Vandalion Light Steel, the incomparable armor of the Woolhel Watch

During the recent conflicts at Festhold, the great library lost some reference books, so His Excellency Kinlord Rilis asked the leading masters of Auridon to write new ones to replace them. For a comprehensive description of the glass craft style, our wise ruler, of course, turned to me.

Glass maces and hammers have heavy, albeit graceful, steel heads dotted with spikes with glass tips. The handle is made of dense elastic wood, such as ash, covered with steel braces and ends with a steel disk massive enough to balance the weight of the head a little. This allows you to rotate this long-handed weapon almost like a staff.

Summerset glass daggers are the best combat knives possible. Cutting edges and points are usually made of glass in such daggers, and the tops are trimmed with it; handle shaft, guard and blade itself are made of steel. This weapon is equally suitable for causing cut and stab wounds, as well as for parrying blows.

Glass bows - composite and curved; the hilt is made of wood, the shoulders of the horn. The bent parts of the shoulders are finished with glass for greater strength. Glass-free parts of the bow are often lacquered under the metal, so that the glare of reflected sunlight blinds the eyes of the enemies when a detachment of archers raises bows for a volley.

A glass sword is an intricate combination of a steel blade and hilt with a glass tip and cutting edge. The tip of the sword can be quite wide and even have a “feather” cut, designed to drain blood. Despite the size, these light blades are loved by swordsmen for their ease of use and durability in battle, since the glass sword remains sharp when a sword made of pure steel or any alloy would have become dull.

Bibs

Chevron pads on glass cuirasses make them similar to the muscular chest of a large winged creature, and indeed, plate breastplates are often decorated with images of eagles, dragons or rock riders. The armor is made of leather, steel and glass, and there is as much additional glass edging as the buyer can afford.

WATCHBOARDS

Glass shoulders are combined in shape with the bibs, continuing the winged motif and going down to the shoulder re-brace. In the marine version of this style, they resemble waves rather than wings in shape.

GLOVES

Glass mittens are usually thin elastic leather gloves with glass stripes to protect the back of your hands and arms. The elbows are closed by trihedral glass elbow pieces, repeating the shape of the shoulder pads.

Light, medium or heavy - all greaves of this magnificent style are made from durable but flexible leather and finished with glass. The whole difference lies in the volume and thickness of the glass lining and the size of the glass knee pad plates that protect the knees.

A wizard in a glass style will be proud of any wizard. The long wooden cane, protected by steel braces to make it possible to fend off blows, is quite simple in itself, but the glass staves are famous for their skillfully made wing tops. The steel knob, often adorned with a large turquoise stone, opens to the sides with a pair of marvelous glass wings resembling either bird or bat wings or dragons. And it seems that inside the pommel a fire flickers.

The belt from the set of glass armor is usually a whole belt of some exotic leather, decorated with an ornament of pieces of glass of a rhomboid or pentagonal shape. The geometric shape of the femoral plates depends on the shape of the hips. Also, the belt may have a V-shaped plate skirt to protect the groin.

Truly elegant shoes! They can range from durable leather moccasins with glass toes in a set of light armor to sabatons made of steel and glass in heavy armor. Their elasticity is extremely important, as elven soldiers value maneuverability above a thick sole.

The bird motif typical of glass products is especially striking when it comes to axes whose glass blades resemble the wing of a bird of prey in their shape. The feather-shaped blades are purely decorative: the notch is too small to loosen the blade, but the grooves are deep enough to drain the blood.

Glass helmets are a continuation of the winged motif of cuirasses and shoulder pads. They are often equipped with armored ridges and various wings, including covering the cheeks. Each ledge is finished with polished glass. A quality glass helmet is a worthy sight.

Compared to almost all-metal shields, glass shields are incredibly light precisely because they are made of glass plates mounted on a thin steel frame. Two powerful glass wings in a bird’s motif open from steel ribs in the center to spreading “feathered” edges.

Stained-glass windows survive their renaissance. Colored glass paintings are increasingly used by designers to decorate interiors in a very different style. Such a picture can decorate a room, become its accent, set the tone for the entire interior. But before, the manufacture of stained-glass windows was a labor-consuming and expensive affair, but modern techniques allow you to create masterpieces on glass yourself.

Styles and Techniques

There are many styles of stained glass, because the stained glass window itself appeared in the Middle Ages. Over time, it changed, reflecting the cultures of different countries and eras, the advent of new techniques made it possible to diversify the materials used. Nowadays, several styles are used to decorate the premises.

1. Classical. It involves a symmetrical pattern, floral motifs or geometric pattern. Performed in warm, pastel colors. It is appropriate in a classic interior with clear lines, solid, heavy furniture.
2. Gothic. This is the style of the Catholic churches of medieval Europe. Twilight, longing up narrow lancet windows and tall towers with spiers, dark red, scarlet, gold, green, blue, purple. It uses religious motifs or scenes from the life of medieval knights, castles, exploits, dragons, unicorns. Gothic stained glass window will give space a touch of mystery, fabulousness. It was during the Middle Ages that the most famous stained glass windows were created, recognized as masterpieces.

