glass painting in Scotland, 1830-70." Thesis, Glasgow School of Art, 2001. http://radar.gsa.ac.uk/4928/.

Full text
Abstract:
This is a thesis in two parts. Chapters one to four examine the circumstances of the stained glass revival in Scotland while chapters five to eight identify the particular character of nineteenth century Scottish glass painting up to the 1870s. The opening question is whether or not by the early nineteenth century glass painting was truly an art in decline and this discussion leads into the investigation of the significance of progress in the glass industry to the stained glass revival. This line of questioning continues with the identification of the pioneers of the stained glass revival in Scotland, re-assessing the contribution of James Ballantine and introducing William Cooper. The initial demand for stained glass in Scotland is explored through reference to genealogy, antiquarianism and High Church practice. Edinburgh offered unique opportunities for apprentice glass painters to acquire an art education and this thesis moves on to discuss how this influenced their approach to glass painting, focusing upon the career of Francis Wilson Oliphant. It argues that the commissions which shaped the future direction of Scottish glass painting were the rebuilding of the Houses of Parliament and the re-glazing of Glasgow Cathedral where, in both cases, German glass painting was nominated as the approved artistic model. As it was eventually decided that the new windows for Glasgow Cathedral should be designed and executed by the Königliche Glasmalereianstaff of Munich, thesis concludes with a demonstration of the subsequent German influence upon Scottish glass painting.
APA, Harvard, Vancouver, ISO, and other styles
8

Simmons, Christopher. "Fiat lux: climatic considerations in medieval stained glass aesthetics." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21909.

Full text
Abstract:
As expressions of regional architecture built to last, sacred Gothic structures often possess several adaptations to their prevailing climate regime. However, the late medieval period in Europe is also marked by a transition to cooler and likely cloudier conditions. It is within the context of this climate change that we consider one of the most important considerations in Gothic churches—interior daylighting—during the transition from the Medieval Warm Period to the Little Ice Age. This thesis seeks to determine whether increasingly cloudy conditions over northern continental Europe may have influenced the use of more white glass in the Fourteenth century. With primary illuminance and luminance data collected in Europe, the results indicate that full-colour programs appear to perform best under sunny conditions, whereas later, white-dominated programs provide similar illumination under cloudy conditions. However, this high-translucency glazing is associated with limited lighting gains and major aesthetic drawbacks under sunny conditions.
Etant donné que les cathédrales gothiques ont été construites pour durer, plusieurs adaptations aux climats regionaux y ont été apportées. Cependant, la fin du Moyen Âge fut marquée par un changement climatique vers des conditions plus froides et probablement plus nuageuses en Europe du nord continentale. C'est donc dans ce contexte que nous cherchons à comprendre l'un des éléments les plus importants de l'architecture gothique—éclairage naturel intérieur—durant la transition entre la période chaude médiévale et le petit âge glaciaire. En particulier, cette thèse voudrait évaluer la relation entre l'utilisation de plus en plus fréquente du vitrail blanc durant le XIVème siècle d'un côté et le changement climatique d'un autre côté. Avec des données d'éclairement lumineux et de luminance lumineuse collectées dans plusieurs cathédrales en Europe, les résultats indiquent que les vitraux plein-colorés éclairent mieux l'interieur durant les journées ensoleillées. D'autre part, les vitraux incolorés du XIVème siècle fournissent un éclairage similaire durant les journées nuageuses, toutefois ils ne présentent que peu d'avantages dans des conditions plus ensoleillées, de plus l'utilisation du vitrail plus transparent produit des effets négatifs sur le plan esthétique.
APA, Harvard, Vancouver, ISO, and other styles
9

MacNeil, Edward J. "The stained-glass menagerie, Catholic women in educational leadership." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0019/MQ28611.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ciaran, Fiona. "Stained glass in Canterbury, New Zealand, 1860 to 1988." Thesis, University of Canterbury. Art History, 1992. http://hdl.handle.net/10092/7555.

