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{{Proses/BukanTeamBiasa}}{{terjemah|en|Stained gla}}
[[Fail:Canterbury Cathedral window at crossing.jpg|thumb|200px|Sebuah tingkap [[seni bina Gothik Inggeris|gaya tegak lurus]] [[seni bina Gothik|Gothik]] besar daripada lapan cahaya di [[Katedral Canterbury]], sek. 1400, yang mengandungi kaca zaman pertengahan.]]
 
Istilah '''kaca berwarna''' dapat merujuk kepada bahanpada [[kaca]] yang berwarna atausebagai ketukanganbahan dan karya yang bekerjadibuat dengannyadaripadanya. Sepanjang sejarah seribu tahunnyatahun, istilah "kaca berwarna"ini telah digunakanditerapkan hampir secara khususeksklusif terhadappada tingkap gereja, [[katedral]],dan gerejabangunan kecil,keagamaan dan bangunanyang penting lain. Walaupun secara tradisional diperbuatdibuat dalam panel leperrata dan digunakan sebagai tingkap, penciptaanciptaan artisseni kaca berwarna moden juga termasukmerangkumi struktur dan [[Seni arca|arca]] tiga dimensi.
 
Sebagai bahan, ''kaca berwarna'' ialah kaca yang telah diwarnai dengan menambahkan [[Garam (kimia)|garam logam]] semasa pembuatannya, dan biasanya kemudian dihias dengan lebih banyak cara. Kaca berwarna dijadikan ''tingkap kaca berwarna'' di mana kepingan kecil kaca disusun untuk membentuk corak atau gambar, dipegang bersama (secara tradisional) oleh jalur timah dan disokong oleh bingkai yang kaku. Perincian yang [[Cat|dilukis]] dan warna kuning sering digunakan untuk meningkatkan reka bentuk. Istilah ''kaca berwarna'' juga diterapkan pada tingkap dengan kaca berenamel di mana warnanya telah dicat ke atas kaca dan kemudian melakur kaca ke dalam tanur; selalunya teknik ini hanya digunakan pada bahagian tingkap.
Penggunaan vernakular moden sering memanjangkan istilah "kaca berwarna" untuk memasukkan [[leadlight]] rumah dan [[karya seni]] dicipta dari [[lead came and copper foil glasswork]] yang dicontohkan dalam lampu [[Louis Comfort Tiffany]] yang terkenal.
 
== Sejarah ==
Sebagai bahan, ''kaca berwarna'' ialah kaca yang diwarna dengan menambah [[garam (kimia)|garam logam]] sewaktu pengilangannya. Kaca berwarna ditukangkan ke dalam ''tingkap kaca berwarna'' di mana kepingan kecil kaca disusun untuk membentuk corak atau gambar, dipegang bersama (secara tradisional) dengan jalur-jalur plumbum dan disokong oleh sebuah bingkai keras. Perincian bercat dan kesan kotoran kuning sering digunakan untuk menambah menarik reka bentuk. Istilah ''kaca berwarna'' juga digunakan pada tingkap di mana warnanya telah dicat pada kaca dan kemudian dilakurkan pada kaca dalam sebuah tanur.
Kaca berwarna telah dihasilkan sejak zaman dahulu lagi. Kedua-dua orang [[Mesir Purba|Mesir]] dan [[Rom kuno|Rom]] cemerlang dalam pembuatan objek kaca kecil berwarna. [[Phoenicia]] juga penting dalam pembuatan kaca dengan pusat utamanya [[Sidon]], Tyre dan [[Antokiah|Antioch]] .
 
Di gereja-gereja Kristian awal abad ke-4 dan ke-5, terdapat banyak peninggalan tingkap yang dipenuhi dengan corak hiasan dari alabaster yang dihiris tipis dijadikan bingkai kayu, memberikan kesan seperti kaca berwarna.
Kaca berwarna, sebagai suatu [[seni]] dan suatu [[pertukangan]], memerlukan kemahiran seni untuk memikirkan reka bentuk sesuai dan dapat dikerjakan, dan kemahiran kejuruteraan untuk memasang kepingan. Sekeping tingkap harus muat dengan selesa ke dalam ruang yang mana yang ia diperbuatkan, harus tahan angin dan hujan dan juga khususnya di tingkap-tingkap lebih besar, harus menyokong beratnya. Banyak tingkap besar telah tahan ujian zaman dan kekal dalam keadaan baik sebahagian besarnya sejak akhir [[Zaman Pertengahan]]. Di [[Eropah Barat]] mereka merupakan bentuk utama seni bergambar yang kekal. Dalam konteks ini, tujuan sebuah kaca berwarna ialah untuk tidak membenarkan orang di dalam bangunan untuk melihat dunia luar atau juga bukan tujuan utama tingkap membenarkan cahaya masuk tetapi lebih kepada mengawalnya. Untuk tujuan ini tingkap kaca berwarna telah diperikan sebagai 'hiasan dinding bercahaya'.
 
