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<!DOCTYPE html> <html lang="en"> <head> <title>CATHOLIC ENCYCLOPEDIA: Stained Glass</title><script src="https://dtyry4ejybx0.cloudfront.net/js/cmp/cleanmediacmp.js?ver=0104" async="true"></script><script defer data-domain="newadvent.org" src="https://plausible.io/js/script.js"></script><link rel="canonical" href="https://www.newadvent.org/cathen/14241a.htm"> <meta name="viewport" content="width=device-width, initial-scale=1"> <meta name="description" content="The popular name for the glass used in the making of coloured windows"> <meta http-equiv="Content-Type" content="text/html; charset=utf-8"><link rel="alternate" type="application/rss+xml" title="RSS" href="http://feeds.newadvent.org/bestoftheweb?format=xml"><link rel="icon" href="../images/icon1.ico" type="image/x-icon"><link rel="shortcut icon" href="../images/icon1.ico" type="image/x-icon"><meta name="robots" content="noodp"><link type="text/css" rel="stylesheet" href="../utility/screen6.css" media="screen"></head> <body class="cathen" id="14241a.htm">  <br/> <div id="capitalcity"><table summary="Logo" cellpadding=0 cellspacing=0 width="100%"><tr valign="bottom"><td align="left"><a href="../"><img height=36 width=153 border="0" alt="New Advent" src="../images/logo.gif"></a></td><td align="right"> <form id="searchbox_000299817191393086628:ifmbhlr-8x0" action="../utility/search.htm">  <input type="hidden" name="safe" value="active"> <input type="hidden" name="cx" value="000299817191393086628:ifmbhlr-8x0"/> <input type="hidden" name="cof" value="FORID:9"/>  <label for="searchQuery" id="searchQueryLabel">Search:</label> <input id="searchQuery" name="q" type="text" size="25" aria-labelledby="searchQueryLabel"/>  <label for="submitButton" id="submitButtonLabel" class="visually-hidden">Submit Search</label> <input id="submitButton" type="submit" name="sa" value="Search" aria-labelledby="submitButtonLabel"/> </form> <table summary="Spacer" cellpadding=0 cellspacing=0><tr><td height="2"></td></tr></table> <table summary="Tabs" cellpadding=0 cellspacing=0><tr> <td bgcolor="#ffffff"></td> <td class="tab"><a class="tab_color_on_beige" href="../"> Home </a></td> <td class="tab"><a class="tab_white_on_color" href="../cathen/index.html"> Encyclopedia </a></td> <td class="tab"><a class="tab_color_on_beige" href="../summa/index.html"> Summa </a></td> <td class="tab"><a class="tab_color_on_beige" href="../fathers/index.html"> Fathers </a></td> <td class="tab"><a class="tab_color_on_beige" href="../bible/gen001.htm"> Bible </a></td> <td class="tab"><a class="tab_color_on_beige" href="../library/index.html"> Library </a></td> </tr></table> </td> </tr></table><table summary="Alphabetical index" width="100%" cellpadding=0 cellspacing=0><tr><td class="bar_white_on_color"> <a href="../cathen/a.htm"> A </a><a href="../cathen/b.htm"> B </a><a href="../cathen/c.htm"> C </a><a href="../cathen/d.htm"> D </a><a href="../cathen/e.htm"> E </a><a href="../cathen/f.htm"> F </a><a href="../cathen/g.htm"> G </a><a href="../cathen/h.htm"> H </a><a href="../cathen/i.htm"> I </a><a href="../cathen/j.htm"> J </a><a href="../cathen/k.htm"> K </a><a href="../cathen/l.htm"> L </a><a href="../cathen/m.htm"> M </a><a href="../cathen/n.htm"> N </a><a href="../cathen/o.htm"> O </a><a href="../cathen/p.htm"> P </a><a href="../cathen/q.htm"> Q </a><a href="../cathen/r.htm"> R </a><a href="../cathen/s.htm"> S </a><a href="../cathen/t.htm"> T </a><a href="../cathen/u.htm"> U </a><a href="../cathen/v.htm"> V </a><a href="../cathen/w.htm"> W </a><a href="../cathen/x.htm"> X </a><a href="../cathen/y.htm"> Y </a><a href="../cathen/z.htm"> Z </a> </td></tr></table></div> <div id="mobilecity" style="text-align: center; "><a href="../"><img height=24 width=102 border="0" alt="New Advent" src="../images/logo.gif"></a></div>  <div id="mi5"><span class="breadcrumbs"><a href="../">Home</a> > <a href="../cathen">Catholic Encyclopedia</a> > <a href="../cathen/s.htm">S</a> > Stained Glass</span></div> <div id="springfield2"> <div class='catholicadnet-728x90' id='cathen-728x90-top' style='display: flex; height: 100px; align-items: center; justify-content: center; '></div> <h1>Stained Glass</h1> <p><em><a href="https://gumroad.com/l/na2"><strong>Please help support the mission of New Advent</strong> and get the full contents of this website as an instant download. Includes the Catholic Encyclopedia, Church Fathers, Summa, Bible and more  all for only $19.99...