Full text
Abstract:
The region of Canterbury, New Zealand, contains a large collection of nineteenth and twentieth-century stained glass windows. Founded by British emigrants in 1850 as a Church of England settlement, Canterbury retained close links with Britain well into the twentieth century and this is reflected in the importation of stained glass windows. While the majority of windows are found in Anglican churches and include accomplished works by Victorian studios, other denominations also commissioned stained glass. There is a smaller but significant sample of works by Australian, French, German and Irish studios. Twentieth-century windows include major works by Arts and Craft Movement artists. Work by New Zealand studios increases from the beginning of the twentieth century, and after 1973, importation ceases. Although stained glass is a monumental, public art form of immense visual appeal, this collection has, until now, remained unrecognised and undocumented. This thesis presents a comprehensive catalogue of all ecclesiastical and selected secular stained glass windows in Canterbury. Divided into two main groups, reflecting the author's assessment of the significance of individual windows, the catalogue forms the basis of an analysis of the collection as a whole. Critical attitudes towards stained glass, the status of the medium, patterns of installation, the roles played by key people in the selection of commissions, questions of patronage, commemoration, iconography and vandalism are discussed. Appendixes provide statistical data on the collection as well as biographical and historical information on the studios, designers and executants represented. New information is presented about British artists, some of whom have been virtually unexamined by historians. It is argued that stained glass in Canterbury not only comprises the most important regional collection of windows in New Zealand, but also that its imported twentieth century works rival those of Australia's. The exportation of nineteenth and twentieth century stained glass from Britain is represented in microcosm in Canterbury, thus necessitating a reappraisal of the history of British stained glass. Finally, the development of local studios represents a significant but neglected aspect of artistic life in New Zealand.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Stained glasses"

1

Gerstein, Marc Saul. Stained glass. New York: Henry Holt, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lee, Lawrence. Stained glass. London: Spring, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Stained glass crafting. New York: Sterling Pub., 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Spilsbury, Richard. Stained glass windows. New York: PowerKids Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Stained glass. North Pomfret, Vt: Trafalgar Square Pub., 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Johnston, Michael. Making stained glass lamps. Mechanicsburg, PA: Stackpole Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Johnston, Michael. Making stained glass lamps. Mechanicsburg, PA: Stackpole Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Making stained glass lamps. Mechanicsburg, PA: Stackpole Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Caviness, Madeline Harrison. Stained glass windows. Turnhout, Belgium: Brepols, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Carola, Hicks, ed. Discovering stained glass. 3rd ed. Princes Riseborough, England: Shire Publications, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Stained glasses"

1

Lavatelli, Alberto, Emanuele Zappa, Alfredo Cigada, and Francesco Canali. "Monitoring of Environmental and Sound-Induced Vibrations on Artistic Stained Glasses." In Sensors and Instrumentation, Aircraft/Aerospace, Energy Harvesting & Dynamic Environments Testing, Volume 7, 399–407. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12676-6_39.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Cruz, E. L. Algarra, N. Barbier, S. Bruni, G. Maino, G. Marghella, E. Papalazarou, and L. Volpe. "Alteration Phenomena on Surfaces of Stained Glasses by Masters From XIII to XV Century." In International Multidisciplinary Microscopy Congress, 171–76. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04639-6_23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kang, Dongwann, Doan Quang Vu, and Kyunghyun Yoon. "Generating Stained Glass Animation." In E-Learning and Games, 228–32. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65849-0_25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Setlur, Vidya, and Stephen Wilkinson. "Automatic Stained Glass Rendering." In Advances in Computer Graphics, 682–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11784203_66.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Cheshire, Jim. "William Morris and Stained Glass." In The Routledge Companion to William Morris, 188–206. New York, NY: Routledge, 2021. |: Routledge, 2020. http://dx.doi.org/10.4324/9781315229416-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sison, Antonio D. "Conclusion: The New Stained Glass Window." In Screening Schillebeeckx, 183–84. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230602106_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Seo, SangHyun, HoChang Lee, HyunChul Nah, and KyungHyun Yoon. "Stained Glass Rendering with Smooth Tile Boundary." In Computational Science – ICCS 2007, 162–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-72586-2_23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kim, Jung-A., Shihua Ming, and Dongho Kim. "A Realistic Illumination Model for Stained Glass Rendering." In Virtual Reality, 80–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-73335-5_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Leissner, Johanna. "Excimer Laser Cleaning for Mediaeval Stained Glass Windows." In Optical Technologies in the Humanities, 151–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-60872-8_20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Römich, H., P. Mottner, J. Hildenhagen, K. Dickmann, G. Hettinger, and F. Bornschein. "Comparison of Cleaning Methods for Stained Glass Windows." In Springer Proceedings in Physics, 157–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/3-540-27176-7_20.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Stained glasses"

