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Bravo Roy; Stained glass designing has a few 'starter rules' that are alien to a canvas painter. The design must first be laid-out to exact scale and the FIRST thing to go into that open space is the T-bars and the saddle bars - now everything is drawn AROUND these obstacles. The T-bars separate the 'design' into a max of 9 sq. ft. per leaded glass panel and the saddle bars provide the lateral support from the wind. This is the STARTING POINT which we all have to live by in our trade when designing a new window, as our 'art' must also conform to structural 'norms' laid out about 1,000 years ago and canvas has no 'limits'. As to the Marc Chagall windows I've only seen the ones in Pocantico Hills, NY. The church charges 5.00 to go in and see these windows, which I personally found about 4.50 TOO MUCH. The windows were interesting in a unique way, but it was obvious that a learned designer put in the 'structural needs' during the cartoon stage; which obviously was long before Mr. Chagall was given a palette of Reusche's Best Black and a few tracers. The photos I saw showed Mr. Chagall painting the wax-up sections on plate glass easels, but no photos of him in the cartoon stage. Can anyone answer a simple question ? Could Mr. Chagall have painted just ONE real face instead of the scribble he passed-off as faces on these windows ?? Also; the most interesting factor of these windows is the Bronze 'rod-type-fasteners' used to hold the exterior coverings over these windows. They were mounted into the stone and held the protective exterior plate glass 'AWAY' from the stone ALLOWING AIR TO CIRCULATE around the window. Does anyone know where this hardware was purchased ??? Ed Dehors Historical Restorations Foundation HistoricalRestorations.org HistoricalRestorations.com --
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