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 Arf Conversation Colored windows By JENNIFER NIXON Times Art Critic Stained glass windows have only changed slowly over the years since their zenith in France during the 12th Century. The early examples were thick and chunky, used in adorning the early medieval monasteries and the new Gothic cathedrals that were springing up. in Europe and England. The magnificent masonry construction and delicate soaring arches were a suitable setting for these beautiful colored windows created to the Glory of God. The raw materials were at evejry Abbey gate. Wood for the continuous heat of the furnace; bracken ash to form an alkaline base; fine, pure river sand; metal oxides; and sea salt used occasionally to facilitate working the glass, but producing an opaque quality. OBTAINING COLORS Colors were obtained from a vajriety of materials: oxide of cobalt was used to produce the azure blue, the addition of manganese created a violet tone; a greenish tint came from adding copper oxide, and yellow was made by ferrous oxide and manganese; green came from bioxide of copper. Red was the most difficult color to produce from oxidized copper and iron filings; this tended to be too deep, and eventually craftsmen or "‘glaziers” layered thin red sheets between transparent ones. Even today, the best colored glass conies from France, where there is a wealth of the needed minerals. The molten glass was blown into a cylinder or “muff,” cut open and flattened. The second method, known as “crown glass,” was to rapidly spin the molten glass into an ever-widening disk. This produced a thicker centre and varying shades. The pattern w*a$ then cut, and the pieces joined by lead strips giving a darker outline to the main design and holding it strongly to the supporting frame. ' DOING DETAILS The drapery, detail or features of a saint were painted on wuth paste or enamnel of molten glass, oxide mixed with vinegar, oil or gum. This “grisaille” was then fired until the enamel had fused to the body of the glass. Architect of Cork Cathedral tried to re-create the same kilns and methods but found the resulting glass inferior to the medieval quality. The results did not have the primitive subtlety of the meadow’ and forest but of the chemical laboratory. Today’s young artists are returning to ancient well-springs of inspiration. Outdoor brick kilns fire hand-coiled pottery. Hangings are woven on Indian Salish looms from raw natural dyed wool. There is a new interest in stained glass. On the North Shore many of our churches of* every denomination have a wide variety of stained glass; St. David’s United with its modern narrow’ strips of geometric pattern in variegated colors, ranging from deep to very pale; the Chapel at West Vancouver United has a very lovely and modern window* done by a aggi IH OUNOARAVS party wear Chargex Master Charge graduate of the Vancouver School of Art. All the established Anglican churches have memorial windows done in the Victorian style. VISIT THE WINDOWS it would be nice if this winter season, particularly around Christmas, people could make a pilgrimage to see these colored window’s, a special Christmas experience, for young and old. The West Vanc.ouvewr Memorial Library was completed in 1950, as a tribute to the men lost jn the two world wars. The window in the Memorial Library’s corner was originally given to the Vancouver Art Gallery by a Caulfield pioneer family in memory of their son, H. G. Stone, who died in 1918. When the gallery was modernizing and needed more wail space for hanging exhibitions the stained glass window was returned to West Vancouver and w’as incorporated into the present library. w nKJ-ftr CARLTG1 CLEANING CAROUSELS LTD PARK ROYAL Speck!on shirts folded or osi hangers ONLY when accompanied with dry cleaning REPAIRS! REPAIRS! ALTERATIONS! Opan 8-6 â€" Chargex §22 -48 8GS Park Royal, Wmt Van.