</a></em></p> <p>The popular name for the glass used in the making of coloured windows. The term is a misnomer, as stained glass is only one of the glasses so employed. It is more the result of a process than a glass per se, as it is produced by <a href="../cathen/11395a.htm">painting</a> upon any glass, clear or coloured, with the oxide of silver, which penetrates the glass when subjected to heat and gives a yellowish reaction. In building a coloured window a variety of glass can be used, but usually there is only one kind employed, viz.: pot- metal, a glass that is coloured throughout its substance while in a molten state. This is used either directly or after it has been toned, or ornamented, or made a background for a figure subject by <a href="../cathen/11395a.htm">painting</a> the same upon it with vitrifiable pigments, fused to its surface or incorporated with its substance by the means of heat. Nevertheless, although the word <em>stained-glass</em> is inaccurately used, usage has so fixed its <a href="../cathen/05525a.htm">erroneous</a> meaning in the public mind that in all probability it will continue for all time to be applied in naming coloured windows and their glass.</p> <p>I. Documentary, and, far more, monumental history, demonstrates that glass has been in use from the most remote ages; that the ancients were familiar with it; moreover, that its origin or discovery, or invention is lost in the twilight of fables. In many cases where china and metal are now employed the ancients used glass: they blew, cast, and cut into it thousands of objects with which they furnished <a href="../cathen/14773b.htm">tombs</a> and <a href="../cathen/14495a.htm">temples</a>, palaces and private houses; and adorned their <a href="../cathen/11726a.htm">persons</a>, their garments, and their buildings. It is indeed <a href="../cathen/05141a.htm">doubtful</a> if there was any branch of the art of glass-making and the utilization of its products that was not known to them, a fact <a href="../cathen/12454c.htm">proved</a> by the fragments of innumerable articles found today in countless numbers among the ruins of <a href="../cathen/05329b.htm">Egypt</a>, Chaldea, <a href="../cathen/12041a.htm">Phoenicia</a>, <a href="../cathen/06735a.htm">Greece</a>, and <a href="../cathen/13164a.htm">Rome</a>. It is <a href="../cathen/15073a.htm">true</a>, however, that the glazing of window openings with glass cannot be traced back beyond the year 306 B.C. At this early <a href="../cathen/04636c.htm">date</a> in the Far East coloured windows were made by arranging small gem- like pieces of pot-metal in perforated wooden or stone panels. This kind of window, still in use in the Orient, found its most notable development after the advent of <a href="../cathen/03712a.htm">Christianity</a>; but it was not until the birth of <a href="../cathen/06665b.htm">Gothic architecture</a>, with its large window-openings, that the full value of glass as a transmitter of light and a polychromatic decorative material was fully appreciated. Gothic window-openings called for a filling strong enough to keep out the weather, yet transparent enough to admit the light; on the other hand, as, in this form of architecture, the wall-spaces were necessarily small, the windows offered the only opportunity for the decorator's art in so far as it depended upon colour. As glass at that time was to be had only in small pieces, the glazier was compelled, in order to fill the window-openings, to make his lights a <a href="../cathen/10584a.htm">mosaic</a>, that is a combination of pieces of glass of various sizes and colours worked to a given design by placing them in juxtaposition. These pieces of glass had to be kept in place by some other material, and the best medium for the purpose was found to be lead, applied in strips made with lateral grooves for the reception of the edges of the glass.