   Gothic style stained glass - a fairy tale and mystery in your home

3. Modern. Perhaps a universal style for any interior. The main motives of this style are marine, the idea is the priority of form over content. This style is characterized by smooth bizarre lines, one way or another repeating the shape of the sea wave, grace, sophistication. Pale, muted colors, halftones, blue-green gamma. Art Nouveau goes well with modern technology and gets along well with the hi-tech interior.

   

   Art Nouveau stained glass window is appropriate in any interior

4. Abstract. It involves a geometric pattern and bright, joyful colors. It does not conflict with almost any interior, with the exception of the most orthodox. Introduces special emotionality into space. In an abstract stained-glass window, it is important to maintain a balance between form and color, and then he will never be bored, charging with optimism and encouraging creativity.

   

   Stained-glass window in an abstract style is suitable for any interior and will never get bored

5. Egyptian. Soft paintings in a sandy brown. The figure reproduces Egyptian hieroglyphs, gods, pharaohs and scenes from their lives.
6. Antique. The paintings resemble antique mosaics with ancient Greek plots. The presence of many small details is characteristic. Suitable for rooms in a minimalist style.

   

   Antique stained glass is often a finished work.

7. Byzantine. It is distinguished by the use of not only colored, but also transparent glass, which makes the image seem to be hanging in the air. Such stained-glass windows resemble painting on glass, suitable for rooms filled with light.

   

   The use of transparent glass in the Byzantine style creates the illusion of a floating image in the air

8. Vanguard. The plot of the picture can be any. But thanks to modern performance techniques, he is given a sense of volume. The image is multi-layered, with three-dimensional details, on transparent or frosted glass, glossy, shining. Such a stained-glass window sets the tone for the entire room and makes it trendy.

   

   Vanguard-style stained glass may contain voluminous details

The stained-glass window in the interior creates a powerful accent, so it is important not to make a mistake when choosing a style.   It should be in harmony with the general style of the room or set it. Then the rest of the interior will complement and beat it without creating dissonance.

You can decorate with a stained-glass window any glass or mirror surface. This will give the interior originality, originality and a sense of luxury. Place a stained-glass window is appropriate in any room.

Where to place a stained-glass window in an apartment

1. Window. The stained-glass window will give the bedroom a sense of coziness, and the nursery - fairy tale. The stained-glass window in the window can be used as protection from the sun, hide the bathroom from prying eyes, add festivity and comfort in the kitchen.

   

   The flower pattern on the balcony window will create the illusion of a country house

2. Doors You can decorate both full glass doors and glass inserts. The drawing is best done in the same style on all doors.

   

   The pattern on all doors is best maintained in the same style.

3. False windows. This glass painting is illuminated and is often installed in bathrooms or on landings.

   

   Stained-glass window will help to avoid the feeling of confined space and additionally decorate the room

4. Ceiling lights. Large glass shades or acrylic inserts on the ceiling will give the interior originality.

   

   Gothic interior will be decorated with a stained-glass window

5. Glass partitions. They can be transparent and matte. Such partitions are often installed between the kitchen and the bathroom or the toilet and the bathroom. The stained-glass window lets light through, but does not allow you to see what is happening behind it.

   

   Stained-glass window - a good solution for zoning the room

6. Furniture facades, glass countertops. Decorating furniture with a stained-glass window is a good way to give it personality. Even old furniture decorated with stained-glass windows looks expensive and luxurious.

   

   Stained glass inserts are appropriate both for furniture in the living room and for the kitchen

1. As already mentioned, the plot of the drawing should correspond to the general style and atmosphere of the room.
2. Dark tones and horizontal lines are suitable for spacious rooms with high ceilings, they visually reduce space.

   

   The dark tones of the stained-glass window create an atmosphere of mystery, but visually reduce the space

3. Stained glass on the mirror is a good choice for small rooms. It will create a perspective of space and visually enlarge the room.

   

   A stained-glass window on a mirror will create a sense of perspective and expand a small room

4. The abundance of bright colors and colorful images can tire over time. Consider this when choosing an ornament.
5. For the bedroom and the nursery, it is better to choose calm light tones that are conducive to relaxation.

   

   For a bedroom it is better to prefer calm tones.

6. It is appropriate to decorate the kitchen with a landscape or still life, and the bathroom with a sea plot.

   

   For the bathroom, plots with fish are suitable

But not any stained-glass window can be done independently. There are several types of performance techniques.

Types of equipment

1. Classical or typesetting. The most complex and oldest technique. Colored glass fragments are inserted into metal frames, assembled into a picture and soldered. Technique requires a special tool and skills. It is used for large structures and only by professionals.

   

   The stained-glass window in the classical technique is indispensable for large areas

2. English or film. The pattern is formed on glass from a stained-glass self-adhesive film. Each fragment is cut separately and glued to the place defined by the stencil. The glued fragments are framed with lead tape. With certain skills, such a stained-glass window can be made independently.
3. Fusing. The stained-glass window is made without a metal frame by sintering multi-colored fragments into a monolithic pattern. It is impossible to make such a stained-glass window at home; a special furnace with a high temperature is required.

   

   The stained-glass window using fusing technique amazes with the brightness of colors and the integrity of the composition

4. Tiffany This technique is similar to the classic one. Fragments of the pattern are cut out of colored glass and bordered by a copper ribbon. Finished elements are assembled into a pattern and soldered together. For beginners, this technique is complicated, but it can be mastered and used at home.

