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The general characteristics of French stained glass in this period include whole panels filled with decorative canopy work, almost all in white, with just touches of stain. The canopy designs were intricate patterns of line and form to accompany the intricate details of the Flamboyant interiors.
Stained glass is colored glass as a material or works created from it. Although, it is traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture.
Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
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One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
This panel of St Margaret had been presented by the Duke of Atholl to King George V in 1927, in gratitude for the King's support in establishing the Scottish National War Memorial at Edinburgh Castle in 1927. [67] In the Stained Glass Museum at Ely is a design for a three light stained glass window for St Matthew's Church, Surbiton.