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The term "stained glass" commonly precedes "window" and is thus linked to architecture both linguistically and conceptually. The autonomous work is more like a painting than a stained glass window, and is a non-traditional use of the medium. [1] One critic somewhat pejoratively calls non-architectural stained glass "uncommissioned panels."
The rooms are similar in layout and size, with anterooms and lockers nearest the hallway, and the large rooms beyond through large solid oak doors with inset wood trim of different colors. The rooms have decorative beamed and coffered ceilings, two arched windows on the east, and faux arched windows to appear similar, on north and south.
Peter Mollica was a central figure, perhaps the earliest, of a generation of West Coast stained glass artists who emerged in the late 1960s and early ’70s. During his Massachusetts apprenticeship, Mollica was inspired by the contemporary German architectural glass he discovered when reading Robert Sowers’ Stained Glass: An Architectural Art ...
G. Owen Bonawit (1891–1971) was an artist whose studio created thousands of pieces of stained glass for Yale, Duke, Northwestern, and Southeast Missouri State universities; Connecticut College; Bethesda By The Sea Episcopal Church in Palm Beach, Florida [1] and at private homes.
Stained glass windows in houses were particularly popular in the Victorian era and many domestic examples survive. In their simplest form they typically depict birds and flowers in small panels, often surrounded with machine-made cathedral glass which, despite what the name suggests, is pale-coloured and textured. Some large homes have splendid ...
The Panels of Chartres Cathedral Windows, Creation and the Good Samaritan, contain 24 stained-glass windows. Plates one through three depict shoemakers, the funders of the window. Panels four through twelve from bottom to top depict the Story of the Good Samaritan, and the other panels - thirteen to twenty-four - depict the Story of Creation.