   

   Tiffany stained glass window successfully replaces the classical technique

5. Sandblasting. It consists in the processing of glass by stencil sand fed under high pressure. Treated areas become dull, and the figure becomes airy. At home, not applicable, requires special equipment.
6. Cast. Each element is cast or blown out of glass separately. After that, the fragments are collected in a picture using reinforcement or mortars. At home, not applicable.
7. Etching. Etching of glass with hydrofluoric acid creates deep relief patterns. The use of this strong acid at home is hazardous to health.
8. Painted stained glass window. The pattern is copied onto the glass and outlined. After the contour dries, the voids are painted with stained-glass paints.

   

   In painted technique you can create real paintings

9. Contour filler. As with the painted technique, the outline of the drawing is first prepared. After it dries, the voids are filled with paints with a thick layer. If necessary, the paint is leveled with a brush or wooden stick.

   

   Jellied technique most successfully imitates classic styles

Video: DIY film stained glass

The most accessible for independent production of painted stained glass and contour filling equipment.   They do not require special knowledge, materials and tools, and can simulate almost any other technique. For the manufacture of such stained-glass windows you will need only special paints, accuracy and patience.

Video: DIY Tiffany stained glass window

What is needed to make a stained-glass window

Before you begin, prepare everything you need. For painted and flooded stained glass, you will need paints.

Paints

Special stained glass or acrylic paints on glass are used. All of them have their own characteristics.

Acrylic paints

The composition includes three main components: pigment, water and acrylic polymer emulsion. Sold in tubes or banks.

Acrylics are sold in jars and tubes.

Acrylic paints dry quickly, after which they become resistant and resilient. After drying, they are resistant to changes in temperature and humidity. Scraping off the dried coating is very difficult, as well as removing with sandpaper.

Acrylic paints dry quickly, they are convenient to work at home

The color of the finished coating is matte, bright. It is not subject to burnout and does not fade over time. Paints of different colors can be mixed with each other. After use, the brush is washed with water, for dried up you will have to use a solvent.

There are two types: burning and non-burning. Calcined after application, they heat up in the oven, harden and become resistant to external influences. The firing temperature is indicated by the manufacturer on the packaging.

Stained glass paints can be fired and non-fired

If the paints are not burned, after a week they will dry and harden in the same way as during firing, but until this point there is a risk of greasing them. Water-based paints, which is why it is bred. Brushes are also washed with water.

Non-fired paints dry from 1 to 3 days, depending on the manufacturer. The pattern requires fixing by applying a layer of nitrolac.

These paints are more bright. They are thicker due to the synthetic solvent included in their composition. They fit well, they are more convenient to work on vertical surfaces.

Homemade paints

Some craftsmen prefer to use their own paints. They are easy to make on their own from what is sold in hardware stores.

1. Based on nitrolac. Used NTs-2141 or other similar. Nitrolac is diluted with solvent 647, in a ratio of 1 to 0.4. It is tinted with art oil paint or construction color. The dye is added little by little until the desired color intensity is achieved.
2. Based on glue BF-2. The glue is diluted twice with acetone, tinted with any alcohol-based dye. It can be a ballpoint paste or other paint. The emulsion is stirred in a glass dish, tasted on glass. If necessary, add paint to achieve the desired intensity.
3. Gelatin based. 5-6 g of gelatin is brewed with 200 ml of hot water until the consistency of the paste and dye is added to the fabric. Drawing from such a paint requires fixing with nitro-varnish.

In addition to paints, you will need a contour to work. This is a special thick paste to outline the borders of the pattern. It imitates metal frames for smalt pieces in painted and flooded stained-glass windows.

Circuit

Contours-reliefs are made on a water basis, sold in tubes. With their help, the drawing is outlined by a contour, which is then filled with paints. It can be used to create a three-dimensional picture.

Stained glass contours can be used to create a volumetric pattern.

At home, contour paste can be prepared based on PVA glue. To do this, you need 50 ml of PVA utensils, 20-30 ml of natural black mascara (the best is Dutch), 30-40 grams of silver or bronze powder.

In the glue with constant stirring, mascara is introduced, and then the powder, until a creamy consistency is obtained. Such a paste is prepared as necessary, it is not stored. Before use, mix each time. Masters apply it with a brush, forming a roller, it is more convenient for beginners to use a confectionery syringe.

Necessary tools

For the manufacture of stained glass using various techniques requires a special tool. In hand-drawn and jellied technique it will need a minimum:

• ruler;
• pencil;
• glass marker;
• tassels;
• wooden sticks or toothpicks.

And of course, making stained glass is impossible without a stencil drawing. How to do it, consider in more detail.

Stencil for stained glass

A suitable stencil can be purchased at a specialty store or from a stained glass artist. But it’s much more interesting to make a stencil yourself, choosing the right sketch.

Do not choose a sketch with many details and voids, such a picture will look messy on the finished stained glass window.

The image can be downloaded from the Internet and simply printed on the right scale, given the size of the future stained glass window. Or take your favorite picture, postcard and enlarge to the required size.

