Islamic & Grisaille DesignsArchitectural ornament has been evolving since antiquity, being an amalgam of cross-cultural influences – notably: Egyptian, Babylonian, Assyrian, Persian, Phoenician-Hebraic and later, Greek, Etruscan and Roman. The art of Byzantium in the eastern Roman Empire, and the Celts in north-western Europe, further influenced the development and innovation of early Christian ornament. During the middle ages, distinct styles developed including; Lombardo-Byzantine ornament in Italy, Visigoth ornament in Spain, Italo-Byzantine ornament, and Frankish and Scandinavian ornament in northern Europe. These stylistic influences were later absorbed and consolidated into the Romanesque style which flourished throughout Christian Europe between 500 – 1000AD. The decorative arts and architectural arts of Islam undoubtedly influenced the work of artisans who had returning to Europe after the Crusades. The influx and cross fertilization of aesthetic influences during a three hundred year period had a profound effect on the development of Gothic art and architecture in France, Germany and England. During the 13th century, a new type of glass with the French name “grisaille” appeared with the purpose of either cutting cost or introducing more light. The use of colour was limited and imagery was non-representational, stylized and frequently botanical or geometric. Many similarities between Islamic art, Celtic art and European gothic art can be drawn. The use during manufacture of grisaille type windows using glass with different levels of transparency in either the interlacing strap work or background, together with the restrained use of colour, can produce a stunningly elegant and kinetic effect. |
|||||
) |
) |
) |
) |
 |
Development (1) Based on an interlocking ‘parted & fretty’ cross, contained within a square, the interlacing strap-work is undecorated, while the background is painted with stylized 13th century gothic Acanthus motifs and cross hatching to achieve a tonal differentiation. The final design development incorporates a linear decorative style of background decoration, producing a different overall effect. |
) |
) |
) |
) |
Development (2) Based on interlocking squares and circles of various sizes, strap work remains undecorated. The geometric composition is given differing degrees of visual impact by using perimeter leads of different thickness. Although the background is painted with similar stylized acanthus and cross hatching, the overall effect is quite different. This effect is achieved due to the design not being contained with each panel but flowing through adjacent window panels in a continuous pattern. |
|
) |
) |
) |
) |
Development (3) Similar in overall design composition to development (2), the painted background decoration has been augmented by the addition of silver stain. The contrasting strap work is left undecorated. The addition of silver stain gives an additional warmth and richness to the composition. |
|
) |
) |
) |
Development (4) Strapping composed of Interlocking squares and circles are highlighted with silver stained ‘shadowing’. The background is painted in a linear pattern derived from the ‘Greek Key’ of antiquity. The effect is both classic and contemporary. A restrained olive coloured fillet has been added to the composition. |
||
 Back |
) |
Development (5) Continuous interwoven strap work comprises this composition. In the central window, the strap work disintegrates. A contemporary tonal background contrasts the strap work together with borders containing restrained colour and texture. |
|||
