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.

Most European stained glass windows have no protection to reduce the damage due to environmental exposure, and this is the case of the great gothic windows in the Uppsala Cathedral. Currently, the implementation of protective glazing systems is being carried out in order to reduce the damage of the stained glass. In this connection, an analysis of the energy saving potential of the protective system is of great interest. The main obstacle in the implementation of this kind of systems is a social rejection based on the fact that the additional panes perturb the appearance of the historic building. Thus, demonstrating that there would actually be an energy saving, with the corresponding economic saving, would help approving the implementation of the protective glazing system. Measurement data needed for the analysis were available since they were used in condensation studies for the damaging analysis. However, the fact that this data was not gathered thinking of the energy saving analysis and its difficulties, some limitations have appeared in the present study. Accordingly, the needed simplifications imply some uncertainty in the results. However, the reliability of the results and the conclusions that can be drawn from the analysis are contrasted with previous similar studies. Different methods of calculation and analysis will be discussed, and finally results for the heat transfer coefficients through the open air gap and through the whole double paned system will be obtained. Furthermore, an energy saving analysis will be carried out with the winter data for both the case of the case of the Sonens fönster and the case of also implementing a similar system in the rosette of the cathedral. As a result, the conclusions drawn will be that the implemented protective glazing system reduces the heat losses through the windows to less than a third and that savings of about 8700 kWh/year and 13000 kWh/year are achieved in the case of the system being implemented only in Sonenes fönster and also in the rosette respectively. Finally, a rough study of the condensation problem will be exposed and possible matters, along with some advices, of further studies regarding more accurate analysis of both the condensation and the energy saving analysis will be presented. / Church project

Magistro praktinėje dalyje kuriu architektūros ir vitražo tarpusavio ryšį. Kauno miesto Ąžuolyno parke įsikūręs „Ąžuolyno sporto centras“ papildo čia pat esantį sporto „miestelį“. Architektai Vilius Adomavičius, Vida Vyšniauskienė ir Darius Čiuta suprojektavo modernų 117 m. ilgio ir 12 m. pločio pastatą, kurio architektūrinėje plastikoje dominuoja stiklas. Pastate įrengtos administracinės, kavinės, spa procedūrų, grožio salono, rūbinės, trenerių kambarių, vandens procedūrų ir sporto salės patalpos. Architektūrinėje situacijoje modeliuoju modernaus vitražo meninės raikšos priemones, remdamasi stiklo medžiagiškumu, spalvos ir mastelių pokyčiais, jų tarpusavio santykiu. Supančių medžių krintančius šešėlius ir jų atspindžius stikle perfrazuoju ažūrinio tinklo stilistika, kuri organiškai kinta, persipynusi su skaidriais ir spalviniais vitražo plotais, tuo būdu pabrėžiu pastato ir supančios aplinkos ryšių išsaugojimą. Sukurdama dviejų stiklo sluoksnių „tinklą“, kuris pasižymi spalvinės gamos įvairove, atkreipiu dėmesį į spalvų veikimą viena kitos atžvilgiu, tarpusavio persipynimą ir emocinę įtaigą. Magistro praktiniame darbe pateikiamas darbo planšetas bei vitažo projekto architektūroje detalė (130 x 95 cm., stiklas, glazūra, smėliasrovė). / In the practical part of my work I create relation between architecture and stained glass. I chose „Ąžuolynas Sport Centre“ that complements „sports town“ situated in Ąžuolynas park in Kaunas. The modern building was created by architects Vilius Adomavičius, Vida Vyšniauskienė and Darius Čiuta. The building is 117 meters long and 12 meters wide. Inside there are administration premise, cafes, a beauty salon, cloakrooms, rooms for trainers, gym, spa and water treatment rooms. Glass dominates compositional expression of the whole building. I design modern stained-glass forms emphasising characteristic glass qualities such as materiality and colour. I base my work on relation between architecture and glass, search for optimal forms that complement architectural lanscape. I incorporate shadows of the trees in the environment and recreate their reflection on glass using openwork grid. This stylistic element is united with transparent and coloured glass areas. I also try to sustain the relation between the building and its environment. Creating a double glass net, which shows a wide spectrum of vibrant colours, I pay attention to colour effectiveness, their relationship between each other and also emotional potency. For the presentation of practical work a plane-table and a detail of stained glass project are represented (130 x 95 cm., glass, glazure, sandblasting).