Photo gallery: stencil samples for self-creating stained glass

   Floral motifs never go out of style and are suitable for any room.    Stencil details are numbered for easy stained glass painting    The grid complements the flower and gives the picture a finished look.    Birds - Another Timeless Story for Stained Glass

Number the details of the picture in the same color. This will help you not to make mistakes when coloring.

How to enlarge a picture

1. Draw a pattern on cells with a side of no more than 1 cm.
2. Number the resulting grid vertically and horizontally.
3. Measure from stained glass.
4. Transfer dimensions to paper.
5. Mark the sheet by the number of cells in the figure.
6. Draw a grid on the sheet in accordance with the markup.
7. Transfer the image from the postcard onto the paper on an enlarged scale by cell.
8. The finished picture can be adjusted, change colors.

If you have drawing skills, you can create a pattern yourself. To do this, transfer the dimensions of the future stained glass window to a sheet of paper and mark the contours with the location of the pattern. Draw with a simple pencil to be able to correct inaccuracies.

When choosing an image, keep in mind that when enlarged, its proportions may suffer. If necessary, draw the picture not with squares, but with rectangles.

Draw the details, you should get a solid picture. Circle the finished pattern with a ballpoint pen or thin marker.

Applique

Having prepared everything you need, you can begin to manufacture stained glass. Make sure that the work surface is flat and remember that glass can break if handled carelessly.

Stained glass production: step by step instructions

To protect yourself from cuts, the edges of the glass can be pre-glued with masking tape before work.

Video: a master class in the manufacture of stained glass using filling equipment

Having mastered the painted and filling techniques, you can try yourself in the English film or fusion technique. It will require large expenses, materials and skills, but it is worth it.

Photo gallery: some ideas for placing stained glass in the interior

   Abstract illustration suitable for hi-tech style.    Floral ornament decorate the living room windows Stained glass on the bathroom window will give a special atmosphere and protect from prying eyes    The geometric pattern for the living room is easy to perform stained glass    Stained-glass windows of the landing are done in the same style    Bay windows are well suited for stained glass    Ceiling insert can be decorated with film stained glass

Creating stained-glass windows is a creative and exciting occupation. The simplest stained-glass windows can be done even by children. And let your work not be like masterpieces of world painting, but they will bring originality and a particle of your personality to your home.

All rare styles, except imperial, can only be found in veteran zones. The first two, primitive and barbaric styles, can be found in the zone of the second alliance (for us - the Dominion), ayleid and daedric, respectively, in the third alliance (for us - the Pact).

Dwemer- it can only be found in the containers of the Dwemer ruins, either in parts (15 parts of epic quality) or in whole (one legendary part). In addition, he will need material that is extracted from Dwemer mechanisms (mobs) and needs to be cleaned, that is, you will need at least 10 pieces to be able to clean and use them. Zivkin- falls from the chests in the treasures of the Imperial city.

Glass   - pieces of chapters fall out for the execution of handicrafts, the material comes from chests throughout Tamriel.

Mercenary Style   - (in Orsinium) drops with a chance of 40% from the bronze chests of the Undaunted, with a chance of 50% from silver and 60% from gold. Material for him requires knowledge of at least one chapter, in which case the percentage of loss from the final boss in the veteran dungeon will be 50%, for each next chapter - + 4% to chance. For normal dungeons, the chance is divided by 4.

Akavirsky- Sold by Siege merchant for AP.

Ancient Orochith - drops out of enemies in the public of Orsinium. Style material is extracted from resource sources in Orsinium.

• Rkindaleft - shields
• Old Orsinium - daggers, boots

Alliance Styles   - can be found in the chests of Cyrodiil and the Imperial City, and materials for them are sold at Siege Merchant for 10,000 AP pieces (transferred).

Criminals Style   (Outlaw) drops from bosses and in the dungeons of Hughes Bane, material for it (Rogue Soot) - from resource nodes (as in Orsinium).

Withered Style   (soul-shriven) can be obtained by closing the Cadvell’s Silver quest, and material for it (Azura plasm) is obtained from chests for closing dolmens.

Trinimac - Caught in chests for doing daily quests in Orsinium for exploring caves. Auric Tusk material is dropped from bosses in Orsinium dungeons (normal).

Malacath- Similarly, Trinimaku falls in chests for daily, but for killing bosses. Potash material drops from surface bosses in Orsinium.

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This metamorphosis of the observer was well conveyed by Andrei Bely in the poem Autumn. Autumn is described by him as a spectacle generated by broken glass:

Huge glass

emerald rimmed

smashed to smithereens by the wonderful wind ... 115

The veil is finally split. An observer stands among the crumbled windows.

And something scary to me all of a sudden

opened up.

And I realized - a circle has closed ... 116

The paradox of Bely’s description is that the feeling of a vicious circle arises from the fact that the glass shatters into fragments, that is, from an infinite opening, from a breakthrough of the membrane. The decay of the closing space creates a certain central axis of the glass placer, which organizes a spiral of endless movement around itself.

A similar model of space created by endless transparency expansion was developed by Bruno Taut in the utopian project “Peace Builder” (1920) 117 . This project, defined by Tout as "an architectural sight for symphonic music", consists of 28 graphic sheets, a kind of comic strip, or rather a storyboard of an imaginary film. The first sheet depicts a scene with a diverging curtain. An empty stage opens, from which the building of glass begins to grow.

