ponedjeljak, 03.10.2011.



Decorative Glass Window Panels

decorative glass window panels

    decorative glass
  • Studio glass or glass sculpture is the modern use of glass as an artistic medium to produce sculptures or two-dimensional artworks.

  • Glass which has been formed or arranged into structure or patterns for ornamental and decorative applications. Beveled glass, camed glass, and blown glass are a few examples.

    window panels
  • (Window Panel) Decorative raised panel placed directly below a window. Other applications include placement in a series creating a wainscoting system, or around the front of a whirlpool tub to act as water resistant, decorating access panels.

  • Matching pair of fabric panels that hang from a curtain rod for privacy and/or decorative effect. Also known as drapes

Stained glass, Church of St Lawrence, Bourton-on-the-Hill

Stained glass, Church of St Lawrence, Bourton-on-the-Hill

IoE Number: 128698
Date listed: 25 August 1960
Date of last amendment: 25 August 1960
Grade I

SP 1732(south side)10/60Church of St. Lawrence25.8.60

BOURTON-ON-THE-HILL MAIN STREET SP 1732 (south side) 10/60 Church of St. Lawrence 25.8.60 GV I Anglican parish church. C12 nave, C14 chancel and north aisle. C15 south aisle, nave clerestory and three stage tower. C19 porch. Coursed squared and dressed limestone. Roof not visible. Plan: west tower; nave with north and south aisles; porch from west end of north aisle; south porch opposite north porch, from south aisle; chancel. Exterior: plinth with moulded top around tower and chancel; nave with clerestory parapet with roll moulded coping with string below as on north and south aisles and porch. 5 gargoyles from string on north side of nave. Clerestory: 4-windowed; 3-light stone-mullioned casements with cusped heads and carved spandrels. North aisle: 2 tall 3-light windows with trefoil heads. String forms hood to windows with the addition of diamond stops to either side. 2-light Perpendicular window with stopped hood at west end; 3-light stone-mullioned casement with Perpendicular style tracery and hood with diamond stops at east end. North porch with studded door within moulded pointed arch with stopped hood. Small statue of St. Lawrence in niche with decorative canopy above door. South aisle same as north aisle but with diagonal buttress at east end and traces of 3 scratch sundials between windows of south wall. 3-light stone-mullioned window with Perpendicular tracery at east end. South porch with flat coped gable and upright cross finial over double studded plank door within moulded pointed archway with flat-chamfered imposts and stopped hood. West tower: diagonal buttresses with embattlemented parapet. Studded plank west door with angular pointed head and flat-chamfered surround. Restored 2- light window with reticulated tracery and stopped hood over door. Numerous single lights some with ogee heads in all faces of tower. 2-light belfry windows with vesicas and limestone slate louvres with stopped hoods. Internal stair up south west corner with pointed stone spirelet with weather-cock projecting above parapet level at top. Chancel: diagonal buttresses; parapet with cusped diaper in panels and crocketed finials at corners. 3-light east window with reticulated tracery. South wall: C19 two-light window with tracery and stopped hood. Blocked ogee arched doorway lower left. North wall: 2- windowed; 3-light stone mullioned window with trefoil headed lights and stopped hood. 2-light stone-mullioned casement with ogee cusping and stopped hood right. Interior: C19 panelled door in moulded arch from north porch into north aisle with 3-bay arcade of pointed flat-chamfered arches on hexagonal piers. Similar arches to chancel and tower. Wooden gallery erected c1827 by the Rev. Samuel Warneford (q.v. The Retreat and tomb in churchyard) at west end of north aisle. C19 panelled double door within C15, 4-centred arched doorway from south porch into south aisle within moulded surround with dragon and leopard in relief in left and right spandrels respectively; primitive carved bearded face on right jamb. South aisle: C12 arcade of 3-bays comprising 3 circular piers with scalloped capitals and pointed arches, the latter probably rebuilt late C12. Reputed remnants of upper part of C14 stone screen from Moreton-in- Marsh, at east end of south aisle, comprising the upper portion of 6 trefoiled lights in 3 pairs with blind ogee cusped quatrefoils above each pair. C20 mullions, except where omitted to form entrance far right. Step up to chancel. C14 piscina with trefoil arch, crocketed gable and pinnacles reset in jamb of rebuilt south window. Nave fittings: C15 octagonal font with tracery panels at rear of church. Standard Winchester bushel and beck dated 1816 at east end; C20 pews and pulpit. North aisle: painted wooden triptych of 1928 at east end. Chancel fittings: English style altar with dossal and riddel posts with carved and gilded angels by Edward Bateman 1928. C19 stained glass in east window. Monuments: C18 ledger to Ann Gibbs and highly decorated but eroded ledger to the wife of Alexander Popham (q.v. Bourton House) with date 1688 in floor of south porch. Monuments on south wall of south aisle: White on black decorated marble tablet with urn to William Bateson died 1819 over south door. Similar undated tablet without urn to William Gibb (q.v. chest tomb in churchyard) right of the former. White on purple/grey marble decorative tablet with urn to Robert Bateson died 1763, left. White on black decorative marble tablet with urn and heraldic shield to Susannah Bateson died 1768, left. Grey marble decorative tablet with heraldic shield and cupids to Robert Bateson died 1736, left. Grey marble tablet with open segmental pediment, heraldic shield and cupids to Kemp Har

Stained Glass in the Van Vleet Tomb

Stained Glass in the Van Vleet Tomb

The term stained glass refers either to the material of coloured glass or to the art and craft of working with it. Throughout its thousand-year history the term "stained glass" was applied almost exclusively to the windows of churches, cathedrals and other significant 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 leadlight and objets d'art created from lead came and copper foil glasswork such as exemplified in the famous lamps of Louis Comfort Tiffany.

As a material the term stained glass generally refers to 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 all the colours have been painted onto the glass and then annealed in a furnace.

Stained glass, as an art and a craft, requires the artistic skill to conceive the design, and the engineering skills necessary to assemble the decorative piece, traditionally a window, so that it will fit snugly into the window frame for which is is made and also, especially in the larger windows, is capable of supporting its own weight and surviving the elements. 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 non-figurative or figurative. It may incorporate narratives drawn from the Bible, history or literature, or represent saints or patrons. It may have 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.

decorative glass window panels

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