Di Timur Tengah, industri kaca Syria terus berlanjutan selama zaman Islam dengan pusat pembuatan utama di [[Ar-Raqqah|Raqqa]], [[Aleppo]] dan [[Damsyik]] dan produk yang paling penting adalah kaca tanpa warna dan kaca berlapis yang sangat telus, berbanding kaca berwarna. <gallery style="font-size:95%;line-height:1.35" class="center" widths="200" heights="200">
Reka bentuk sebuah tingkap dapat dijadikan dengan kiasan atau bukan-kiasan; mungkin mengandungi cerita dari [[kitab Bible]], sejarah, atau sastera; mungkin mewakili santo atau penaung, atau menggunakan motif simbolik, pada khususnya jata. Tingkap-tingkap dalam sebuah bangunan mungkin bertema, contohnya: dalam sebuah gereja - episod-episod dari kehidupan Christ; dalam sebuah bangunan parlimen - jata-jata kawasan pilihan raya; dalam dewan kolej - lembaga-lembaga yang mewakili seni dan sains; atau dalam rumah - flora, fauna, atau pandangan darat.
Fail:Alabastron Italy Louvre S2375.jpg|Bejana [[Perfume|minyak wangi]] dari tahun 100 SM hingga 200 Masihi
Fail:Portland Vase BM Gem4036 n5.jpg|[[Portland Vase|''Portland Vase'']], contoh jarang kaca berkedip Rom
Fail:Orvieto083.jpg|Tingkap alabaster di [[Orvieto Cathedral|Katedral Orvieto]], Itali
</gallery> Di Eropah, kaca berwarna terus dihasilkan; gaya berkembang dari Gothik ke Klasik, yang muncul di Jerman, Belgium dan Belanda, walaupun munculnya [[Protestan|Protestantisme]] . Di Perancis, banyak gelas pada masa ini dihasilkan di kilang [[Limoges]], dan di Itali di [[ Murano |Murano]], di mana kaca berwarna dan kristal plumbum sering digabungkan bersama di tingkap yang sama. Revolusi Perancis membawa kepada pengabaian atau pemusnahan banyak tingkap di Perancis.
 
Banyak syarikat abad ke-19 gagal pada awal abad ke-20 kerana gerakan Gothik digantikan oleh gaya yang lebih baru.
== Pengilangan ==
=== Pengeluaran kaca ===
Dari abad ke-10,11 yang lalu,ketika kaca yang kotor mula digunakan mengarcha seni,para pengusaha kilang kaca bersedia dan menyimpan persediaan siap bahan silika, produk penting dari pembuatan kaca. Glass was usually coloured by adding metallic [[oxide]]s to the glass while in a molten state in a clay pot over a furnace. Glass coloured in this way was known as ''pot metal''. Copper oxides were added to produce green, cobalt for blue, and gold was added to produce red glass. Much modern red glass is produced using ingredients less expensive than gold and giving a brighter red of a more vermilion shade.
 
Kebangkitan semula berlaku pada pertengahan abad ke-20 kerana keinginan untuk mengembalikan ribuan tingkap gereja di seluruh Eropah yang musnah akibat pengeboman Perang Dunia II. Artis Jerman memulakan langkah ini. Sebilangan besar pekerjaan kaca berwarna pada masa itu biasa dan sering tidak dibuat oleh pereka, tetapi dihasilkan secara industri.
'''Kaca silinder'''
This glass was collected from the pot into a molten ball and blown, while being continually manipulated until it formed a large cylindrical bottle shape of even diameter and wall-thickness. It was then cut open, laid flat and [[Annealing (glass)|annealed]] to make it stable. This is the type of glass most commonly used for ancient stained glass windows.
 
'''Kaca mahkota'''
This glass was partly blown into a hollow vessel, then put onto a revolving table which could be rapidly spun like a potter's wheel. The centrifugal force caused the molten material to flatten and spread outwards. It could then be cut into small sheets. This glass could be made coloured and used for stained glass windows, but is typically associated with small paned windows of 16th and [[17th century]] houses. The concentric, curving ripples are characteristic of this process. The center of each piece of glass received less force during the spinning, and thus produced was a thicker piece. These centres were for the special effect created by their lumpy, refractive quality. They are known as ''[[bull's eye]]s'' and are feature of late 19th century domestic [[leadlight]] and are sometimes also used with ''[[cathedral glass]]'' or ''quarry glass'' in non-pictorial church windows of that date.
 
'''Kaca meja'''
This glass was produced by pouring molten glass onto a metal table and sometimes rolling it with a large metal cylinder. The glass thus produced is heavily textured by the reaction of the glass with the cold metal. Glass of this appearance is commercially produced and widely used today, under the name of [[cathedral glass]], although it was not the type of glass favoured for stained glass in ancient cathedrals. It has been much used for lead lighting in churches in the 20th century. Modern glass made by this technique is often heavily patterned by the use of an engrave metal roller.
 
'''Flashed glass'''
Red [[Pot metal|pot metal glass]] was often undesirably dark in colour and prohibitively expensive. The method developed to produce red glass was called ''flashing''. In this procedure, a semi-molten cylinder of clear glass was dipped into a pot of red glass so that the red glass formed a thin coating. The laminated glass thus formed was cut, flattened and heat annealed.
 
There are a number of advantages to this technique. It allows a variety in the depth of red ranging from very dark and almost opaque, through ruby red to pale and sometimes streaky red that was often used for thin border pieces. The other advantage was that the red of double-layered glass could be engraved or abraded to allow light to shine through the clear glass underneath. In the late Medieval period, this method was often employed to add rich patterns to the robes of Saints. The other advantage, much exploited by late Victorian and early 20th century artists, was that sheets could be flashed in which the depth of colour varied across the sheet. This was applied to a range of colours. Some stained glass studios, notably [[Lavers, Barraud and Westlake]] in England, made extensive use of large segments of irregularly flashed glass in robes and draperies.
 
'''Modern production of traditional glass'''
There are a number of glass factories, notably in Germany, USA, England, France, Poland and Russia, which produce high quality glass by traditional methods. Such glass is produced primarily for the restoration of older windows from 1920s and before. The production of new windows in traditional [[Victorian era|Victorian]], [[Arts and Crafts movement|Arts and Crafts]] and early 20th century styles often uses traditional glass. Modern stained glass windows also often use a variety of these different types of glass, or employ commercially made glass.
 