111   A. White. Poems and poems. M.-L., 1966, p. 149.

116 In the same place, with. 150.

117   B. Taut. Der Weltbaumeister. Hagen, 1920.

gothic cathedral. The viewer's eye approaches a growing structure. But instead of stopping, having stumbled upon a wall, he can endlessly move into the structure, consisting of a fancy ligature of transparent architectural lace. The structure of the structure changes as you look into the glass. Now the viewer is presented with a chaotic conglomeration of split fragments, between which, despite their apparent density, there is still space open for movement. Finally, the piling up of elements becomes less and less dense, and the movement opens up a new void, returning us to the empty scene. But now this scene is a cosmos. Stars appear. One of them is a huge glass crystal cathedral. Then comes the land from which the houses sprout. One of these houses - the crystal house - attracts the attention of the viewer. The house is growing. The eye approaches it and re-enters into it, penetrating into its transparent structure, as long as it does not give way to a new chaotic pile of abstract forms.

Taut's imaginary film is thus constructed as a cyclic repetition of the same movement. Its cyclical nature is due to the fact that this movement cannot be stopped, it takes place in the sphere of total permeability. Eye movement combines the motive of an infinitely expanding space (glass cathedrals seem to grow, letting in the eye of the observer) and the fragmentation of vision that accompanies it. Fragmentation leads to a threshold beyond which a void reappears, breaking the movement to a new architectural form. If you imagine the space of the World Builder, then it pulsates all the time, then expanding and splitting the form, then narrowing and re-assembling the form together. Like Bely, it is built around the central axis of a glass placer, organizing a spiral of endless closed movement.

But there is one strange feature in the Taut project. The dynamic film "The Builder of the World" for some reason is nevertheless described by Tout as a theatrical performance; it begins and ends with the image of the curtain and the scene. This means that Taut thought of his non-stop penetration into space at the same time as the stillness of the viewer in the theater hall. In a certain sense, such a view is motivated. After all, glass simultaneously implies transparency, the absence of an obstacle to the view and impermeability, hardness, which exclude physical penetration into it.

The journey of the eye in Peace Builder is partly reminiscent of Priestley's reasoning (see the chapter “Veil”) about the permeability of transparent matter at the atomic level, at which the incompatibility of the material and the spiritual ceases to be relevant.

However, probably the closest source to the idea of \u200b\u200bmovement, combined with stillness, was popular speculation on the fourth dimension at the beginning of the century. One of the motives associated with the ideas of the fourth dimension concerned the movement inside "hyperspace", not accompanied by movement in space. This motif can be found in Alfred Jarry (which will be discussed in the chapter “Clinamen”), Frantisek Kupka, Gaston de Pavlovsky and others. 118   Pavlovsky, for example, in his book "Journey to the Country of the Fourth Dimension" (1912) described such a movement as the "transformation (transmutation) of time atoms":

"Since the world of the fourth dimension is continual, no movement in the vulgar sense of the word, similar to that which occurs in the moving three-dimensional world, is possible in it. Movement occurs through the exchange of qualities between neighboring atoms; if we use a rough image, when the ship moves, the water atoms in front of it are converted into the atoms of the ship, while behind the atoms of the ship are converted into the atoms of water 119

At Taut, we have a picture close to the one that Pavlovsky painted. The observer remains in place, the very matter of the medium - the glass - is constantly transforming before our eyes, splitting, thinning, losing and gaining shape, as if the atoms of the ship are converted into water, and water into a ship. The metaphor of the fourth dimension undoubtedly plays a significant role in understanding transparency at the beginning of the 20th century. However, I will not linger on it. An excursion in this direction would lead us too far.

The explosion of interest in Scheerbart and glass architecture in the second half of the 1910s was caused by a number of reasons. On the-

118   A detailed commentary on this can be found in the book: L. D. Henderson. The Fourth Dimension and Non-Euclidean Geometry in Modem Art. Princeton, 1983.

119   G. de Pawlowski. Voyage au pays de 1a quatrieme dimension. Paris, 1962, p. 79.

the beginning of the World War practically deprived architects of work, construction stopped. Hence the sharp increase in interest in the field of pure speculation - all kinds of urban development utopias. The cultural myth created around glass architecture met the aspirations of artists faced with the horrors of military reality. The ideas of world unity, a fabulous peaceful paradise were significantly updated.

Mankind needed a radical transformation. The prestige of politicians as leaders of nations has fallen sharply. Symbolists have long developed a cult of the artist-superman who claimed to be the future leader (especially intensively in the circle of Stefan George). This cult did not last long. It is being replaced by the cult of a practical artist, engineer, builder, who is able to counter intellectual aesthetics with a real thing - such as Lesabendio from Sheerbart’s novel. And finally, the deepest crisis in which Europe was plunged, called for a spiritual revival, which was understood by many in the categories of the revival of religious sentiment or the construction of a new humanistic church. The myth of glass matched all these sentiments. In addition, he responded to some more specific artistic searches of his time. For example, the search for a new, "strong", organic style in architecture. Eclecticism was already partially supplanted by modernity, which proposed a relatively effective principle of styling based on organomorphy (which played an outstanding role in the glass myth). But modern in the new setting appeared as an ideologically weak style, oriented towards bourgeois individualism (it is no accident that modern has developed most effectively in the construction of mansions, church architecture, for example in Gaudi, is an exceptional phenomenon for modern).

