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

The subject of this study was to provide the link between benthic foraminiferal assemblages and the surrounding environments. Stained sediment samples were collected from northeast and southwest South China Sea. In addition to the faunal census, cluster analysis and the stable isotope of benthic foraminiferal shells were measured. The results were compared with other parameters, such as %TOC, %CaCO3, and coarse fraction in the sediment. The spatial distribution of stained and total benthic foraminifera seems not to be related with either TOC contents in sediment or the sampling water depth. This is probably because of the TOC contents may not reflect the food supply directly. Cluster analysis of the faunal assemblages in Kaoping submarine canyon shows that all species in this study could be divided into three main groups. The first group is the shallow-intermediate infauna. It distributes in the inner shelf and the proportion decreases as the water depth increased. The second group is those species live in the shallow water. The third group is infauna along the outer shelf and slope. The cluster analysis of the faunal assemblages in the Sunda Shelf can be also divided into three groups. The first group is infaunal taxa. The second is epifauna- shallow infauna and disseminates in the shallow water. The third group is epifaunal taxa. The result of stable isotope of benthic foraminiferal shells in Kaoping submarine canyon does not show any clear relationship between oxygen and carbon isotopes. It is possibly because the selected species is not suitable for isotope analysis or the specimens are not sufficient. But the isotope measurements obtained from the Sunda Shelf reveal the great consistence with the variation of temperature and salinity in bottom water. Some species found in the Sunda Shelf even have great potential in paleoceanography study.

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).

Á la fin du XVIIIe siècle, la technique du vitrail est menacée de disparition en France. En réaction, les tentatives en vue de retrouver les procédés de cet art se sont multipliées, aussi bien dans le milieu artistique que scientifique. Le but de cette thèse est de faire le point sur les avancées technologiques mises en œuvre pour la réalisation de vitraux au XIXᵉ siècle à travers l’étude de l’ensemble des brevets déposés au XIXᵉ siècle concernant les techniques de fabrication et de décoration du verre. Par l’étude de ces brevets, nous avons pu montrer que ces innovations ont été les plus nombreuses dans la seconde moitié du XIXᵉ, en relation avec la montée de la demande en vitraux. Les innovations sont de deux ordres : d’une part celles concernant la fabrication du verre et de verres spéciaux (coloré, opalescent, irisé, etc.), d’autre part celles concernant les techniques de décoration du verre (peintures vitrifiables, procédés de gravure et procédés d’impression). Les peintres verriers ont été des acteurs actifs pour le développement de ces innovations, comme en témoignent les brevets qu’ils ont déposés et les vitraux qu’ils ont réalisés avec ces nouvelles techniques. / At the end of the eighteenth century, the technique of stained glass was endangered in France. In response, attempts to rediscover this art process increased in both the artistic and scientific communities. The purpose of this thesis is to determine the technological advances for making stained glass that were implemented during the nineteenth century through the study of all patents submitted at this time for techniques of glass manufacture and decoration. By studying these patents, we have shown that these innovations were the most numerous in the second half of the nineteenth century, in connection with the rise in the demand for stained glass. Innovations are twofold: firstly those related to the manufacture of glass and special glass (colored, opalescent, iridescent, etc.); secondly those concerning glass decoration techniques (enamels, printing and engraving processes). Glass painters were active players in the development of these innovations, as evidenced by the number of patents they filed and the amount of stained glass work they produced with these new techniques.

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.

The objective for this study was to provide the insight into the link between benthic foraminiferal assemblages and the surrounding environment. Stained sediment samples were collected from the continental shelf and slope off the southwest Taiwan, including the Kao-ping Submarine Canyon. In addition to faunal census, total organic carbon (TOC), carbonate, and coarse fraction of the sediments were also measured. Nevertheless, the downcore record of the excess 210Pb from selected sites offers the constraint for stratigraphy time frame for discussion. The benthic foraminiferal assemblages were analyzed by statistics. Clusters analysis shows that all species present in this study could be divided into two groupings. One is those distributed in outer shelf and the other is those found in the inner shelf of the southwest Taiwan. Different from previous studies, the spatial distribution of stained benthic foraminifera seems not to be related with TOC contents in the sediment and water depth. Both the diversity index and Eqitability show that sites inside of the canyon have lower values. The higher Living/Total ratios and lower dead tests at the head of Kao-ping Submarine Canyon than adjacent area might be the effect of migration. Furthermore, the species within the canyon are similar to the southern and northern continental shelf. These findings indicate that the spatial distribution of benthic forams within canyon might be the effect of transport, which could result from the complex interaction between tides and currents. Augmented with the profiles of excess 210Pb, the temporal variation of benthic foraminifera was revealed. Generally there is a progressive decrease in the abundance of Ammonia sp.. It is possible that the diminishing trend was caused by the increase of anthropogenic activity for the last 30 years.