</p> <div class="CMtag_300x250" style="display: flex; height: 300px; align-items: center; justify-content: center; "></div> <p>The early windows were purely ornamental transparent <a href="../cathen/10584a.htm">mosaics</a>; later, when figure subjects were portrayed, the artist, on account of the limitations of the <a href="../cathen/10584a.htm">mosaic</a> method, was compelled to use <a href="../cathen/11395a.htm">paint</a> in order to get the proper effect, <a href="../cathen/11395a.htm">painting</a> directly upon the glass with ordinary transparent pigments; but as this was not durable, when exposed to atmospheric changes, he protected the <a href="../cathen/11395a.htm">painted</a> portion by covering it with another piece of glass which was held in place by means of leads, and thus insured its preservation, at least as long as the superimposed glass remained intact. This imperfect method was not long in use before a great discovery was made at <a href="../cathen/09263a.htm">Limoges</a> in <a href="../cathen/06166a.htm">France</a>, where a <a href="../cathen/15333a.htm">Venetian</a> colony of glass-workers had settled as early as the year 979. The new process, which revolutionized the art, consisted in <a href="../cathen/11395a.htm">painting</a> with metallic pigments which could be fused into the glass, the <a href="../cathen/11395a.htm">painting</a> being thus made as lasting as the glass itself. Not the first, but one of the first, to employ this permanent process of <a href="../cathen/11395a.htm">painting</a> on glass to any considerable extent was the great twelfth-century promoter of all things ecclesiological, the <a href="../cathen/14326a.htm">Abbot Suger</a>. Recognizing the value of the invention, he caused the windows of the Church of St. Denis at <a href="../cathen/11480c.htm">Paris</a> to be executed in this way, and they were so successful that picture-windows became thereafter a <a href="../cathen/10733a.htm">necessary</a> constituent of every <a href="../cathen/03744a.htm">ecclesiastical</a> edifice.</p> <p>The oldest <a href="../cathen/11395a.htm">painted</a> picture-window that has survived the action of time is one representing the <a href="../cathen/01767a.htm">Ascension</a> in the <a href="../cathen/03438a.htm">cathedral</a> of <a href="../cathen/09143b.htm">Le Mans</a>, which is believed by many antiquarians to be a work of the late eleventh century. The glass composing it is very beautiful, more particularly the browns, which are rich in tone, the rubies, which are brilliant, streaked and studded with gemlike blobs of black, and the blues, which are of a greenish azure hue, while the general colour treatment is extremely oriental. The drawing of the figures is most effective, although simple in line, and Byzantine in character, differing in this point from those at St. Denis, which are Romanesque. The <a href="../cathen/11395a.htm">painting</a> is peculiar in that the hair of the figures is rendered in solid black, and not in lines. Although <a href="../cathen/09143b.htm">Le Mans</a> was one of the first places where windows made by the new process were used, yet it did not become the centre of work; the city of <a href="../cathen/03635a.htm">Chartres</a> took the lead, and became the greatest of the <a href="../cathen/13554b.htm">schools</a> of <a href="../cathen/10285c.htm">medieval</a> glass-painting, and from it the art slowly made its way to <a href="../cathen/06484b.htm">Germany</a> and <a href="../cathen/05445a.htm">England</a>, keeping always its essentially French character. Even today the Chartres windows are the most beautiful in existence.</p> <p>At the very beginning  the eleventh and twelfth centuries  there were two methods of work: one <a href="../cathen/13554b.htm">school</a> of artists freely employed <a href="../cathen/11395a.htm">paint</a> in their windows, the other avoided its use, striving to obtain the result sought by a purely <a href="../cathen/10584a.htm">mosaic</a> method, a system destined to be revived and developed in after ages; but the former <a href="../cathen/13554b.htm">school</a> almost at once gained the mastery and held it for eight hundred years. Examples of the early work of these rival <a href="../cathen/13554b.htm">schools</a> can best