The search for a new catholicity and a sharp rejection of bourgeois consciousness by a new generation of artists highlighted Gothic. But not the practical neo-Gothic of the end of the century, but rather the Gothic ideal. Wilhelm Warringer, who played a prominent role in this spiritual reorientation, argued that the Gothic spirit is the national German spirit, whose formative will stretches through the ages. Gothic turns into a principle formulated in the following expressions:

"... what Gothic architecture manages to express is expressed by it<...>   contrary to the stone. Its expression is not built on matter, but through the negation of the latter, only through the state of dematerialization

<...>. The opposite of matter is spirit. Dematerializing a stone means spiritualizing it. " 120 .

This kind of rethinking of Gothic began, of course, long before Vorringer. Reskin in The Seven Lamps of Architecture (1849) already saw in the Gothic cathedral a kind of model of transparency in which architecture is nothing more than a scene of the manifestation of light. In his opinion, in a Gothic temple

"... attention is focused on the forms of penetration, in other words, the light visible from the inside, and not the intermediate stone. All the grace of the window lies in the outlines of its light." 121 .

Reskin gives an expressive description of how light penetrates the starry pattern of a window, which seems to be carried inside the building, so that the star itself hangs over the believers' heads. He describes this phenomenon as the final victory of light over the "coarseness of the intermediate space", that is, actually over the very stone reinforcement of the building.

In many ways, Vorringer only develops his ideas, but in a different historical context. Now glass architecture is the direct successor of Gothic, since it is in this material that material is dematerialized. True, Vorringer points out that in Gothic spirituality takes place contrary to the material, by the strength of the artistic spirit, and in glass architecture it is as if passive, “only on the basis of new material” 122 but the spiritual genealogy of glass does not suffer from this.

Ernst Bloch in The Spirit of Utopia (1918.1923) sees in Gothic the embodiment of organomorphism, in which the I loses its shape and becomes shapeless, spreading to the entire surrounding universe. Moreover, the dissolution of matter in the light is understood by him as a total organomorphic transformation of the world:

"... the light runs, multiplies, burns in these stones, in these statues, in this abode of the human heart;<...>   the wall has been torn down, multi-color windows open onto an immense landscape, we are surrounded by love, surrounded by heavenly hosts ... " 123

_____________

120 WorringerW. Formprobleme derGotik. Munchen, 1911, S.68-69.

121   J. Ruskin. The Seven Lamps of Architecture. London-New York, 1907, p. 58.

122   Worringer W. Formprobleme der Gotik, S. 72.

123   E. Bloch. L "esprit de 1" utopie. Paris, 1977, p. 39.

A return to Gothic turns into a new messianism. Karl Scheffler, for example, called for "turning the word" gothic "into the motto of a special program and speaking for the leader towards a new goal - the Gothic spirit" 124   The construction of a new cathedral and the creation of a new Gothic became the object of heated debate in 1919-1921 125 . The idea of \u200b\u200ba new cathedral and glass Gothic is fetishized in Bruno Taut's circle. A number of opponents oppose it, who believe that the "great spirit" gives rise to great architecture, and not vice versa. Among the critics of the new sacred architecture program are Theodor Hoyce, Emil Fader, Paul Fechter. In many projects, however, the Gothic cathedral acts as a pure metaphor. The engraving of Lionel Feininger adorning the Bauhaus manifesto depicts a Gothic cathedral crowned with three stars. 126 . It is clear that the direct revival of the Gothic was not included in the Bauhaus program.

Scheerbart's linking of church architecture and glass, among other things, relied on one local tradition: glass-blowing churches in Bohemia and Bavaria. These churches, decorated with colored glass from the inside, produced, according to eyewitness accounts, a magical impression: "In the depths hung a chandelier, magnificent, like a crown of a glass magic tree<...>. Colored glass flickered with heat. Everywhere the game of chimes: glass paintings, glass lamps, pilgrims' lamps on glass poles. Glass! Glass!" 127

In 1914, Bruno Taut proceeds to the practical implementation of the Scheerbart program. He illustrates the possibilities of glass architecture in his pavilion of the glass industry at the Cologne exhibition Werkbund. The glass pavilion of Taut had an extremely wide resonance. On a concrete plinth, Taut erected a fourteen-sided glass drum topped with a crystalline glass dome. Externally, the building was conceived as a crystal temple. Around him were glass balls - direct echoes of fekh-

124   K. Scheffler. Der Geist der Gotik. Leipzig., 1917, S. 106.

125 See G. Lindahl. Von der Zukunftkathedrale bis zur Wohnmaschint. Deutsche Architektur und Architekturdebatte nach dem ersten Weltkrieg. - Idea and Form. Studies in the History of Art. Stockholm, 1959, S. 258.

126   The stars most likely symbolize the birth of the Messiah and are referred to the Star of Bethlehem. For an interpretation of this symbol see: R. Banham. The Glass Paradise. - The Architectural Review, v. 125, No. 745, Febr. 1959, p. 89.

127   J. Bau. Die Glasmacher in Bohmer-und Bayerwald in Volkskunde und Kulturgeschichte. Regensburg, 1954, S. 129.

nero and Scheerbart organomorphic fantasies. The building with balls around the perimeter was conceived as a model of the organic universe. Under the dome was an exhibition hall. The faceted dome cover was made of double glazing. Outside it was lined with mirrors, inside with stained glass. On the ground floor there was a seven-stage water cascade (paradise waterfall). Immediately in the niche was a kaleidoscope that continuously projected a changing stream of colored light. At night, the building was illuminated from the inside and looked like a real colored crystal. The building was directly related to the coloristic searches in the field of painting, which, as I mentioned, were often interpreted through the codes of glass mythology. Taut wanted to design his “temple” with “Delaunay lighting compositions” 128 . In the glass walls of the building was mounted painting on glass by Max Pechstein, Jan Thorne-Prikker, Joseph Margold and others. The building was dedicated to Sheerbart, who attended the opening ceremony and wrote for the fourteen faces of the drum 14 slogans, such as the following: “Light penetrates the world and receives life in the crystal”, “Glass opens a new era, brick buildings bring only evil” 129 .

Immediately after the end of World War I, which interrupted new beginnings in architecture, Taut gathered around him a group of young enthusiasts determined to realize the Sheerbart myth. In November 1918, the "Workers 'Council of Arts" was created in Berlin, organized according to the model of the Soviets of Workers' Deputies. The leader of the Council is Taut. This art organization thinks of itself as a plenipotentiary representative of the people's will in the field of art. The main role in the Council is played by architects. In the declarations of the Council, to a large extent written by Taut, the architect expressing the will of the people is proclaimed the new leader of the nation. In August 1918, Adolf Bene, one of the group's leading theorists and a fanatic Scheerbart fan, wrote:

"The world above all is construction, not painting and not sculpture. Construction is the art of the world<...>. Architecture is completely free from human in the earthly sense of the word<...>. She can express the cosmic. At a time when architecture is simple and

128   C. Junghanns. Bruno Taut 1880-1938. Berlin., 1983, S. 28

129   Cit in: D. Sharp. Paul Scheerbarts Glass World. In: Glass Architecture by Paul Scheerbart ... p. fourteen.

directly continues the space building, painting and sculpture should examine what is already formed in space " 130 .

In his space construction, Bene called to follow the spirit of Fechner and Scheerbart.

Inspired by the pathos of the November revolution, Council members were ready to take on these superhuman tasks. In April 1919, the Council organized an exhibition of unknown architects. In early 1919, the Bauhaus opened in Weimar, a program related to the Workers' Council. The Taut group publishes books, creates many fantastic projects, most of which have not been realized, and is actively engaged in theorizing, which largely lies in the mainstream of myth-making. This theoretical work is most intensively conducted in the group’s private correspondence. The letters of manifesto going along the chain form the unity baptized by the participants in the correspondence with the Glass Chain (1919-1920). The texts of the Glass Chain later form the basis of the publications of the Frühlicht (Dawn) magazine (1920-1922) created by Taut in Magdeburg.

The focus of the group is glass. Bene, repeating the argument of Vorringer, connected glass with cosmism:

“Not a single material resolutely overcomes matter like glass. Glass is a completely new, pure material in which matter melts and melts. Of all the materials we have, it gravitates most to the elements. It reflects the sky and the sun and like glowing water<...>. Glass functions as extra-human, more than human. " 131 .

The most detailed architectural utopias of the group belonged to Bruno Taut himself and were expressed in three books of the Council: “City Crown” (1919, started in 1916), “Alpine Architecture” (1919), “Destruction of Cities” (1920). All books dealt with the destruction of megacities and their replacement with utopian settlements, in the center of which there was invariably a crystal-shaped glass palace-temple. In Destruction of Cities, Tout printed a settlement project in the form of a giant glass flower growing from the ground. 132 ,

130 A. Behne. Die Wederkehr der Kunst. Leipzig, 1919, S. 43-44.

131   Ibid., S. 67.

132   Wed at A. Strindberg in the "Game of Dreams" (1902) a castle growing from earth to light like a flower. - A. Strindberg Game of Dreams. Favorites. M., 1994, p. 423.

"Alpine architecture" - a project to transform mountains into glass palaces-crystals - ends with fantasies of space architecture. In “This book contains the project of a“ crystal house in the mountains. ”“ Built entirely from colored crystal. In the area of \u200b\u200bsnow fields and glaciers. Prayer, inexpressible silence. Temple of Silence " 133 . This temple, reminiscent of the Australian Temple of Silence of Sherbart, combines the mythology of glass, ice and mountain. The symbolism of the mountain, bewitching even the early romantics, received a powerful impetus from Wagner and Nietzsche.At the turn of the century, one moment extremely intensified in the cultural myth of the mountain - the mountain is constantly interpreted in terms of striving for light. In 1909-1911, E. Munch prepares a painting for the University of Oslo, in the center of which is a "human mountain" of a vague crystalline form, directed towards the sun

In 1908, Gustav Le Rouge in the novel "Prisoner of the Planet Mars" describes a strange glass mountain, the crest of which, made of pure crystal, thus reflected the rays of the sun, which concentrated them in a mountain valley, creating a special tropical microclimate. In a valley warmed by these mountain parabolic mirrors, there was a paradise with huge flowers that looked like human eyes. “This valley,” says Le Rouge, “could in principle be regarded as an improved greenhouse of incredible size.” 134 .