<!---Hiding this section. At this point, the information that it contains doesn't fit this article. The info needs sifting through and rephrasing to make it relevant.
====Warna====
[[Image:Amber Glass Flask.JPG|thumb|right|Amber Glass]]
[[Image:Cobalt blue botles.jpg|thumb|right|Cobalt Blue Glass]]
[[Image:bristol.blue.glass.arp.750pix.jpg|thumb|right|Metal oxide additives in the glass mix can produce a variety of [[color]]s. Here, [[cobalt oxide]] has been added to produce a bluish color]]
[[Image:Universeglass.JPG|thumb|right|The inside of a blue glass cup]]
 
Colors in glass may be obtained by addition of coloring ions and by precipitation of finely dispersed colloides (such as in "ruby gold",<ref>[http://www.physik.tu-muenchen.de/archaeometry/download/ICAMERuby.pdf Formation of Gold Nanoparticles in Gold Ruby Glass: The influence of Tin]</ref> white tin oxide glass, red "selenium ruby").<ref name=vogel>Werner Vogel: "Glass Chemistry"; Springer-Verlag Berlin and Heidelberg GmbH & Co. K; 2nd revised edition (November 1994), ISBN 3-540-57572-3</ref> Ordinary [[soda-lime glass]] appears [[color]]less to the naked eye when it is thin, although iron oxide impurities produce a [[green]] tint which can be viewed in thick pieces or with the aid of scientific instruments. Further [[metal]]s and metal [[oxide]]s can be added to glass during its manufacture to change its color which can enhance its aesthetic appeal. Examples of these additives are listed below:
 
* [[Iron(II) oxide]] may be added to glass resulting in bluish-green glass which is frequently used in beer bottles. Together with [[chromium]] it gives a richer green color, used for [[wine bottle]]s.
* [[Sulphur]], together with [[carbon]] and iron salts, is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black. In [[borosilicate glass]]es rich in boron, sulphur imparts a blue color. With [[calcium]] it yields a deep yellow color. <ref>[http://1st.glassman.com/articles/glasscolouring.html Substances Used in the Making of Coloured Glass] 1st.glassman.com (David M Issitt). Retrieved 3 August 2006</ref>
* [[Manganese]] can be added in small amounts to remove the [[green]] tint given by iron, or in higher concentrations to give glass an [[Amethyst (color)|amethyst]] color. Manganese is one of the oldest glass additives, and purple manganese glass was used since early Egyptian history.
* Manganese dioxide, which is [[black]], is used to remove the green color from the glass; in a very slow process this is converted to sodium permanganate, a dark [[purple]] compound. In [[New England]] some houses built more than 300 years ago have window glass which is lightly tinted [[Violet (color)|violet]] because of this chemical change; and such glass panes are prized as antiques.
* [[Selenium]], like manganese, can be used in small concentrations to decolorize glass, or in higher concentrations to impart a [[red]]dish color, caused by selenium atoms dispersed in glass. It is a very important agent to make pink and red glass. When used together with cadmium sulfide <ref>[http://www.glassonline.com/infoserv/dictionary/355.html Illustrated Glass Dictionary] www.glassonline.com. Retrieved 3 August 2006</ref>, it yields a brilliant red color known as "Selenium Ruby".
* Small concentrations of [[cobalt]] (0.025 to 0.1%) yield [[blue]] glass. The best results are achieved when using glass containing [[potash]]. Very small amounts can be used for decolorizing.
* [[Tin oxide]] with [[antimony trioxide|antimony]] and [[arsenic trioxide|arsenic]] oxides produce an opaque [[white]] glass, first used in [[Venice]] to produce an imitation [[porcelain]].
* 2 to 3% of [[copper oxide]] produces a [[turquoise]] color.
* Pure metallic [[copper]] produces a very dark red, opaque glass, which is sometimes used as a substitute for gold in the production of [[ruby]]-colored glass.
* [[Nickel]], depending on the concentration, produces blue, or [[violet (colour)|violet]], or even [[black]] glass. [[Lead crystal]] with added nickel acquires purplish color. Nickel together with small amount of cobalt was used for decolorizing of [[lead glass]].
* [[Chromium]] is a very powerful colorizing agent, yielding dark green <ref>[http://www.speclab.com/elements/chromium.htm Chemical Fact Sheet - Chromium] www.speclab.com. Retrieved 3 August 2006</ref> or in higher concentrations even black color. Together with tin oxide and arsenic it yields [[emerald (color)|emerald green]] glass. Chromium [[aventurine]], in which [[aventurescence]] was achieved by growth of large parallel [[chromium(III) oxide]] plates, was also made from glass with added chromium.
* [[Cadmium]] together with sulphur results in deep yellow color, often used in glazes. However, cadmium is toxic.
* Adding [[titanium]] produces [[yellow]]ish-[[brown]] glass. Titanium is rarely used on its own, is more often employed to intensify and brighten other colorizing additives.
* Metallic [[gold]], in very small concentrations (around 0.001%), produces a rich ruby-colored glass ("Ruby Gold"), while lower concentrations produces a less intense red, often [[marketing|marketed]] as "[[Cranberry glass|cranberry]]". The color is caused by the size and dispersion of gold particles. Ruby gold glass is usually made of lead glass with added tin.
* [[Uranium]] (0.1 to 2%) can be added to give glass a fluorescent yellow or [[green]] color <ref>[http://www.glassassociation.org.uk/Journal/uranium.htm Uranium Glass] www.glassassociation.org.uk (Barrie Skelcher). Retrieved 3 August 2006</ref>. [[Uranium glass]] is typically not [[radioactive decay|radioactive]] enough to be dangerous, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be [[carcinogenic]]. When used with lead glass with very high proportion of lead, produces a deep red color.
* [[Silver]] compounds (notably [[silver nitrate]]) can produce a range of colors from [[Orange (colour)|orange]]-red to yellow. The way the glass is heated and cooled can significantly affect the colors produced by these compounds. The chemistry involved is complex and not well understood.
--->
 
=== Creating stained glass windows ===
* The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit.
* The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a ''Vidimus'' is prepared which can be shown to the patron.
* A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.
* A full sized cartoon is drawn for every ''"light"'' (opening) of the window. A small church window might typically be of two lights, with some simple ''tracery'' lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three ''tiers'' with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
* The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect.
* Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by ''grozing'' the edges with a tool which can nibble off small pieces.
* Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
* Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead ''cames''. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or ''mastic'' between the glass and the cames.
* Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ''ferramenta''. This method of support was also favoured for large, usually painted, windows of the Baroque period.
* From 1300 onwards, artists started using ''silver stain'' which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass.
* By about 1450 a stain known as ''Cousin's rose'' was used to enhance flesh tones.
* In the 1500s a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 1600s a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were annealed to the glass and the pieces were assembled into metal frames.
* In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see [[Lead came and copper foil glasswork]].
* In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular [[Tiffany glass]] and [[Slab glass]].
 