This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.

Faith and family are the aspects of my life that bring me joy and inspiration. This joy is represented as light and is present both literally and symbolically in all my work. I use light or a flame in my ceramic pieces to represent warmth, love, and spirituality. Images of nature are employed to suggest life. My most recent ceramic work embodies aspects of family and the joy of motherhood. My paintings focus on my family and are centered on the moments or memories that are significant to them. I try to paint the light of their lives.

Este estudo pretende demonstrar a relação entre os meios visuais e a transmissão de conhecimento por meio da linguagem visual. A partir de uma análise feita em diversos vitrais existentes em Catedrais da Idade Média nota-se que a linguagem visual ocupou um papel especial no ensino do homem medievo. Serão estudadas as diversas figuras simbólicas existentes nos vitrais e como se tornaram instrumento para a transmissão de conceitos históricos, sociais e religiosos, no ambiente medieval das catedrais. Considera-se a história do período compreendido entre o final da Alta idade média e durante a Baixa idade média no que diz respeito ao ambiente religioso e sua importância na transmissão de conhecimento ao homem medieval. A história dos vitrais, sua origem, seus usos e como vieram a ser incorporados às construções das Catedrais Medievais, estudando um caso específico: Os Vitrais da Catedral de York um dos maiores acervos de vitrais em catedrais medievais. O propósito da pesquisa é relacionar elementos artísticos da arquitetura, no caso os vitrais, com o processo de transmissão de conhecimento no ambiente medieval, isto com o auxílio da História como interface principal. Objetiva-se também o estudo onomástico e toponímico do espaço da Catedral, importante para a compreensão do estudo dos vitrais como meio linguístico. / This study aims to demonstrate the relationship between visual media and transmission of knowledge through visual language. From an analysis of several existing windows in cathedrals of the Middle Ages is noted that the visual language has occupied a special role in the teaching of medieval man. Will be studied several existing symbolic figures in the windows and how to become an instrument for the transmission of historical concepts, social and religious environment of medieval cathedrals. This research analyzes the story of the period between the end of the High Middle Ages and during the Low Middle Ages with regard to the religious environment and its importance in the transmission of knowledge to the medieval man. The history of stained glass, its origin, its uses and how they came to be incorporated into the buildings of the Medieval Cathedrals, studying a specific case: \"The stained glass of York Minster\" one of the largest collections of stained glass in medieval Cathedrals. The purpose of the research is to relate the artistic elements of architecture, where the stained glass windows, with the process of transmission of knowledge in medieval environment with the aid of history as the main interface. It also aims to study the onomastic and toponymic space of the cathedral, important for understanding the study of stained glass as a medium language.

Este estudo pretende demonstrar a relação entre os meios visuais e a transmissão de conhecimento por meio da linguagem visual. A partir de uma análise feita em diversos vitrais existentes em Catedrais da Idade Média nota-se que a linguagem visual ocupou um papel especial no ensino do homem medievo. Serão estudadas as diversas figuras simbólicas existentes nos vitrais e como se tornaram instrumento para a transmissão de conceitos históricos, sociais e religiosos, no ambiente medieval das catedrais. Considera-se a história do período compreendido entre o final da Alta idade média e durante a Baixa idade média no que diz respeito ao ambiente religioso e sua importância na transmissão de conhecimento ao homem medieval. A história dos vitrais, sua origem, seus usos e como vieram a ser incorporados às construções das Catedrais Medievais, estudando um caso específico: Os Vitrais da Catedral de York um dos maiores acervos de vitrais em catedrais medievais. O propósito da pesquisa é relacionar elementos artísticos da arquitetura, no caso os vitrais, com o processo de transmissão de conhecimento no ambiente medieval, isto com o auxílio da História como interface principal. Objetiva-se também o estudo onomástico e toponímico do espaço da Catedral, importante para a compreensão do estudo dos vitrais como meio linguístico. / This study aims to demonstrate the relationship between visual media and transmission of knowledge through visual language. From an analysis of several existing windows in cathedrals of the Middle Ages is noted that the visual language has occupied a special role in the teaching of medieval man. Will be studied several existing symbolic figures in the windows and how to become an instrument for the transmission of historical concepts, social and religious environment of medieval cathedrals. This research analyzes the story of the period between the end of the High Middle Ages and during the Low Middle Ages with regard to the religious environment and its importance in the transmission of knowledge to the medieval man. The history of stained glass, its origin, its uses and how they came to be incorporated into the buildings of the Medieval Cathedrals, studying a specific case: \"The stained glass of York Minster\" one of the largest collections of stained glass in medieval Cathedrals. The purpose of the research is to relate the artistic elements of architecture, where the stained glass windows, with the process of transmission of knowledge in medieval environment with the aid of history as the main interface. It also aims to study the onomastic and toponymic space of the cathedral, important for understanding the study of stained glass as a medium language.