be studied by comparing the <a href="../cathen/11395a.htm">painted</a> windows erected at <a href="../cathen/09143b.htm">Le Mans</a> with those at <a href="../cathen/14313c.htm">Strasburg</a>, which were built in accord with <a href="../cathen/10584a.htm">mosaic</a> motives. In many of the first windows the figure subjects were <a href="../cathen/11395a.htm">painted</a> upon small pieces of glass imbedded in a wide ornamental border, a large number of these medallions entering into the composition of a single window, and each section held in place by an iron armature  a constructive necessity, as the window-openings were without mullions. The medallions were all related to one another through their colour key, depicting various incidents in the same history or a number of points in a <a href="../cathen/14580x.htm">theological</a> proposition. This form of window, peculiarly adapted to a single light, continued in fashion from the twelfth century until the introduction of tracery, and in some parts of <a href="../cathen/06166a.htm">France</a> long after the single light had given way to the mullioned window. Contemporaneous with these medallion windows there were two other kinds: the canopy and Jesse windows. In the first there was a representation of one or two figures, executed in rich colours on a coloured or white ground within borders and under a low-crowned, rude, and simple canopy, usually out of proportion to the figure or figures it covered. The second variety, of pictorial genealogy of the Redeemer, consisted of a tree or vine springing from the recumbent form of Jesse, lying asleep at the foot of the window, the branches forming a series of panels, one above another, in which kings and <a href="../cathen/11549a.htm">patriarchs</a> of the royal house of the Lion of Juda were pictured.</p> <div class="CMtag_300x250" style="display: flex; height: 300px; align-items: center; justify-content: center; "></div> <p>The windows of the twelfth century are admired on account of their ingenious combinations of colour, their rich rug-like effects and the brilliancy of the glass. It was reserved, however, for the thirteenth and fourteenth centuries to see the full unfolding of the possibilities and inherent beauty of coloured glass. Among the most noted of these windows are the exquisite jewel-like ones in the <a href="../cathen/03438a.htm">cathedral</a> of <a href="../cathen/03635a.htm">Chartres</a>, a hundred and forty-three in number, containing no less than one thousand three hundred and fifty subjects, with over three thousand figures; there are also some fine examples to be seen at <a href="../cathen/12725a.htm">Reims</a>, <a href="../cathen/02720b.htm">Bourges</a>, <a href="../cathen/15002a.htm">Tours</a>, and <a href="../cathen/12178c.htm">Poitiers</a>. These magnificent windows are only a small portion of those that once existed. The windows of the thirteenth century are not only more brilliant in colour, but the colours are more skilfully blended than in those of the preceding century; at the same time the drawing of the figures is better, the faces are oval in form, more delicately treated, often refined and vigorous; the eyes have a natural expression, and the hair is rendered in lines of varying thickness. The compositions are simple and not over- crowded, the draperies are broader in treatment, the ornaments and <a href="../cathen/05257a.htm">architectural</a> details, taking their motives mostly from natural objects, are well drawn. The range of subjects represented being limited by the paramount object of all <a href="../cathen/03744a.htm">ecclesiastical</a> decorations of the <a href="../cathen/10285c.htm">Middle Ages</a>, viz. the instruction of the illiterate and promotion of <a href="../cathen/12748a.htm">piety</a> among the people, these windows present scenes from Biblical history and the lives of the <a href="../cathen/04171a.htm">saints</a>, and symbolic portrayals of the <a href="../cathen/05089a.htm">dogmas</a> of the <a href="../cathen/03744a.htm">Church</a>. In fact they were sermons which "reached the heart through the eyes instead of entering at the ears". But their choice of subjects was not made at random; it fell under