=== Technical details ===
<gallery perrow ="5">
Image:Heaton, Butler and Bayne01.png|Maquette by [[Heaton, Butler and Bayne]], 19th century English manufacturers
File:Pt-coimbra-sevelha3.jpg|Exterior of a window at [[Old Cathedral of Coimbra|Sé Velha de Coimbra]], [[Portugal]], showing a modern steel armature
File:Glazier tools.JPG|A set of [[glazier]]s' tools
File:Meaux Vitrail 1867 30808 3.jpg|Skilled glass cutting and leading in a 19th century window at [[Meaux Cathedral]], [[France]]
Image:Canterbury Cathedral 012 window showing leading and support.JPG|[[Thomas Becket]] window from [[Canterbury]] showing the ''pot metal'' and painted glass, lead H-sectioned ''cames'', modern steel rods and copper wire attachments
File:Stained glass colours.jpg|Colours and mediums for painting on glass
File:Palette with tools1.jpg|A palette and tools to prepare colours for painting on glass
Image:SML-Stained-Glass-5.jpg|A small panel by [[G. Owen Bonawit]] at [[Yale University]], c.1930, demonstrates grisaille glass painting enlivened with silver stain.
Image:Muzeum Sułkowskich - Zabytkowy Witraż.jpg|European panel, 1564, with typical painted details, extensive ''silver stain'', ''Cousin's rose'' on the face, and flashed ''ruby glass'' with abraded white motif
Image:Eyneburg_7.jpg|Detail from a 19th or 20th century window in [[Eyneburg]], [[Belgium]], showing detailed polychrome painting of face.
</gallery>
 
== History ==
=== Origins ===
Coloured glass has been produced since ancient times. Both the Egyptians and the Romans excelled at the manufacture of small coloured glass objects. The [[British Museum]] holds two of the finest Roman pieces, the [[Lycurgus Cup]], which is a murky mustard colour but glows purple-red to transmitted light, and the Portland vase which is midnight blue, with a carved white overlay.
 
In Early Christian churches of the 4th and 5th centuries there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect. Evidence of stained glass windows in churches and monasteries within Britain can be found as early as the 7th century. [[Benedict Biscop]]’s monasteries in [[Monkwearmouth]] and [[Jarrow]] have revealed hundreds of pieces of coloured glass and lead from as early as 680CE,<ref>Discovering stained glass - John Harries, Carola Hicks, Edition: 3 – 1996</ref>, though there is no reason to believe Britain was a pioneer in the medium. Stained glass was also used by [[Islamic architecture|Islamic architects]] in [[Southwest Asia]]. In the 8th century, the [[Alchemy and chemistry in Islam|Muslim alchemist]] [[Geber|Jabir ibn Hayyan]] (Geber) scientifically described 46 original recipes for producing coloured glass in ''Kitab al-Durra al-Maknuna'' (''The Book of the Hidden Pearl''), in addition to which 12 recipes were inserted by al-Marrakishi in a later edition of the book. Jabir also described the production of high quality coloured glass cut into artificial [[gemstone]]s.<ref>[[Ahmad Y Hassan]], [http://www.history-science-technology.com/Articles/articles%209.htm The Manufacture of Coloured Glass] and [http://www.history-science-technology.com/Articles/articles%2093.htm Assessment of ''Kitab al-Durra al-Maknuna''], ''History of Science and Technology in Islam''.</ref>
 
<gallery>
Image:Alabastron Italy Louvre S2375.jpg|A [[perfume]] flask from 100 BCE-200 CE
Image:Portland Vase BM Gem4036 n5.jpg|The [[Portland Vase]], a rare example of Roman flashed glass
Image:Orvieto083.jpg|An alabaster window in [[Orvieto Cathedral]], Italy
Image:Nasirolmolk.jpg|Stained glass in the [[Nasir al-Mulk mosque]] in [[Shiraz]], Iran
</gallery>
 
=== Medieval glass ===
{{seealso|Poor Man's Bible}}
For further infornation about stained glass technology:
 
{{seealso|Medieval stained glass}}
 
Stained glass, as an art form, reached its height in the [[Middle Ages]] when it became a major pictorial form and was used to illustrate the narratives of the Bible to a largely illiterate populace.
 
In the [[Romanesque architecture|Romanesque]] and Early [[Gothic architecture|Gothic]] period, from about 950 AD to 1240 AD, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at [[Chartres Cathedral]] and at the eastern end of [[Canterbury Cathedral]]. As [[Gothic architecture]] developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone. The elaboration of form reached its height of complexity in the Flamboyant style in Europe and windows grew still larger with the development of the [[Perpendicular style]] in England.
 
Integrated with the '''lofty verticals''' of Gothic cathedrals and parish churches, the glass designs became more daring. The circular form, or [[rose window]] developed in France from relatively simple windows with pierced openings through slabs of thin stone to wheel windows, as exemplified by that in the West front of [[Chartres Cathedral]], and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at [[Sainte-Chapelle]], [[Paris]] and the "Bishop's Eye" at [[Lincoln Cathedral]].
<gallery>
Image:Süddeutscher Glasmaler 001.jpg|''Daniel'' from [[Augsburg]] Cathedral, early 12th c. One of the oldest examples in situ.
File:Vitrail Chartres 210209 07.jpg|Detaile of a 13th century window from [[Chartres Cathedral]]
File:Ulm-Muenster-NeithartKapelleFenster-061209.jpg|Detail of a window of ''St George'' by Hans Acker (1440) in [[Ulm Minster]], Germany
File:Musee-de-l-Oeuvre-Notre-Dame-Strasbourg-IMG 1465.jpg|A figure from [[Strasbourg Cathedral]]
File:Chartres Cathedral North Transept North Rose Window 2007 08 31.jpg|The North Transept windows from [[Chartres Cathedral]]
Image:Canterbury Cathedral 020 Poor Mans Bbible Window 01.jpg|''The Poor Man's Bible'' window at [[Canterbury Cathedral]], 13th c.
File:York Minster West Window.jpg|The west window of [[York Minster]]
Image:Sainte-Chapelle-Rose-window.jpg|The rose window from [[Sainte-Chapelle]], 15th c.
</gallery>
 
