The pieces are small-scale, so copper-foiled and soldered (rather than leaded).

If I were leading a large plated window, I think I’d be quite nervous about the potential for ‘seep and creep’ between the plates.

I’d definitely want to foil them first, or use some other sealing method.

Your point is perfectly made about colour-matching; if the single sheet of colour is no longer available, then plating is certainly a responsible response.

And, in new work, yes, the one-of-a-kind colour – a colour that fits the design and the architectural setting – is just what’s required.

Here’s to plating, and we don’t mean that boastfully!

All the best,
Stephen

Thumbs up to plating!

I have to admit, I was terrified to read the article after scoping the title.

Plating, whether disregarded or incapable in the past plays a huge part in glass life today. Glass matching alone, as you stated, is the only way to make a suitable replacement to the more extinct variety.

Above all it is just fun to make that one-of-a-kind color, texture or effect that single glazing won’t do.

Thank you from your plating community!

Mike

Thanks for your contribution.

Plating and possible pitfalls – certainly.

Plating and craftsmanship – well, I think your example proves the point. When a technique is properly used in the service of a design, then the technique is in its proper place. Techniques go wrong mainly when they pretend that they are masters and forget they should be servants.

All the best,
Stephen

Yes, plating is beautiful – but full of pitfalls.

I have had to restore several stained glass windows that were plated. In those windows the church had been coal-heated. Coal soot had built up between the plates.

The church also had condensation problems. (On some of the photos you will see where the condensation has dribbled down the coal soot.)

These windows are mainly opalescent glass. The artist had painted some black lines on the front of the first layer. And then painted shading on the front side of the second layer of opalescent glass.

On the faces, the artist had used clear window pane for the first layer; painted window pane on the second layer, and the third layer had ‘ghost image’ painted on the front side. Amazing work!

I have written about that restoration on my blog – here, and here, and also here.

I have also posted other restoration photos on Flickr.com right here.

All the best,
Laura Goff Parham