External View
Detail of the exterior of Tom Denny's superb Holy Spirit Window at St Peter's Church, Ipsley, Redditch.
This detail, whilst giving away little of the internal appearance of the glass, does at least convey some sense of the multi-layered nature of this window;
Most of the window is exceuted using 'flashed glass', where the colour is only present in a thin outer layer (normally the colour permeates the entire thickness of the glass) which can be selectively removed (usually with acid) to give isolated pockets of colour on a clear/white ground.(this is most commonly used for heraldic details)
If two seperate pieces of different colur are treated this way, and then overlapped and plated when leaded together it is possible to create a third colour from this effect (red+blue=purple etc) in addition to white which gives a variety of hues contained in (what appears to be) a single leaded piece of glass where one colour would be the norm. When covered with heavily painted detail the elements visually blend perfectly within.
This technique is used brilliant by Tom Denny in works such as this; it was lperhaps most famously used in the work of the great early 20th century stained glass artists, such as Karl Parsons and Henry Payne in England and Harry Clarke and Michael Healy in Ireland.
External View
Detail of the exterior of Tom Denny's superb Holy Spirit Window at St Peter's Church, Ipsley, Redditch.
This detail, whilst giving away little of the internal appearance of the glass, does at least convey some sense of the multi-layered nature of this window;
Most of the window is exceuted using 'flashed glass', where the colour is only present in a thin outer layer (normally the colour permeates the entire thickness of the glass) which can be selectively removed (usually with acid) to give isolated pockets of colour on a clear/white ground.(this is most commonly used for heraldic details)
If two seperate pieces of different colur are treated this way, and then overlapped and plated when leaded together it is possible to create a third colour from this effect (red+blue=purple etc) in addition to white which gives a variety of hues contained in (what appears to be) a single leaded piece of glass where one colour would be the norm. When covered with heavily painted detail the elements visually blend perfectly within.
This technique is used brilliant by Tom Denny in works such as this; it was lperhaps most famously used in the work of the great early 20th century stained glass artists, such as Karl Parsons and Henry Payne in England and Harry Clarke and Michael Healy in Ireland.