the same rule that guided the encyclopedias of the time in their classification of the <a href="../cathen/15183a.htm">universe</a>, commencing with <a href="../cathen/06608a.htm">God</a> and the creation of <a href="../cathen/01476d.htm">angelic beings</a>, and so on thorough nature, <a href="../cathen/13598b.htm">science</a>, ethics, and history. The windows were indeed poems in glass, "The first canto, reflecting the image of <a href="../cathen/06608a.htm">God</a> as the Creator, the Father, and the giver of all good gifts; the second, nature, organic and inorganic; the third, <a href="../cathen/13598b.htm">science</a>; the fourth, the moral sense; and lastly, the entire world". Where there were not enough windows in a church to carry out the complete scheme, one or more portions were represented.</p> <p>The windows of the fourteenth century show a steady increase in <a href="../cathen/08673a.htm">knowledge</a> of the art, more particularly in matters of drawing and harmonious use of colour. The later advance was brought about by the discovery of the yellow stain, which placed in the artists' hands not only various shades of yellow, but also a colour with which they could warm their white glass. It also led them to develop a style of glass window that first made its appearance in the days of <a href="../cathen/02498d.htm">St. Bernard</a> and was used largely by the <a href="../cathen/03780c.htm">Cistercians</a>, whose churches were a protest against the luxury, the pomp of colour and ornamentation, of those built by rival monastic bodies, particularly by the art-loving <a href="../cathen/04073a.htm">Cluniac</a> <a href="../cathen/10487b.htm">monks</a>. These grisaille, or stippled, windows were white and black, or gray and gray, brown and brown, warmed by a yellow stain and were <a href="../cathen/11395a.htm">painted</a> upon white or clear glass. Towards the end of the fourteenth century the artists began to break away from the tutelage of the architects and abandoned sound rules of the great <a href="../cathen/13554b.htm">school</a> of the thirteenth century, ignoring the principle that "all ornament should consist of enrichment of the essential construction of a building". The <a href="../cathen/14004b.htm">sins</a> of the glass-painters of the fifteenth century were still greater, for it mattered little to them if their windows were out of key with the <a href="../cathen/05257a.htm">architectural</a> design of the building in which they were placed; their sole wish seemed to be to make their work do them <a href="../cathen/07462a.htm">honour</a>. This abandonment of the fixed canons of the art, the abuse of its materials, and the exaggeration of <a href="../cathen/07761a.htm">individualism</a> marked the beginning of the end of good glasswork, the deterioration becoming complete just as a revolution in <a href="../cathen/12738a.htm">religious</a> thought was born into the world which destroyed in its destructive march not only the glass-painter's art, but many others, and also wrecked the art treasures of <a href="../cathen/10285c.htm">medieval</a> culture, while it paralyzed for years, in Northern <a href="../cathen/05607b.htm">Europe</a>, ecclesiastical art of every kind.</p> <p>In the sixteenth century the windows were purely pictorial and wholly <a href="../cathen/05054c.htm">divorced</a> from their <a href="../cathen/05257a.htm">architectural</a> surroundings. At the end of this century and all through the next the windows rapidly degenerated, the art of making them finally passing from the hands of artists into the <a href="../cathen/02148b.htm">greedy</a> grasp of tradesmen. The last windows made in which there was still some artistic merit are those in the Church of St. John at Gouda. In these the <a href="../cathen/11395a.htm">painters</a> introduced landscapes, arcades, and corridors, aiming at absolute realism and startling perspectives, and treating their glass as they would canvas. In the seventeenth and eighteenth centuries the use of <a href="../cathen/11395a.htm">paints</a> and enamels became so excessive as to almost do away with pot-metal. Many of the windows were made wholly by <a href="../cathen/11395a.htm">painting</a> and staining clear glass, and were purely articles of trade, with a very poor market, which became smaller from year to year until all demand ceased, and the noble art of placing images of beauty between earth and <a href="../cathen/07170a.htm">heaven</a> for the edification of the people, for the glory of the art, for the <a href="../cathen/09397a.htm">love</a> of the beautiful, and the <a href="../cathen/07462a.htm">honour</a> of <a href="../cathen/06608a.htm">God</a> disappeared for a time from off the face of the earth.