Stained Glass - Art at the Glass Surface
Cambridge - Monday 4th and
Tuesday 5th September 2017
article posted 17 May 2017
1997-2002 Study of Conservation and Restoration of Objects of Arts and Crafts at the University of Applied Sciences, Erfurt.
2002-2004 Conservator for Objects of Amber at the Green Vault/ Grünes Gewölbe, Dresden
2005 Freelance Conservator for Amber, Ivory and Bone Objects
Since 2006 Conservator for the Collections of Decorated Arts, History of Crafts and Glass
Paintings at the German National Museum, Nuremberg.
Original cold paint on early modern stained glass at the Germanisches National Museum, Nuremberg
Institute for Art Technology and Conservation, Germanisches Nationalmuseum, Kartäusergasse 1
D-90419 Nueremberg, Germany
The Germanisches Nationalmuseum (GNM), which is the largest museum of cultural history in the German-speaking region, holds some small early modern rectangular stained glass
roundels on which a variety of coloured cold paints as well as brownish layers are found. At the Institute for Art Technology and Conservation (IKK), some early 16th-century panels
attributed to the Hirsvogel-workshop in Nuremberg were investigated in a non-invasive way by light microscopy to verify the use of original unfired paints. Reflectance Transforming
Imaging (RTI) is used as a photometric documentation technique. This method enables post examination of the surfaces without touching the objects. By virtual, raking light and various
filters the colour and surface information of the picture is enhanced.
Finally it should be noted out that the use of cold paints instead of fired paints as an original application technique can also be found on porcelain objects and on goldsmiths’ works.
Here it is used to imitate enamel or colourant metal oxide glazes. Often these cold paints have been lost by radical cleaning procedures in the past. Due to this fact remains of
original painted colouration on metal objects are often hardly visible or can be misunderstood as metal corrosion products.