Stained Glass Motif
Treatment was intended to secure loose and/or cracked panels, with the stipulation that the panels should be cleaned to allow light to pass through. I proposed to improve structural stability by reversing sagging in the middle of the glass pieces. Any treatment employed would be in alignment with the overall goal of ensuring the long-term stability of the object.
The custodians (Louth Museum) wanted to ensure that visitors would be able to observe the intricate details and decorative patterns of the glass panels. The majority of the pieces of glass had pitting and/or weathering crust build-up. A black substance was found on almost all of the glass panels, which was not simply a product of discolouration. Many of the panels were loose or cracked and the lead-came had been improperly stored and handled, which contributed to the instability of the object.
Skills and Techinques Summary
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Analysing material to determine its material, decorative design, era, and method of manufacture.
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Using x-ray fluorescence (XRF).
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Determining the most effective means of cleaning the materials.
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Cleaning the glass panels and wooden frames using both dry and wet methods.
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Being focused and persistent.
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Demonstrating a thorough concern for all the areas involved.
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Developing dexterity.
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Employing digital photography, including reflective surfaces.
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Working independence.
Before Treatment
Backlit stained glass motif.
Stained glass motif that was not backlit.
History
This object was created using fragments of stained glass from Louth Park Abbey's original 12th-century stained-glass windows to create a customised stained-glass motif design. Glass pieces range in colour from red to blue to green to yellow to clear to etched and painted. Some of the decorative painted glass has foliage designs and animal representations. The re-leading and frame were crafted by an unknown artist during the 20th century, possibly the 1970s. An oily mastic or cement (putty) was pressed between the glass and the lead to make the panel weatherproof. Furthermore, during this later intervention, black oil paint was applied in an effort to correct the colouration that had been distorted by corrosion.
During Treatment
If you click on the image, you will be able to view more information and magnify it.
Treatment Completed
With the assistance of a lightbox and a microscope, a 4mm glass bristle brush was used in small circular motions to remove the black substance from the glass. Following the cleaning of the 93 pieces, the glass was dried with ethanol.
A brush was used to apply a 20% Paraloid B-72 solution in acetone to both sides of the broken pieces of glass. All glass pieces were coated with 2% Paraloid B-72 in toluene to provide a protective barrier. Golden Fluid Acrylics paint was used to cover the new white putty areas between the glass and lead-came.
To prepare the frame, bench paper and masking tape were applied to the glass panels. The frame was sanded, vacuumed and cleaned with a damp cloth. The frame was then painted with primer and undercoat, followed by Quick Dry Interior Wood Paint in Softest Cream with an eggshell finish. It was successfully treated and will be displayed permanently in an LED light box in the museum.