Ordinary theology is a developing concept focusing on people’s explicit religious beliefs, and relying on anecdotal evidence and other academic writers to bridge the gap with academy theology. It has influenced empirical studies of ordinary people’s experience with the Bible, doctrine and cathedral visiting. A feminist qualitative ethnographic study and action research provide other voices as alternatives to this empiricism. Theologians-in-the-arts have appropriated art to illustrate their academic theology. This thesis takes further the use of a visual image, with a recently commissioned non-figurative designed window, by a female Iranian-born artist, in an well-known London church. It enquires how far a non-specific doctrinal and non-narrative window encourages wider public participation in meaning making and metaphor generation, challenging the current static concept of ordinary theology. An interpretative paradigm with perspectives from constructivism, phenomenology, and hermeneutics shapes an inductive and qualitative approach to give attention to regular worshippers and visitors. A visual ethnographic method elicits data through semi-structured questionnaires, interviews, and journal writing. Adopting a ‘lay’ outsider participant role during the fieldwork, unstructured situational interviews with passers-by, street traders and church staff were also undertaken. Interpretive lenses of framing, the pastoral cycle, ethnomethodology, and nitty-gritty hermeneutics assisted in analysing the data. The window attracted a high degree of participation, engaging people in reflection. Over 85% of participants were professional/university and technically educated and competent in academic disciplines other than theology. The respondents initially made non-religious statements challenging ordinary theology, which focussed on explicit religion. When respondents viewed it a second time, they used religious concepts. The analysis led to the construction of ordinary portraits constructed of previously not heard voices and challenged the earlier faces of academic partners. The window is a dialogically framed ‘lived experience’ breaking the ‘is’ of metaphor and the gestalt law of closure. This research explores the ‘is not’ of metaphor. It explores the relationship of image, metaphor and concept by focussing on window parts; the images of centre, line and web. The window becomes both a working metaphor and a model of working metaphors extensively used by these participants. Ordinary theology discovers through feminist metaphorical theology that concepts are metaphorical, focusing on both dissimilarities and similarities. The window as a visual image provides an opportunity to extend the concept and metaphor of ordinary theology. It invites academic professionals to an intensive fieldwork experience using a visual image to rediscover a general process of reflection and to reveal people’s indirect and implicit metaphorical ordinary theology.

