![]() ![]() The application of silver stain, a silver nitrate compound, to white (or clear) glass 'stained' those parts yellow when fired in the kiln. In this period silver stain (or yellow stain) was also introduced. Many of the figures stand in an exaggerated 'S' pose which is typical of the period. The figures lost their former dramatic power and the panels their narrative interest, but the features were more carefully drawn and the robes were looser and more flowing. The narrow elongated openings created by the stonework presented challenges for stained glass artists, who responded by creating 'band' windows with pictorial or figurative panels across the windows alternated with bands of grisaille, as in the windows of Merton College, Oxford (1298-1311).Īs the century progressed, ever more lofty and elaborate architectural canopies were introduced above the figures to occupy the space available, as in the West window in York Minster given in 1338. These later gothic windows were often divided into several lights by vertical stone mullions. Glaziers responded to changes in architectural styles, and had to adjust their designs from the single lancet Norman windows of the 13th Century to the much larger and more complicated windows of the 'Decorated' period. This example of an early 13th century grisaille panel in the museum not only still has most of its original glass but also most of its original leads. This window is predominantly made of white (or clear) glass, painted with an ornamental network of foliage and patterns with an occasional inset of coloured glass. The most famous example in England is the Five Sisters window at York Minster. Grisaille glass had the advantages of being cheap and letting in more light. The roundel of St Vincent, pictured here, is a similar example of a panel from a medallion window from France.ĭuring the 13th Century the use of decorative 'grisaille’, or clear glass was developed. The borders around them are broad with deep colours and elaborate patterns. The stories are illustrated with brilliant colours and with great dramatic intensity and economy. Early in the 13th Century the Trinity Chapel was built at Canterbury as a shrine for St Thomas Becket, and the medallions and panels in the windows are devoted to the depiction of his life and the miracles performed after his death. ![]() These were often intended for the aisles of a church. In addition to 'figure' windows, the thirteenth century saw the increasing popularity of ' medallion' windows. ![]()
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