</p> <p>II. Continental <a href="../cathen/05607b.htm">Europe</a> and Great Britain, in its recoil from the black night of unbelief, indifference, and disorder that wrecked good <a href="../cathen/10559a.htm">morals</a> at the end of the eighteenth century and the beginning of the nineteenth, fell back upon the <a href="../cathen/05752c.htm">faith</a> of the past as its only anchor of hope. As the Faith revived among the people it called for a material expression of its <a href="../cathen/05089a.htm">dogmas</a> and history under forms of beauty, opening once again the field of <a href="../cathen/03710a.htm">religious art</a> to architects, <a href="../cathen/11395a.htm">painters</a>, and <a href="../cathen/13641b.htm">sculptors</a>. All over <a href="../cathen/05607b.htm">Europe</a> every branch of art found able leaders  men of enthusiasm, rare talents, and great energy. Each one, architect, <a href="../cathen/11395a.htm">painter</a>, and <a href="../cathen/13641b.htm">sculptor</a>, entered upon the work with the spirit of <a href="../cathen/05752c.htm">faith</a>, <a href="../cathen/09397a.htm">love</a>, and sacrifice, in their hearts, and tried to make their art "a frame for the sacred picture of <a href="../cathen/15073a.htm">truth</a>". Amid this revival of the major arts, those which developed most rapidly were <a href="../cathen/11395a.htm">painting</a> and architecture, and among the handmaidens of the latter the glazier's art almost at once took a leading position. To <a href="../cathen/06484b.htm">Germany</a> belongs the <a href="../cathen/07462a.htm">honour</a> of reviving coloured windows, although both <a href="../cathen/06166a.htm">France</a> and <a href="../cathen/05445a.htm">England</a> have a prior claim, as having produced the first picture windows subsequent to the <a href="../cathen/13009a.htm">French Revolution</a>; but these were nothing more than isolated efforts of <a href="../cathen/07762a.htm">individuals</a>, while in <a href="../cathen/06484b.htm">Germany</a> associated artists of ability gave their attention to the matter and founded a <a href="../cathen/13554b.htm">school</a> of glass-painters, and <a href="../cathen/10631a.htm">Munich</a> became the centre of the movement. One of the greatest efforts of the <a href="../cathen/10631a.htm">Munich</a> School is to be seen in Glasgow Cathedral, where it reached its limit of excellency. This was indeed a noble effort, but on the whole a lamentable failure, due to the nature of the glass, as well as a lack of <a href="../cathen/08673a.htm">knowledge</a> of the requirements of the art and of its place as an adjunct to architecture. The windows are marked by thinness of colour, exaggerated dappled backgrounds, inharmonious borders, and defective blending of the colours, while there is a lack of harmony between the ornaments of the buildings and its architecture.</p> <p>The modern French <a href="../cathen/13554b.htm">school</a> of window-makers is very similar to the German, with even stronger tendency to look upon coloured windows as easel pictures, with little or no leaning towards <a href="../cathen/10285c.htm">medieval</a> processes, and without any apparent effort to attain the incomparable beauty of the windows which adorn the <a href="../cathen/06166a.htm">French</a> <a href="../cathen/03438a.htm">cathedrals</a> of the thirteenth and fourteenth centuries. The English <a href="../cathen/13554b.htm">school</a> of glass-painters are by far the most successful, and all because their highest aim has been to make their windows good copies of the best glass of the <a href="../cathen/10285c.htm">Middle Ages</a>. Much of their work is very beautiful, deeply