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The term stained glass can refer to coloured glass as a material or to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture. Modern vernacular usage has often extended the term "stained glass" to include domestic lead light and objets d'art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany. As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in which the colours have been painted onto the glass and then fused to the glass in a kiln. Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the Late Middle Ages. In Western Europe they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as "illuminated wall decorations". The design of a window may be abstract or figurative; may incorporate narratives drawn from the Bible, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church – episodes from the life of Christ; within a parliament building – shields of the constituencies; within a college hall – figures representing the arts and sciences; or within a home – flora, fauna, or landscape. Contents 1 Glass production 1.1 Cylinder glass or Muff 1.2 Crown glass 1.3 Rolled glass 1.4 Flashed glass 1.5 Modern production of traditional glass 2 Colours 2.1 Transparent glass 2.2 Green glass 2.3 Blue glass 2.4 Red glass 2.5 Yellow glass 2.6 Purple glass 2.7 White glass 3 Creating stained glass windows 3.1 Design 3.2 Selecting and painting the glass 3.3 Assembly and mounting 4 History 4.1 Origins 4.2 In Southwest Asia 4.3 Medieval glass in Europe 4.4 Renaissance, Reformation and Classical windows 4.5 Revival in Britain 4.6 Revival in France 4.7 Revival 4.8 Innovations in Britain and Europe 4.9 Innovations in the United States 4.10 20th and 21st centuries 4.11 Combining ancient and modern traditions 5 Buildings incorporating stained glass windows 5.1 Churches 5.2 Synagogues 5.3 Places of worship 5.4 Mausolea 5.5 Houses 5.6 Public and commercial buildings 5.7 Sculpture 6 See also 7 References 8 Further reading 9 External links Glass production Main article: Architectural glass This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Stained glass" – news · newspapers · books · scholar · JSTOR (April 2017) (Learn how and when to remove this template message) During the late medieval period, glass factories were set up where there was a ready supply of silica, the essential material for glass manufacture. Silica requires a very high temperature to melt, something not all glass factories were able to achieve. Such materials as potash, soda, and lead can be added to lower the melting temperature. Other substances, such as lime, are added to rebuild the weakened network and make the glass more stable. Glass is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state.[1] Copper oxides produce green or bluish green, cobalt makes deep blue, and gold produces wine red and violet glass. Much modern red glass is produced using copper, which is less expensive than gold and gives a brighter, more vermilion shade of red. Glass coloured while in the clay pot in the furnace is known as pot metal glass, as opposed to flashed glass. Cylinder glass or Muff Using a blow-pipe, a "gather" (glob) of molten glass is taken from the pot heating in the furnace. The gather is formed to the correct shape and a bubble of air blown into it. Using metal tools, molds of wood that have been soaking in water, and gravity, the gather is manipulated to form a long, cylindrical shape. As it cools, it is reheated so that the manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is left to cool. One side of the cylinder is opened. It is put into another oven to quickly heat and flatten it, and then placed in an annealer to cool at a controlled rate, making the material more stable. "Hand-blown" cylinder (also called muff glass) and crown glass were the types used in ancient stained-glass windows. Stained glass windows were normally in churches and chapels as well as many more well respected buildings. Crown glass This hand-blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a potter's wheel. The centrifugal force causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses. Concentric, curving waves are characteristic of the process. The center of each piece of glass, known as the "bull's-eye", is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the distinctive lump of glass left by the "pontil" rod, which holds the glass as it is spun out. This lumpy, refractive quality means the bulls-eyes are less transparent, but they have still been used for windows, both domestic and ecclesiastical. Crown glass is still made today, but not on a large scale.

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