Whilst Egyptologists have proved that glass and colored glass was being produced by the ancient Egyptians in the form of glass beads and jewelery, it is not until much later that we have any real written descriptions of stained glass being used as a form of art. It seems likely that the Egyptian glass beads we find, although very beautiful, were created either as a form of currency, or as magic talismans, with religious meaning for the royal owners. The use of stained glass mosaic tiles, also developed in cultures such as the Byzantines, where these glass tessera where used to decorate temples and religious buildings. The use of stained glass mosaic in a religious context was the early beginnings of the strong link between this type of glass and religion which was soon to develop.
A twelfth century monk called Theophilus wrote the earliest known text describing stained glass as an art form. His book called "On Diverse Arts" had a number of chapters which were dedicated to stained glass windows and their construction. The popularity of stained glass was clearly growing at this time and was combined with the development of the Gothic style of architecture where huge arched spaces where created where ever larger windows could be placed. European buildings at this time were growing ever bigger, particularly those of the church who had so much wealth. As much as anything the buildings of the church became symbols of wealth and power. The greatest architects and artisans were involved in their design and completion, with almost unlimited budgets in some cases, so it is no wonder that the standards of craftsmanship were so high.
Stained Glass Window Decals
Some of the greatest works of stained glass art occured during this middle age period in Europe. With some of the greatest examples surviving today in the Cathedrals of Chartres in France and Canterbury in England. Whether the magnificent windows and Rose windows of these buildings will ever be surpassed is questionable.
In the the middle ages, there was an unquestioning belief in the in a God of ultimate power and judgment. To the artisans, architects and craftsmen, they really were designing and furnishing a the true house of God. No expense and no effort were spared, only the greatest and highest levels of quality were accepted. Nothing but the best and most inspirational ideas were accepted.