=== The Renaissance and Reformation ===
In Europe, stained glass continued to be produced with the style evolving from the Gothic to the Classical style, which is widely represented in [[Germany]], [[Belgium]] and the [[Netherlands]], despite the rise of [[Protestantism]]. In [[France]], much glass of this period was produced at the [[Limoges]] factory, and in Italy at [[Murano]], where stained glass and faceted [[lead crystal]] are often coupled together in the same window. Ultimately, the French Revolution brought about the neglect or destruction of many windows in France.
At the [[English Reformation|Reformation]], in England large numbers of Medieval and Renaissance windows were smashed and replaced with plain glass. The [[Dissolution of the Monasteries]] under [[Henry VIII of England|Henry VIII]] and the injunctions of [[Oliver Cromwell]] against "abused images" (the object of veneration) resulted in the loss of thousands of windows. Few remain undamaged; of them the windows in the private chapel at [[Hengrave Hall]] in Suffolk are among the finest. With the latter wave of destruction the traditional methods of working with stained glass died and were not to be rediscovered in England until the early 19th century. See [[Stained glass - British glass, 1811-1918]] for more details.
 
<gallery>
Ablis - détail vitrail nord.jpg|''St Anne with the Virgin and a saint'', [[Ablis]], [[Yvelines]], France, mid 16th century
Tempelreiniging.jpg|''The Cleansing of the Temple'' by [[Dirk Crabeth]] (1567), [[Janskerk (Gouda)]], Netherlands
Stained glass window of right transept of Santi Giovanni e Paolo (Venice).jpg|[[Renaissance]] window in the church of SS Giovanni and Paolo, [[Venice]] 16th century
Image:Ghent Cathedral stained glass.jpg|[[Saint Nicholas' Church, Ghent|Ghent Cathedral]], Belgium, 16th century
St Germain des Prés fenêtre.jpg|Stained glass in the [[Abbey of Saint-Germain-des-Prés]], [[6th arrondissement of Paris|Paris]]
Dramburg Kirchenfenster.jpg|[[Drawsko Pomorskie]] Church, a good example of heraldic glass
AndelysVitrail.jpg|[[Les Andelys]], Normandy, 16th century
Altenberger Dom03.jpg|[[Altenberg]] Cathedral, a colourless window in the style known as ''[[Grisaille]]'' with a small heraldic motif
</gallery>
 
=== Revival in Britain ===
{{main|Stained glass - British glass, 1811-1918}}
The Catholic revival in England, gaining force in the early 19th century, with its renewed interest in the medieval church brought a revival of church building in the Gothic style, claimed by [[John Ruskin]] to be "the true Catholic style". The architectural movement was led by [[Augustus Pugin|Augustus Welby Pugin]]. Many new churches were planted in large towns and many old churches were restored. This brought about a great demand for the revival of the art of stained glass window making.
 
Among the earliest 19th century English manufacturers and designers are [[William Warrington]] and [[Hardman & Co.|John Hardman]] of Birmingham whose nephew, John Hardman Powell, who had a commercial eye and exhibited works at the Philadelphia Exhibition of 1873, influencing stained glass in the United States of America. Other manufacturers include [[William Wailes]], [[Ward and Hughes]], [[Clayton and Bell]], [[Heaton, Butler and Bayne]] and [[Charles Eamer Kempe]]. A Scottish designer, [[Daniel Cottier]], opened firms in Australia and the US.
 
 
<gallery>
File:St Andrews window 08 6 west John and Paul.jpg|Detail, ''Apostles John and Paul'', [[Hardman of Birmingham]], 1861-67, typical of Hardman in its elegant arrangement of figures and purity of colour. [[St. Andrew's Cathedral, Sydney]]
File:Lincoln Cathedral East window.jpg|One of England's largest windows, the east window of [[Lincoln Cathedral]], Ward and Nixon (1855), is a formal arrangement of small narrative scenes in roundels
Image:Chilham StMarys EastWindow19thC.JPG|[[William Wailes]]. This window has the bright pastel colour, a wealth of inventive ornament and stereotypical gestures of windows by this firm. St Mary's, Chilham
Image:Peterborough Cathedral glass 02 b.JPG|[[Clayton and Bell]]. A narrative window with elegant forms and colour which is both brilliant and subtle in its combinations. [[Peterborough Cathedral]]
</gallery>
 
=== Revival in France ===
In France there was a greater continuity of stained glass production than in England. In the early 19th century most stained glass was made of large panes that were extensively painted and fired, the designs often being copied directly from oil paintings by famous artists. In 1824 the [[Sevres]] Porcelain factory began producing stained glass to supply the increasing demand.
In France many churches and cathedrals suffered despoilation during the [[French Revolution]]. During the 19th century a great number of churches were restored by [[Viollet-le-Duc]]. Many of France's finest ancient windows were restored at this time. From 1839 onwards much stained glass was produced that very closely imitates medieval glass, both in the artwork and in the nature of the glass itself. The pioneers were Henri Gèrente and Andre Lusson.<ref name= GC>Gordon Campbell, ''The Grove Encyclopedia of Decorative Arts'', Oxford University Press, ISBN 0-19-518948-5</ref>
Other glass was designed in a more Classical manner, and characterised by the brilliant cerulean colour of the blue backgrounds (as against the purple-blue of the glass of Chartres) and the use of pink and mauve glass.
 