1

MacDonald, Lindsay W. "Digitization of stained glass." In Electronic Imaging '97, edited by V. Ralph Algazi, Sadayasu Ono, and Andrew G. Tescher. SPIE, 1997. http://dx.doi.org/10.1117/12.270056.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Giani, Alfredo, Lindsay W. MacDonald, Caroline Machy, and Shanmugalingam Suganthan. "Image segmentation of stained glass." In Electronic Imaging 2003, edited by Reiner Eschbach and Gabriel G. Marcu. SPIE, 2003. http://dx.doi.org/10.1117/12.474880.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Uscinowicz, Jerzy. "NEW STAINED GLASS LIGHTS OF ICON." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.015.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shi-Chei Hung, Da-Chun Wu, and Wen-Hsiang Tsai. "Data hiding in stained glass images." In 2005 International Symposium on Intelligent Signal Processing and Communication Systems. IEEE, 2005. http://dx.doi.org/10.1109/ispacs.2005.1595363.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Suganthan, S. "Grille shadow removal from image of stained glass windows." In IEE International Conference on Visual Information Engineering (VIE 2005). IEE, 2005. http://dx.doi.org/10.1049/cp:20050070.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ceglia, A., W. Meulebroeck, H. Wouters, K. Baert, K. Nys, H. Terryn, and H. Thienpont. "Using optical spectroscopy to characterize the material of a 16thc. stained glass window." In Integrated Approaches to the Study of Historical Glass - IAS12, edited by Hugo Thienpont, Wendy Meulebroeck, Karin Nys, and Dirk Vanclooster. SPIE, 2012. http://dx.doi.org/10.1117/12.981436.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Trümpler, Stefan, Sophie Wolf, Cordula Kessler, and Jürg Goll. "Potential and challenges of interdisciplinary research on historical window glass, stained glass and reverse glass paintings." In Integrated Approaches to the Study of Historical Glass - IAS12, edited by Hugo Thienpont, Wendy Meulebroeck, Karin Nys, and Dirk Vanclooster. SPIE, 2012. http://dx.doi.org/10.1117/12.978231.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Wilk, Dariusz, Marta Kamińska, Małgorzata Walczak, and Ewa Bulska. "Archaeometric investigations of medieval stained glass panels from Grodziec in Poland." In Lasers in the Conservation of Artworks XI. Nicolaus Copernicus University Press, 2017. http://dx.doi.org/10.12775/3875-4.19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Li, Xue-Hui, and Kuo-Kuang Fan. "Notice of Retraction: The discussion on information dissemination of medieval stained glass." In 2016 International Conference on Applied System Innovation (ICASI). IEEE, 2016. http://dx.doi.org/10.1109/icasi.2016.7539937.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Andron, Diana Beatrice. "MUSICAL STAINED GLASS WINDOWS. INSTANCES OF THE SOUND IMAGINARY IN COMPARATIVE VIEWS." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.044.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Stained glasses"

1

Shin, Eonyou, and Chanmi G. Hwang. Through a Stained Glass Window. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-998.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Armstead, Charity Calvin. Stained Glass in Three Dimensions. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-253.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Zhuk, Yayna, and Joycelyn Burdett. Sea Floor Stained Glass Women’s Tailored Suit. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1092.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Connors, L. Colored Light: A Brief Study of Stained Glass Windows, Including a Self-Guided Tour of Stained Glass in West Portland. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2090.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Stained glasses' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography