Art of Stained Glass

The third and most recent restoration took location at Greenland Studio in 1986. There were 3 components to this restoration process, all of them visible towards observer on close inspection in the stained glass panel. The panel was releaded, the cracks in it have been glued with "Ablebond" acrylic resin, as well as the bordering quarries and back plate were stripped during the panel.

The panel makes use with the simplest ornamentation, one that may be kept throughout each scene within the series. The pattern in the damask consists of the single color background with the trefoilated leafy vine inside the foreground. Every leave is varied to a minor degree, but they all share similar characteristics. Each includes a similar scale and fleshiness reminiscent from the few pieces of glazing left over from Sainte-Chappelle at Dijon. Other ornamentation consists with the limp leaf crockets that line the archways and also the parapet of pierced quatrefoils decorating the background architecture. The floor panels alternate patterns, either a checkerboard model or a triangular one. Most of this ornamentation is unspectacular unlike many other stained glass works of the exact same period, but a a lot more striking ornamentation does occur during the use of light, an strong illusion made by the cabochons bordering the Angel's dalmatic. Cast-shadowing along with a highlighting affect glimpse to generate the image possess 3 dimensions.

 NATIVITY (Rectangular Panel: 63.6 x 58.6)

Like the Annunciation discussed previously, the Nativity seems to get also undergone 3 distinguishable restorations. On close observation, one can see the work of the initial restoration inside area that surrounds the head from the ass. A restoration that followed was a replacement. It seems from viewing the panel that a piece of Joseph's robe, the chin over a ass, and the correct portion in the arch have all been replaced. Once again, the final restoration occurred at Greenland Studio. During this restoration the cracks inside panel were removed in addition to any from the bordering quarries. The present, post-restoration nation of the panel was performed in 1990.

fteenth century France are the inspiration behind the Annunciation scene that may be modeled on the disguised symbolism they originated. This Virgin, unlike Italian icons depicted during the fifteenth century, has Mary kneeling and not sitting in a chair similar to a throne. While she is kneeling the angel also kneels previous to her as the dove simultaneously speaks in her ear. The holy trinity symbolism is apparent inside the depiction of three characterizations. The Virgin Mary had quite a few tasks and some of them, for instance working her spindle or loom, are depicted over a 2 lost panels from Berlin. However, an additional from the Virgin Mary's tasks was reading Holy Writ and spending time in prayer. In this panel we see her devoting her time to each of these prescribed tasks. Like the 2 lost panels in Berlin, the Virgin is accompanied by an angel. Nonetheless, we can see in this panel the combination of traditional iconography symbolism interspersed with issues with the new disguised symbolism, the influence with the Flemish.

Unlike numerous conventional depictions from the nativity, in this panel the only characters who are present are the Holy Family members as well as the animals. Joseph and Mary stand around the baby Jesus, watching over him.

 

 

 

 

 

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