<gallery>
File:Vitrail du 19ème siècle Reims 020208 03.jpg|Detail of a "Tree of Jesse" window in [[Reims Cathedral]] designed in the 13th century style by L. Steiheil and painted by Coffetier for Viollet-le-Duc, (1861)
File:Thouars église St Médard (10).JPG|''St Louis administering Justice'' by Lobin in the painterly style. (1809) Church of St Medard, [[Thouars]].
File:Cassagnes vitrail 1.JPG|A brilliantly-coloured window at [[Cassagnes-Bégonhès]], [[Aveyron]]
File:Vitrail Saint-Urbain Troyes 110208 05.jpg|West window from Saint-Urbain, [[Troyes]], (about 1900)
</gallery>
 
=== Revival in Europe ===
During the mid to late 19th century, many of Germany's ancient buildings were restored, and some, such as [[Cologne Cathedral]] were completed in the medieval style. There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as [[Albrecht Durer]]. Original designs often imitate this style. Much 19th century German glass has large sections of painted detail rather than outlines and details dependent on the lead. The Royal Bavarian Glass painting Studio was founded by Ludwig I in 1827.<ref name=GC/> A major firm was Mayer of Munich which commenced glass production in 1860, and is still operating as ''Franz Mayer of Munich, Inc.''. German stained glass found a market across Europe, in America and Australia. Stained glass studios were also founded in Italy and Belgium at this time.<ref name=GC/>
 
<gallery>
File:0702246987 bodenstein.jpg|A painted memorial window, [[Castle Bodenstein]], [[Germany]], early 19th century
Image:Cathedral 2 by andy205.jpg|One of five windows donated to [[Cologne Cathedral]] by [[Ludwig II]]
Image:Abendmahl Gedaechtniskirche Speyer.jpg|Post-Reformation window in the Memorial Church, [[Speyer]], Germany
Image:Stained glass in Saint Maurice churche, Olomouc.jpg|An early 20th century window in the 17th century style, St Maurice's Church, Olomouc, [[Czech Republic]]
 
</gallery>
 
=== Innovations in the United States ===
{{Main|Tiffany glass}}
Notable American practitioners include [[John La Farge]] (1835-1910) who invented opalescent glass and for which he received a US patent February 24, 1880, and [[Louis Comfort Tiffany]] (1848-1933), who received several patents for variations of the same opalescent process in November of the same year and is believed to have invented the copper foil method as an alternative to lead, and used it extensively in windows, lamps and other decorations.
 
<gallery>
File:Girl with Cherry Blossoms - Tiffany Glass & Decorating Company, c. 1890.JPG|Many of the distinctive types of glass invented by Tiffany are demonstrated within this single small panel including "[[fracture-streamer glass]]" and "[[drapery glass]]".
 
Image:The Holy City.jpg|''The Holy City'' by Louis Comfort Tiffany (1905). This 58-panel window has brilliant red, orange, and yellow [[Etching (glass)|etched glass]] for the sunrise, with textured glass used to create the effect of moving water.
File:John LaFarge, Angel of Help (North Easton, MA).JPG|[[John La Farge]], ''The Angel of Help'', [[Easton, Massachusetts|North Easton, MA]] shows the use of tiny panes contrasting with large areas of flashed or opalescent glass.
</gallery>
 
=== Innovations in Britain and Europe ===
Among the most innovative English designers were the [[Pre-Raphaelites]], [[William Morris]] (1834-1898) and [[Edward Burne-Jones]] (1833-1898), whose work heralds [[Art Nouveau]].
Art Nouveau or [[Belle Epoch]] stained glass design flourished in France, and Eastern Europe, where it can be identified by the use of curvings sinous lines in the lead, and swirling motifs. In France it is seen in the work of [[Francis Chigot]] of Limoges. In Britain it appears in the refined and formal [[leadlight]] designs of [[Charles Rennie Macintosh]].
 
<gallery>
File:David's Charge to Solomon, by Burne-Jones and Morris, Trinity Church, Boston, Massachusetts.JPG|''David's charge to Solomon'' shows the strongly linear design and use of flashed glass for which Burne-Jones' designs are famous. Trinity Church, Boston, US, (1882)
Image:Kraków - Church of St. Francis - Stained glass 01.jpg|''God the Creator'' by [[Stanisław Wyspiański]], this window has no glass painting, but relies entirely on leadlines and skilful placement of colour and tone. Franciscan Church, [[Kraków]] (c.1900)
Image:Mucha window in St Vitus.JPG|Window by [[Alfons Mucha]], [[Saint Vitus Cathedral]] Prague.
Image:Aquarium de l'Ecole de Nancy 04 by Line1.jpg|Art Nouveau by Jacques Grüber, the glass harmonising with the curving architectural forms that surround it, [[Musée de l'École de Nancy]] (1904).
</gallery>
 
=== Twentieth century ===
Many 19th century firms failed early in the twentieth century as the Gothic movement had been superseded by newer styles. At the same time there were also some interesting developments where stained glass artists took studios in shared facilities. Examples include the [[The Glass House (Fulham)|Glass House]] in London set up by [[Mary Lowndes]] and A.J. Drury and [[An Túr Gloine]] in Dublin, which was run by [[Sarah Purser]].
 
A revival occurred in the middle of the century because of the desire to restore the thousands of church windows throughout Europe, destroyed as a result of bombing during the [[World War II]]. German artists led the way. Much work of the period is mundane and often was not made by its designers but industrially produced.
 
Other artists sought to transform an ancient art form into a contemporary one, sometimes using only traditional techniques but often exploring the medium of glass in different ways and in combination with different materials. The use of [[slab glass]] set in [[concrete]] was another 20th century innovation. ''Gemmail'' glass, developed in 1936, by the French artist Jean Crotti, is a type of stained glass where the pieces of glass that are adjacent to each other overlap allowing for a greater diversity and subtlety of colour.<ref>[http://www.gemmail.com/en/rmn/ENRMN.htm Gemmail, Roger Malherbe]</ref>
 
Among the early well-known 20th century artists who experimented with stained glass as an [[Abstract art]] form were [[Theo van Doesburg]] and [[Piet Mondrian]]. In the 1960s and 70s the [[Expressionism|Expressionist]] painter [[Marc Chagall]] produced designs for many stained glass windows that are intensely coloured and crammed with symbolic details. Important 20th century stained glass artists include [[Douglas Strachan]], [[Ervin Bossanyi]], [[Louis Davis]],[[Wilhelmina Geddes]], [[Karl Parsons]], [[Patrick Reyntiens]], [[Ludwig Schaffrath]], [[Johannes Shreiter]], [[Judith Schaechter]], [[Paul Woodroffe]], [[Jean René Bazaine]] at [[Saint-Séverin (Paris)|Saint Séverin]] and the Loire Studio of [[Gabriel Loire]] at [[Chartres]]. The [[Luxus Keibel]] studio in Mexico specialises in domestic stained glass in both contemporary and 19th century styles. The west windows of [[Manchester]] cathedral in England by [[Tony Hollaway]] are some of the most notable examples of symbolic work.
 
In the US, there is a 100-year-old trade organization, The Stained Glass Association of America, whose purpose is to function as a publicly recognized organization to assure survival of the craft by offering guidelines, instruction and training to craftspersons. The SGAA also sees its role as defending and protecting its craft against regulations that might restrict its freedom as an architectural art form. The current president is B. Gunar Gruenke of the [[Conrad Schmitt Studios]]. Today there are academic establishments that teach the traditional skills. One of these is Florida State University's Master Craftsman Program who recently completed a 30 ft high stained-glass windows installed in [[Bobby Bowden Field at Doak Campbell Stadium]].
 
<gallery>
File:Theo van Doesburg - Composition with window with coloured glass III.JPG|Modernist abstraction by [[Theo van Doesburg]], [[Netherlands]] (1917)
File:Tudeley church window.jpg|[[Expressionism|Expressionist]] window by [[Marc Chagall]], at All Saints' Church, Tudeley, Kent, UK
|[[Social Realism]] by [[Walter Womacka]], [[Berlin]], (c.1965) demonstrating the use of overlaid and laminated glass
|[[Abstract expressionism]] at Meiningen Catholic Church.
Image:Vitro_buckfast.jpg|''Christ of the Eucharist'' designed by the monks of [[Buckfast Abbey]], [[Devon]], England, slab glass.
Image:Catedral do Sao Sebastiao.jpg|One of four {{convert|64|m|ft|0}}-high stained glass panels, [[Rio de Janeiro Cathedral]], Brazil
Image:Christinae kyrka tree of life01.jpg|[[Postmodernism|Postmodernist symbolism]], ''Tree of Life'' at Christinae church, Alingsås, Sweden.
image:Stained glass eagle.jpg|The ''[[Bald Eagle]]'', a good example of the product of commercial studios working with traditional techniques, Dryden High School, USA
 
</gallery>
 
=== Combining ancient and modern traditions ===
 
<gallery>
Image:Paris S Denis Fleur de Lys window 1986 crypt 1353 a a.JPG|Late 20th-c. window in the crypt of the [[Saint Denis Basilica|Abbey of St Denis]]. The skilful adaptation of ancient tradition and modern style in a [[World Heritage Site]]. Fair use image<!---NOTE:This image meets all the requirements for FAIR USE--->
Image:Ins Kirchenfenster.jpg|Figurative design using the lead lines and minimal glass paint in the 13th century manner combined with the texture of [[Cathedral glass]], Ins, Switzerland
</gallery>
 
=== Buildings incorporating stained glass windows ===
'''Churches and Cathedrals'''
 
Stained glass windows were commonly used in churches for decorative and informative purposes. Many windows are donated to churches by members of the congregation as memorials of loved ones. For more information on the use of stained glass to depict religious subjects, see [[Poor Man's Bible]]
[[Fail:Sainte-Chapelle Choeur.JPG|thumb|The dazzling display of medieval glass at [[Sainte-Chapelle]], [[Paris]]]]
[[Fail:St Andrews Sydney 07 across the nave c.jpg|thumb|[[St. Andrew's Cathedral, Sydney]] has a cycle of 27 windows by [[Hardman of Birmingham]]]]
* [[Church (building)|Churches]]
* [[Cathedral architecture of Western Europe|Cathedrals]]
* [[Chapel]]s
 
* Important examples
<!---NOTE Please don't add any church here that does not link to a wiki page. Only add examples that are absolutely OUTSTANDING for their time.--->
** [[Cathedral of Chartres]], in France- 11th-13th century glass
** [[Canterbury Cathedral]], in England- 12th-15th century plus 19th-20th century glass
** [[York Minster]], in England- 11th-15th century glass
** [[Sainte-Chapelle]], in [[Paris]], 13th-14th century glass
** [[Florence Cathedral]], Italy, 15th century glass designed by Uccello, Donatello and Ghiberti
** [[St. Andrew's Cathedral, Sydney]], Australia- early complete cycle of 19th century glass, Hardman of Birmingham.
** [[Coventry Cathedral]], [[England]], mid 20th century glass by various designers
** [[Brown Memorial Presbyterian Church]], extensive collection of windows by [[Louis Comfort Tiffany]]
 
'''Houses'''
 
Stained glass windows in [[house]]s were particularly popular in [[Victorian era]] and many domestic examples survive. In their simplest form they typically depict birds and flowers in small panels, often surrounded with machine-made ''[[cathedral glass]]'', which, despite what the name suggests, is pale-coloured and textured. Some large homes have splendid examples of secular pictorial glass. Many small houses of the 19th and early 20th centuries have [[leadlight]] windows.
* [[Prairie School|Prairie style]] homes
* The houses of [[Frank Lloyd Wright]]
 
'''Public and commercial use of stained glass'''
 
Town halls, schools, colleges and other public buildings often incorporate stained glass or leadlighting.
 
* [[Public house]]s — In Britain, traditional pubs make extensive use of stained glass and leaded lights to create a comfortable atmosphere and retain privacy.
* [[Sculpture]]
 
== Rujukan ==
{{Reflist}}
[[Fail:Ardon Windows JNUL.jpg|thumb|Windows by [[Mordecai Ardon]] at the [[Jewish National and University Library]], [[Jerusalem]]]]
<references/>
* '''Theophilus''', ''On Divers Arts'', trans. from Latin by John G. Hawthorne and Cyril Stanley Smith, Dover, ISBN 0-486-23784-2
* '''Elizabeth Morris''', ''Stained and Decorative Glass'', Doubleday, ISBN 0-86824-324-8
* '''Sarah Brown''', ''Stained Glass- an Illustrated History'', Bracken Books, ISBN 1-85891-157-5
* '''Painton Cowen''', ''A Guide to Stained Glass in Britain'', Michael Joseph, ISBN 0-7181-2567-3
* '''Lawrence Lee, George Seddon, Francis Stephens''', ''Stained Glass'', Spring Books, ISBN 0-600-56281-6
* '''Simon Jenkins''', ''England's Thousand Best Churches'', Allen Lane, the Penguin Press, ISBN 0-7139-9281-6
* '''Robert Eberhard''', ''Church Stained Glass Windows'', [http://www.stainedglassrecords.org/home]
* '''Cliff and Monica Robinson''', ''Buckinghamshire Stained Glass'', [http://www.bucksstainedglass.org.uk/]
* '''Stained Glass Association of America''', ''History of Stained Glass'', [http://www.stainedglass.org/html/SGAAhistorySG.htm]
 
== LihatBacaan jugalanjut ==
 
[[Fail:Montreal-Metro,_Champ-de-Mars-20050329.jpg|thumb|Abstract design by [[Marcelle Ferron]] at a Metro station in [[Montreal]], Canada]]
* [[Architectural glass]]
* [[Beveled glass]]
* [[British and Irish stained glass (1811-1918)]]
* [[Cathedral architecture of Western Europe]] <!---Yes, it is closely related and it has nothing to do with Cathedral glass, listed above it.--->
* [[Cathedral glass]]
* [[Float glass]]
* [[Glass art]]
* [[Glass beadmaking]]
* [[Glassblowing]]
* [[Lead came and copper foil glasswork]]
* [[Leadlight]]
* [[Poor Man's Bible]]<!---Yes, it relates directly to this article--->
* [[Rose window]]
* [[Stained Glass Conservation]]
* [[Stained Glass Sculpture]]
* [[Tiffany glass]]<!---A number of articles now removed have been merged here--->
* [[Venetian glass]]
 
== Pautan luar ==
{{Commons|Stained glass}}
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* [http://www.stainedglasscanada.ca Institute for Stained Glass in Canada], over 2200 photos; a multi-year photographic survey of Canada's stained glass heritage
* [http://www.cmog.org The Corning Museum of Glass], the world's best collection of art and historical glass; more than 45,000 objects trace 3,500 years of glassmaking history
* [http://www.cr.nps.gov/hps/tps/briefs/brief33.htm Preservation of Stained Glass]
* [http://www.stainedglassrecords.org/home.asp?NOC=NOC Church Stained Glass Window Database], covering ~2800 churches in the southeast of England
* [http://www.stainedglassmuseum.com/ The Stained Glass Museum] (Ely, England)
* [http://www.vidimus.org/ Vidimus], an on-line magazine devoted to medieval stained glass.
* {{cite web |publisher= [[Victoria and Albert Museum]]
|url= http://www.vam.ac.uk/collections/glass/stained_glass/sacred_stained_glass/index.html
|title= Sacred Stained Glass
|work= Glass
|accessdate= 2007-06-16 }}
 
* http://www.bsmgp.org.uk
{{decorative arts}}
* http://www.sgaaonline.com/pdf/071-LaFarge.pdf
{{Glass forming}}
* [https://web.archive.org/web/20070115100255/http://www.cr.nps.gov/hps/tps/briefs/brief33.htm Pemeliharaan Kaca Berwarna]
 
* [http://www.stainedglassrecords.org/home.asp?NOC=NOC Pangkalan Data Tetingkap Kaca Gereja yang direkodkan oleh Robert Eberhard], meliputi ≈2800 gereja di tenggara Inggeris
[[Kategori:Kaca berwarna| ]]
* [http://www.glassincanada.org/ Institut Kaca Berwarna di Kanada], lebih 10,000 gambar; tinjauan fotografi bertahun-tahun mengenai kaca berwarna Kanada dari banyak negara; 1856 hingga kini
[[Kategori:Pembentukan kaca]]
* [http://www.stainedglassmuseum.com/ Muzium Stained Glass] (Ely, England)
* [https://vitromusee.ch/en/ Vitromusée Romont] (Romont (FR), Switzerland)
* [https://www.ukcraftfairs.com/guides/stained-glass Panduan kaca berwarna] (UK)
* {{Cite web|url=http://www.vam.ac.uk/page/s/stained-glass/|title=Stained Glass|website=Glass|publisher=[[Victoria and Albert Museum]]|url-status=dead|archive-url=https://archive.today/20121223130632/http://www.vam.ac.uk/contentapi/logotron/stained-glass|archive-date=23 December 2012|access-date=16 June 2007}}
* [http://www.gloine.ie/ Gloine - Gelas berwarna di Gereja Ireland] Penyelidikan yang dilakukan oleh Dr David Lawrence atas nama Badan Gereja Perwakilan Gereja Ireland, sebahagiannya dibiayai oleh Majlis Warisan
* [https://vimeo.com/126036027 Tingkap kaca berwarna oleh Sergio de Castro di Perancis, Jerman dan Switzerland]
[[Kategori:Seni hias]]
[[Kategori:Sejarah kaca]]
[[Kategori:Kaca berwarna]]
[[Kategori:Seni bina kaca]]
[[Kategori:Seni kaca]]
[[Kategori:Sejarah kaca]]
[[Kategori:Tingkap]]
Diambil daripada "https://ms.wikipedia.org/wiki/Kaca_berwarna"