The Glass Alphabet
A is for Abbé Suger, who wanted glass to be 
the jewelled walls of Jerusalem;
is for acid, anneal and antique.
B is for blasting with sand; for blowing into mutable bulbs, and bricks, as in "There'll be a brick through that in the first five minutes;"
is for brushes and bubbles and bevels.
C is for calmes, the willow strips of lead moulds that hold the stained panes;
is for casting, as Phidias did 
at the Parthenon and Ephesus; 
is for colours, for crucibles and crowns.
D is for danger, the sliver that slices, the dry rain falling from a bombed-out building; 
the insoluble drink; 
is for Dalle de verre, where chunks are 
set in resin concrete;
is for diamond, the writer on the pane.
E is for Egypt, birthplace of glass, where seaweed and sand
made the 'stone that flows', and Tutankhamun wore glass as jewellery, imitating
agate, obsidian and lapis lazula;
is for etched and enamel.
F is for frame, the cradler of distances;
for fragile and fused and the boy's blunt cutter: a football.
G is for glasshouse: a greenhouse or a prison, where 
all can see what they no longer touch; 
the place which dare not lift a stone;
is for glass ceiling, a bruising bonnet for the female skull;
for gum arabic and grisaille and the grozing iron;
for gold, which turns glass pink.
H is for Huguenot, the glassmaker; is for harmonica,
the instrument of bowls, for which Mozart composed,
a version of which
was patented by Benjamin Franklin.
I is for Iconoclast, the murderer of light; 
is for iridised and ice, the mother of all windows.
J is for Jarrow, where the first pane in Britain 
was set in Bede's church.
K is for kaleidoscope, the twister of colours; for kiln
and Klein bottle, the one-sided surface.
L is for light, the door which glass opens; for lustre and laminate;
for lead, the perfect lover, who embraces and bends and never rusts.
M is for metals, the spectrum reachers, listen to their dance:
copper and cadmium for green; cobalt and chromium for blue; 
magnesium and cobalt for purple;
selenium chromium and cadmium for yellow; 
is for monks, Murano and for Molotov.
N is for Norman slab, where glass was blown into a metal box,
then sliced in five for windows; 
is for New York, the city of glass.
O is for openness, the gift of glass, and for opacity, its opposite;
for opalescence, the Occhio and the oyster knife.
P is for ponty, for painted and pressed;
for Pate de verre, its grinding and fusing.
Q is for quicksilver, the maker of mirrors; and quills, the scratchers;
and quintessence of sand, the quality that glass shares with us.
R is for reamy, the blowing together of two viscosities;
for reflective and refractive and for Rupert's drop,
a cavalier's invention: the tailed bulb 
a molten drip will make in water,
bursting when its tail is broken.
S is the letter that glass loves best: it stands for stained,
the only sullying that can depict the sinless saints;
for symbol and shard, and shish;
the mirrors sewn into linen or silk;
for semiliquid and silver compound,
which turns the glass yellow; for Sunderland
and solder and streaky and for slumping, 
the leaning of a lump into a mould.
T is for for toughened, for tracery and for tallow;
for Tiffany, which means transparency, 
from diaphanous, or possibly theophany: 
a vision of the gods through art nouveau; 
for Bruno Taut, who built an Expressionist house of glass
inscribed with verses by Scheerbart:
'Happiness without glass?
What an absurdity!'
U is for ulterior, the thing that's placed beyond;
is for undulate, as glass does, running with age;
and uranium glass, with its yellow fluorescence.
V is for viscous, vitrinous and Venetian.
W is for window, the wind's eye, where Pharaoh stood in lieu of the sun:
at the Window of Appearances;
is for wax casting, or 'cire perdue';
for whiting, the chalk which sets the cement in stained glass;
or for the wheel that cuts.
X is for xenogenesis, the myth of origins, which tells us that Hephaestus tried to make a race of men
by mixing fire and sand, but his glass warriors were defeated 
by a single hero with a hammer: the first of the shatterers.
Y is for yellow, the stain of a halo.
Z is for Zeus, whose massive statue was the wonder of the world,
which was clad in a chlamys of glass. 
These images are extracted from a long strip produced by Bridget Jones as a model for an even longer strip of stained glass, which has not yet been produced. 

Bridget is an artist based in Newcastle upon Tyne. She specialises in stained glass -- ancient techniques, contemporary imagery -- for public and private spaces. her approach is graphic, figurative and textual. Colour is her passion, and research is an important element. She has worked with writers, with other makers in stone, wood and metal, and in a community context.


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