2010年七月多彩法國--Lyon教堂的彩繪玻璃－小賴的夢

起源

Coloured glass has been produced since ancient times.彩色玻璃製作自古以來。 Both the Egyptians and the Romans excelled at the manufacture of small coloured glass objects.無論是埃及人和羅馬人善於製造小型彩色玻璃物體。 The British Museum holds two of the finest Roman pieces, the Lycurgus Cup , which is a murky mustard colour but glows purple-red to transmitted light, and the Portland vase which is midnight blue, with a carved white overlay.在大英博物館擁有兩個最好的羅馬件，萊克格斯杯，這是一個黑暗的芥末的顏色，而是發光的紫紅色，以透射光，和波特蘭花瓶是午夜藍色，白色覆蓋了雕刻。

In Early Christian churches of the 4th and 5th centuries there are many remaining windows which are filled with ornate patterns of thinly-sliced alabaster set into wooden frames, giving a stained-glass like effect.在早期基督教教堂的第四和第五世紀有很多剩餘的窗，充滿華麗圖案的薄切雪花設置為木製框架，給人一種彩繪玻璃一樣的效果。 Evidence of stained glass windows in churches and monasteries in Britain can be found as early as the 7th century.證據的彩色玻璃窗的教堂和修道院中可以發現在英國早在公元7世紀。 The earliest known reference dates from 675 CE when Benedict Biscop imported workmen from France to glaze the windows of the monastery of St Peter which he was building at Monkwearmouth .已知最早的參考日期時，行政長官由675 本篤比斯科普工人從法國進口的釉窗戶的聖彼得修道院，他是建設Monkwearmouth 。 Hundreds of pieces of coloured glass and lead, dating back to the late 7th century, have been discovered here and at Jarrow . ^{[ 1 ]} Stained glass was also used by Islamic architects in Southwest Asia by the 8th century, when the alchemist Jābir ibn Hayyān , in Kitab al-Durra al-Maknuna , gives 46 original recipes for producing coloured glass and describes the production of cutting glass into artificial gemstones . ^{[ 2 ]}數百幅彩色玻璃和鉛，可以追溯到公元7世紀後期，已經發現這裡和賈羅。 ^[1]彩繪玻璃也被伊斯蘭建築師在西南亞洲的8世紀，當煉金術士賈比爾伊本海揚在基塔人杜拉鋁Maknuna，使原來的46個生產彩色玻璃的食譜，並介紹了生產玻璃切割到人造寶石。 ^[2]

彩繪玻璃，作為一種藝術形式，達到了高度在中世紀時，它成為一個主要圖案的形式，是用來說明敘述的聖經到民眾大多是文盲。

In the Romanesque and Early Gothic period, from about 950 AD to 1240 AD, the untraceried windows demanded large expanses of glass which of necessity were supported by robust iron frames, such as may be seen at Chartres Cathedral and at the eastern end of Canterbury Cathedral .在羅馬和早期哥特式時期，從公元950至約公元1240年，該untraceried大片窗戶玻璃要求其中的必要性，支持強大的鐵製品，如可被視為在沙特爾大教堂，並在東端的坎特伯雷大教堂。 As Gothic architecture developed into a more ornate form, windows grew larger, affording greater illumination to the interiors, but were divided into sections by vertical shafts and tracery of stone.由於哥特式建築發展成為一個更華麗的形式，窗戶越積越多，提供了更大的照明的內飾，但被分成不同的部分垂直軸和花紋的石頭。 The elaboration of form reached its height of complexity in the Flamboyant style in Europe and windows grew still larger with the development of the Perpendicular style in England.擬訂的形式達到了高度的複雜性的超級豪華風格在歐洲和窗戶仍然較大增長與發展的垂直式在英國。

Integrated with the lofty verticals of Gothic cathedrals and parish churches, the glass designs became more daring.內建的哥特式教堂的崇高垂直和教區教堂，玻璃設計變得更加大膽。 The circular form, or rose window developed in France from relatively simple windows with pierced openings through slabs of thin stone to wheel windows, as exemplified by that in the West front of Chartres Cathedral , and ultimately to designs of enormous complexity, the tracery being drafted from hundreds of different points, such as those at Sainte-Chapelle , Paris and the "Bishop's Eye" at Lincoln Cathedral .通知形式，或玫瑰窗在法國發展從相對簡單的Windows與戳穿開口通過薄板坯石頭輪窗口，作為例證，在西線的沙特爾大教堂，並最終設計極其複雜，正在起草的窗飾從數百個不同的地方，例如在聖禮拜堂，巴黎和“主教的眼睛”在林肯大教堂。