Po nepriklausomybės atgavimo, daugelį pastatų privatizavus, atsirado grėsmė juose esantiems dailės kūriniams. Svarbus yra ir visuomenės požiūris į sovietinį, mums svetimą, paveldą. Vitražai išmontuojami vien todėl, kad primena praeitį. Be politinių aspekto, Sovietinio paveldo išlikimą lemia ir ekonominiai veiksniai. Daug kur vitražai išmontuoti renovuojant pastatus ir teisinantis, kad jų restauracijai trūksta lėšų. Nors sovietmetis tituluojamas lietuviško vitražo „aukso amžiumi”, dabartinė šio laikotarpio kūrinių padėtis sudėtinga. Pradėjus išsamiau domėtis sovietinio vitražo dabartine būkle susiduriama su medžiagos trūkumu. Renkant medžiagą apie sunaikintus, restauruotus vitražus iškilo ir paveldo apsaugos klausimas. Kaip ir kiek sovietinį paveldą įstatymais gali apsaugoti valstybė ir ar gali tuo pasirūpinti pats darbų autorius. Pirmoje darbo dalyje aptariamas sovietinis vitražas ir jo klestėjimo prielaidos, trumpai supažindinama su tuo metu kūrusiais vitražistais, jų ryškiausias darbais. Išskiriamos dvi pagrindinės prielaidos: valstybiniai užsakymai ir glaudus architektų bei vitražistų bendradarbiavimas. Pateikiama ryškesnių to meto architektų ir vitražistų bendradarbiavimo pavyzdžių. Antroje darbo dalyje aprašomi sovietinių vitražų sunaikinimo, rekonstravimo, perkėlimo atvejai. Pateikiama sunaikintų, rekonstruotų vitražų pavyzdžių. „Išlikusių vitražų pavyzdžiai ir objektyvios jų išlikimo sąlygos. Nagrinėjamos vitražo sunaikinimo priežastys. Trečioje darbo... [toliau žr. visą tekstą] / A lot of public places there privatized after the restoration of independence in Lithuania. A real threat occurred for monumental artworks in architecture after the biulding was privatized. In this situation a public opnion about soviet heritage is really important. Despite the political aspect, there is economical factors as well. Stained glass windows, can’t be fixed because of lack of finance. Though soviet times in Lithuania was „golden age“ for stained glass it has real preservation problem in nowdays. There is a lack of information about these days soviet stained glass situation. The first part of this work contains short history of soviet stained glass and the sources of prosperity. There was two main assumptions for prosperity of stained glass in soviet times: first was orders from soviet goverment and the second was artist and architectures cooperation. The exposition part is illiustration about stained glass destruction, and real situation of soviet stained glass in these days. The final part of the work is about the heritage of soviet art works and preservation of stained glass.

Les vitraux du Moyen Âge, dont les pièces de verre contiennent du manganèse, sont fréquemment atteints d'une pathologie communément appelée «brunissement ». Ce phénomène, qui se traduit par la présence de taches brunes riches en manganèse en surface ou subsurface du verre limitant le passage de la lumière et gênant la lisibilité de l'œuvre, est peu documenté et son occurrence parmi les vitraux n'est pas précisément connue. Un des problèmes majeurs pour ce qui concerne la conservation/restauration des œuvres est l'absence de traitements efficaces et durables pour cette pathologie. En France actuellement, l'absence de traitement est donc préconisée, ce qui ne satisfait ni les architectes, ni les conservateurs, ni les restaurateurs. La connaissance approfondie des processus physico-chimiques à l'origine du phénomène de brunissement est donc nécessaire pour proposer des réponses aux questions et aux attentes des conservateurs/restaurateurs. Au cours de cette thèse un panel de 24 échantillons de verres de vitraux historiques et de 3 échantillons archéologiques ont été étudiés par des méthodes microscopiques et spectroscopiques afin i) d'établir des critères d'identification du phénomène de brunissement dû au manganèse et ii) d'obtenir des informations sur la nature des phases brunes et sur le degré d'oxydation du manganèse dans ces phases. Parallèlement à l'étude des échantillons anciens, des verres modèles de composition proche de celle des vitraux médiévaux ont été synthétisés avec deux objectifs : i) la compréhension de la réaction entre le manganèse et le fer et de l'influence des paramètres de fabrication sur la couleur des verres et ii) l'étude de l'influence que peuvent avoir les bactéries dans le développement du phénomène de brunissement / The medieval stained glass windows, which glass composition contain manganese, are often affected by an alteration commonly designated as "browning". This phenomenon results in the presence of Mn-rich brown spots at the surface or subsurface of the glass thus limiting the passage of light and hindering the interpretation of the artwork. Poorly documented, the occurrence of browning among stained glass windows is not precisely described. Currently, one of the major problems in terms of conservation and restoration is that long-term treatments are not available. In these conditions, the recommendations are not to treat the affected glasses, a solution that satisfies neither the architects nor the curators, nor the restorers. In order to answer the questions and expectations of curators and restorers the comprehension of this phenomenon is essential. In this work, a panel of 24 historical and 3 archaeological stained glass samples were studied by microscopic and spectroscopic methods in order to i) establish reliable criteria for identifying the browning phenomenon due to manganese and ii) obtain information on the nature of the dark phases and the oxidation state of manganese in these phases. In parallel with the study of ancient samples, synthetic glasses with medieval-like compositions were synthesized for: i) understanding the reaction between manganese and iron, as well as the influence of the process parameters on the color of glasses and ii) studying the influence of bacteria in the development of the browning phenomenon