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Witraże nowożytne malowane emaliami : uwagi o terminologii

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Letkiewicz E.

Ochrona Zabytków

1993

issue 4

354-355

The technique of decorating glass articles with enamel was well known already in antiquity. It was employed about 540 in the form of a single-colour layer which embellishes a stained glass window depicting Christ between the Alpha and the Omega in the San Vitale church in Ravenna. Technological progress in the first half of the sixteenth century made it possible to replace the traditionally executed stained glass window (made by joining coloured glass by means of lead frames into a certain design) with colourless glass, decorated with enamel. The tendency towards miniaturising stained glass windows and their frequent reduction to small colourful accents, some several centimeters large and placed against the background of large sheets of colourless glass can be noticed in many regions of Europe from the middle of the sixteenth century. The appearance of these objects is distant from a universal image of the stained glass window; hence, they are often perceived as a distinct category. Nonetheless, genetic, functional and material connections between panes painted with enamel and stained glass windows executed by traditional methods incline towards including them into a joint class of objects and the acceptance for the former of the name of: „enamelpainted stained glass windows”. This term interprets the category in question as one of the sub-disciplines of the stained glass windows, at the same time, pointing to a group of features which appear to be constitutive; the presence of an enamel painting as a basic medium must be recognized as decisive for that complex of traits.

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1 Ochrona Zabytków

1 Letkiewicz E.

1 1993

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Witraże nowożytne malowane emaliami : uwagi o terminologii