imbued with a devotional spirit, and of high artistic merit. The American artist in glass, impatient of tradition, caring very little for either the subjects or the symbolism of the past, has attempted to do something new by using opal glass, with its limitless colour field, along the lines of the <a href="../cathen/10584a.htm">mosaic</a> system, and build a window perfect in colour effect. In practice he separates his lights and darks from one another by carefully studied lead lines, which he endeavours to lose by making them look like a part of the glass and an essential constituent of the design. At the same time he tries to heighten the colour values of his glass by superimposing one colour upon another, seemingly always keeping in mind Ruskin's dictum: "Colour, to be perfect, must have a soft outline or a simple one; it cannot have a refined one; and you will never produce a good window with good figure drawing in it. You will lose perfection of colour as you give perfection of line. Try to put in order and form the colour of a piece of opal." So far the American artist in glass has not been successful in making good church windows, and all because he disregards their <a href="../cathen/15073a.htm">true</a> purpose, their <a href="../cathen/05257a.htm">architectural</a> surroundings, and because he has overestimated the value of coloured glass as a decorative material, hence sacrificing everything to his window. It is <a href="../cathen/15073a.htm">true</a>, however, that he has made a few good windows, translucent <a href="../cathen/10584a.htm">mosaics</a> which indeed are great works of art, with wonderful niceties of light and shade, with prismatic play of colours, and admirably harmonious.</p> <div class="CMtag_300x250" style="display: flex; height: 300px; align-items: center; justify-content: center; "></div> <p>In the future, as in the past, the proper field for this art is an <a href="../cathen/03744a.htm">ecclesiastical</a> one. It therefore behoves the artist in glass, if he hopes to reach a high degree of perfection, to study the principles which govern <a href="../cathen/03710a.htm">Christian art</a>, and ever to bear in mind that the glazier's art is but an auxiliary to the architect's.</p> <div class='catholicadnet-728x90' id='cathen-728x90-bottom' style='display: flex; height: 100px; align-items: center; justify-content: center; '></div> <div class="pub"><h2>About this page</h2><p id="apa"><strong>APA citation.</strong> <span id="apaauthor">Coleman, C.</span> <span id="apayear">(1912).</span> <span id="apaarticle">Stained Glass.</span> In <span id="apawork">The Catholic Encyclopedia.</span> <span id="apapublisher">New York: Robert Appleton Company.</span> <span id="apaurl">http://www.newadvent.org/cathen/14241a.htm</span></p><p id="mla"><strong>MLA citation.</strong> <span id="mlaauthor">Coleman, Caryl.</span> <span id="mlaarticle">"Stained Glass."</span> <span id="mlawork">The Catholic Encyclopedia.</span> <span id="mlavolume">Vol. 14.</span> <span id="mlapublisher">New York: Robert Appleton Company,</span> <span id="mlayear">1912.</span> <span id="mlaurl"><http://www.newadvent.org/cathen/14241a.htm>.</span></p><p id="transcription"><strong>Transcription.</strong> <span id="transcriber">This article was transcribed for New Advent by Michael C. Tinkler.</span> <span id="dedication"></span></p><p id="approbation"><strong>Ecclesiastical approbation.</strong> <span id="nihil"><em>Nihil Obstat.</em> July 1, 1912. Remy Lafort, S.T.D., Censor.</span> <span id="imprimatur"><em>Imprimatur.</em> +John Cardinal Farley, Archbishop of New York.</span></p><p id="contactus"><strong>Contact information.</strong> The editor of New Advent is Kevin Knight. My email address is webmaster <em>at</em> newadvent.org. Regrettably, I can't reply to every letter, but I greatly appreciate your feedback — especially notifications about typographical errors and inappropriate ads.</p></div> </div> <div id="ogdenville"><table summary="Bottom bar" width="100%" cellpadding=0 cellspacing=0><tr><td class="bar_white_on_color"><center><strong>Copyright © 2023 by <a href="../utility/contactus.htm">New Advent LLC</a>. 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