Stained Glass Windows of the Church of Christ the King in Gliwice. Iconography and Restoration by KOMAR Beata

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History of materials: a new tool for conservation of glass and ceramics by Carla Machado, Fernanda Carvalho, Marta Pessoa e Costa, Sara Martins

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Marquage héraldique, cartographie et histoire des lignages : les relevés de Gaignières à la chapelle des chanoinesses de Luynes by Sarah Héquette

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Caractérisation du phénomène de brunissement du vitrail et évaluation de traitements de réduction by Elisabeth Venault de Bourleuf

Subjects: “…stained-glass windows…”
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De l’Anjou à la Bohême : le double portrait équestre de Pierre de Rohan-Gié by Jeanne Alis

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Foreword by J.-A. van den Berg, J. Meyer

“…In many churches worldwide, the sunlight is bright and colourful as it brings to life awe-inspiring images through stained-glass windows. The front page of the Festchrift for colleague Kobus Schoeman depicts one of the stained-glass windows of the DRC mother church in Stellenbosch. …”
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Witraże dziecięcego „bycia w życiu” – dobrostan versus obrazy codzienności by Justyna Kusztal, Małgorzata Turczyk

“…This means attempting to describe a child’s stained glass window „being in life”, actual or only apparent participation in particular areas of child’s activity in recent years. …”
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Catholic Church Interiors in Fin-de-Siècle Literature by Claire Masurel-Murray

“…The works of such late-Victorian writers as Lionel Johnson, Ernest Dowson, Theodore Wratislaw, John Oliver Hobbes and Oscar Wilde represent Catholic churches as retreats set apart from the ugliness and mediocrity of Victorian England—religious versions of Des Esseintes’s Fontenay-aux-Roses house in À rebours—filled with incense, organ music, and coloured light filtering through medieval stained-glass windows. In Dowson’s correspondence or in his poem ‘Benedictio Domini’, in Johnson’s ‘Our Lady of France’, in Wratislaw’s ‘Palm Sunday’ and ‘Songs to Elizabeth’, in some of Wilde’s stories, the opposition between inside and outside expresses figuratively the fundamental incompatibility between an ideal of beauty, embodied in the aesthetic experience of the church, and the coarseness of the outside world. …”
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