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A patent for the method of "Joining Glass Mosaics" was issued to Sanford Bray in 1886, [14] This new method of joining pieces of stained glass used copper/copper foil instead of lead sashes. By using copper foil, one could now make cylinders, cones, and globe-shaped shades or many other irregular forms.
Schematic depiction of H- and U-shaped lead came cross sections, with embedded glass pieces Musée de Cluny students at work in a stained glass workshop. A came is a divider bar used between small pieces of glass to make a larger glazing panel. There are two kinds of came: the H-shaped sections that hold two pieces together and the U-shaped ...
This product has wide domestic application and may be mistaken for genuine stained glass or leadlight. Another method now available is the use of coloured resins that are floated onto the glass, with the different colours divided by a line of resin that emulates the lead came which is used in traditional pieces.
The primary method of including colour in stained glass is to use glass, originally colourless, that has been given colouring by mixing with metal oxides in its melted state (in a crucible or "pot"), producing glass sheets that are coloured all the way through; these are known as "pot metal" glass. [2]
The use of thicker glass produces deeper colour effects than traditional lead came stained-glass, especially when illuminated by bright natural or artificial light. [ 1 ] [ 2 ] The technique achieved prominence in the stained glass literature of the 1950s and 1960s.
For example, the cames that make up the matrix of a stained-glass window, for which lead and zinc were most commonly used, undergo quite a bit of thermal expansion and contraction, eventually resulting in metal fatigue, which in turn weakens the joints between the plates, causing whole panels to deform or simply fall apart (Vogel et al. 2007, 8).