Stained and Painted Glass

English summary: This book is the first to offer a complete survey of medieval stained glass in Bavarian Swabia. One focus is on the rich holdings of the Augsburg Cathedral, which are among the undisputed highlights of medieval stained glass. German description: Die beruhmten Prophetenfiguren sind in ihrer hieratischen Erscheinung von zeitloser Faszination. Sie zahlen zu Inkunabeln der Glasmalerei und lassen sich im Kontext monastischer Reform des 12. Jahrhunderts verorten. Mit dem prachtigen Thron-Salomonis-Fenster markierte der Stifter Konrad von Randegg (1317-46) seinen Anspruch, den Dom in den Rang der groaen Kathedralen zu erheben. Auch die Straaburger Glasmalerei ist mit einem uberraschend gut erhaltenen Marienfenster aus der Werkstatt Peter Hemmels von Andlau vertreten. In Augsburg selbst bleibt die Entwurfstatigkeit Hans Holbeins d. A. fur Sakralverglasungen bis zu Beginn der Reformation pragend. Dass sich die Wirtschafts- und Finanzmetropole in der Fruhen Neuzeit zu einem bedeutenden Zentrum der Glasmalerei entwickeln konnte, ist nicht zuletzt der Kunstforderung Kaiser Maximilians I. und seines Beraters Konrad Peutinger zu verdanken. Hier ubernimmt die Breu-Werkstatt auf dem prosperierenden Gebiet profaner Farbverglasungen bald die Fuhrung.

Exhibition held May 20th - October 8th, 2000 at the Deutsches Glasmalerei-Museum, Linnich, Germany.
Translated by Lorraine & Uwe Henseler.

Die Reformatorenfenster in der Evangelischen Stadtkirche Ravensburg, die in einzigartiger Weise die wichtigsten Personen der Reformation zeigen, sind ein faszinierendes Dokument des 19. Jahrhunderts. Geschaffen wurden sie 1862 von dem Glasmaler Ludwig Mittermaier aus Lauingen. In einem zweijahrigen Projekt, gefordert vom Bundesministerium fur Kultur und Medien und dem Land Baden-Wurttemberg, wurden die Glasmalereien untersucht, erforscht und musterhaft einer Konservierung und Restaurierung unterzogen. Restauratoren, Historiker, Kunsthistoriker, Theologen und Naturwissenschaftler waren an dem interdisziplinaren Projekt beteiligt und stellen in diesem Band ihre Ergebnisse vor. Damit setzt das Landesamt fur Denkmalpflege seine Bemuhungen zur Erforschung und zum Erhalt der Glasmalerei des 19. Jahrhunderts fort.

The Basilica of the Sacred Heart at the University of Notre Dame contains one of the largest collections of late nineteenth-century French stained glass outside of France. The French Gothic-inspired church has forty-four large stained glass windows containing two hundred and twenty scenes. Today, more than 100,000 visitors tour the basilica each year to admire its architecture. This informative guidebook tells the unique story of the windows: the improbable creation of a glassworks by cloistered Carmelite nuns in LeMans, France, and their stained glass that so perfectly illuminated the late-nineteenth-century French Catholic spirituality of the Congregation of Holy Cross. Stories in Light describes the windows according to their location in the building, from the narthex at the entrance to the Lady Chapel behind the altar. Full-color photographs, accompanied by commentary on the historical and theological importance of the glass and the iconography of the saints, provide a detailed view of the scenes found in each window. Stories in Light is an easy-to-read book written for all who visit the basilica and for readers everywhere who want to know more about the rich history and heritage of the Basilica of the Sacred Heart's stained glass.

This landmark study is the first to look closely at the stained glass produced between 1250 and 1325 in western France during the late Capetian era. Generously illustrated with a wealth of color and black-and-white images never before published including many from French churches now closed to the public, Lillich greatly expands our knowledge of both the art and the society from which it emerged. The period Lillich chronicles begins with the region's new vitality following the knights' return from the crusades and ends with the onset of economic uncertainty and unrest that preceded the Hundred Years' War. She reveals that the stained glass of this 75-year span is forceful and uninhibited, dramatic and dazzling, characteristic of what we now term expressionism. Lillich tracks and identifies painters, glazing shops, working methods, models, and sources to argue that the stained glass is a major style with its own developmental evolution and character, putting to rest the notion that this art is merely transitional and provincial.

Art Nouveau y arquitectura: el triunfo del ornamento / María Dolores Antigüedad del Castillo-Olivares
Vidrios de luz y color: de la renovación al hallazgo / Victoria Soto Caba
La imagen del Progreso en las vidrieras de la Casa Mayer en el Banco de España / Victor Nieto Alcaide
El taller Mauméjean de vidriería artística: ejemplos destacados / Sheila Reinoso Blázquez
El conjunto de vidrieras del Congreso de los Diputados: evolución y descripción / Olivia Nieto Yusta y Sheila Reinoso Blázquez
Cines y teatros de Madrid / Olivia Nieto Yusta
Simón Berasaluce y su contribución a la renovación de la vidriera contemporánea / María Castilla Albisu.

The first Polish volume in the international Corpus Vitrearum Medii Aevi series presents medieval stained glass of St Mary's Church in Cracow, a building that counts among the most important city churches in Central Europe. The windows, executed at the close of the reign of Casimir the Great and the beginning of the Jagiellonian rule, form the largest surviving medieval stained-glass scheme in Poland. Only one-sixth of the enormous scheme, originally counting over six hundred panels, survives. The stained-glass panels, which originally filled eleven windows in the chancel, are now gathered in the three apse windows. Research for this volume has enabled to recreate the initial arrangement of the panels; the iconographic programme of the scheme has undergone a contextual analysis, while its formal analysis has revealed stylistic diversity of the glass. The volume is a result of scholarly collaboration between Lech Kalinowski and Helena Małkiewiczówna, who formulated the main theses on the stained glass of St Mary's Church in the 1990s. In 2011-2013 these results were modified, further developed and put in writing by Helena Małkiewiczówna, assisted by Dobrosława Horzela. The volume opens with a general introduction by Marek Walczak, which is aimed at presenting the main subject of the book within the context of the city's broadly understood fourteenth-century material culture.