These quasi-symbolic fantasies in the activities of the Council acquire more specific features. We are talking about the secondary development of social utopia, but not in the spirit of utopian socialism, but in the spirit of symbolist utopia. Karl Schmidt-Rott-Luff dreams of a mountain city of the New Christian community 135 .

Strindberg belonged to the same Berlin circle as Sheerbart (it also included the gothic fanatic S. Pshibyshevsky and the author of the fantasy of the glass city P. Hill). The project of the growing flower-city at Taut certainly goes back to these artistic utopias of the turn of the century and is being developed repeatedly including in his theatrical and cinematic projects - the play-film "Peace Builder" (1920) and in the script "Galoshes of Happiness" (1920), fuzzy on the Chain, in both cases. glass houses growing like flowers turn into the theme of space architecture . N and the flower house motif was also influenced by Art Nouveau glass vases made by craftsmen such as Halle and Tiffany in the form of flowers. For Scheerbart's and Tiffany's attitudes, see: R. Banham. Op. Cit., p. 89.

_________

133   Glass Architecture by Paul Scheerbart and Alpine Architecture by Bruno Taut, p. 121.

134   G. Le Rouge. Le prisonnier de la planete Mars. Paris, 1976, p. 285. It is characteristic that the hero reaches Mars as a result of a spiritualistic astral journey,

135 Ja! Stimmen des ArbeitsratesfurKunst in Berlin. Charlottenbourg, 1919, S. 91.

Caesar Klein about a fantastic city, "crowned by the cathedral of the great unknown god, tossed up a pyramid of golden glass, faceted by a thousand crystal faces" 136 . The revival of humanity is planned on the basis of some obscure cosmic faith, whose god is unknown. The theme of the new religion is one of the most popular in the writings of the Council and the Glass Chain. Her dogma lies entirely in line with the symbolist metaphorics of the Sheerbart-Fechnerian sense.

Around Taut people of extremely different artistic aspirations came together. The Glass Chain included: Karl Crail, Paul Gescht, Hans Sharoun, Jacobus Gettel, Hans Hansen, August Hublik, Max Taut, Wilhelm Buckman, Herman Finsterlin, Vasily Lukhardt, Walter Gropius and Bruno Taut. Adolf Bene also joined the group. A common mystery pathos united everyone.

The “Glass Chain” featured Khablik’s text, in which the group proclaimed the construction of a new book: “Books,” which would make it unnecessary and forget all the Bibles and Korans, all “holy” scriptures - to the extent that it would speak of the religion of creation - to the extent that it would be the religion of creation " 137 . This is a new demiurgism, equating architecture with the creation of the world, a new religion and a new scripture. It is no accident, of course, that the Whitman's Leaves of Grass were turned into a kind of sacred text among German expressionists. 138 . It was Whitman who owned the claim to create a new bible written on the leaves of the new Eden. And it is no accident, of course, that Max Taut, Bruno’s brother, writes about the vision of “houses growing on trees instead of leaves” 139 . Thus, the desire for organomorphism, the greenhouse myth are formed into a new mythological node. Bruno Taut, who signed his letters in the Glass Chain with the pseudonym Glass,

136 Ibid .,   S. 49.

137   Die Glaseme Kette. Visionare Architekturen aus dem Kreis um Bruno Taut 1919-1920. Berlin, 1963, S. 16.

138   L.-G. Buchheim Die Kunstlergemeinschan Briicke. Feldafmg, 1956, S. 37-39.

139   Die Glaserne Kette. S. 20. Cf. with a motif of a glass book by V. Khlebnikov:

"City of glass pages,

Opening them with a wide flower in the afternoon

And closing for the night. "- Khlebnikov V. Collected works, vol. 5. L., 1933, p. 89.

melts the Hublik theme of the book (the entire "Glass Chain" can be understood as a glass book), but already interprets it in the categories of the Grail (it is known that the Grail was understood not only as a crystal cup, but also as a mystery book) and calls all the group's activity "mystery" 140 . And finally, Herman Finsterlin, perhaps the group’s most original theoretician, launches the eighth day mysterious Mystery of the Eighth Day on the Chain, Finsterlin draws a picture of the life of outer space, filed in architectural images. Everything is pulsating here, moving with intense plasma radiation, experiencing catastrophic mutations. And in the center of a huge world building revolves "a kaleidoscope of infinite all-naturalness" 141   (compare with a kaleidoscope in the glass pavilion of Bruno Taut).

Unimaginable, like distorted snails and fantastic curls of a building in Finsterlin's projects - this is a radical attempt to synthesize a whole set of new architectural mythologies in the design. The architect is trying to find a balance "between crystal and amorphism," as a balance between statics and movement, constructiveness and organomorphism: "Inside new homes, people will not feel like inhabitants of a fabulous crystalline druse, but inhabitants of the insides of a living organism" 142 . Finsterlin supplies his house with nothing like glass floors, designed to "drive" a person out of housing into an endless "vegetative" space. And, of course, a new home for him is "The Grail daily replenished with the forces of our pulsating earth" 143 .

Finstrelin's projects are the most fantastic and bold in the group's activities. But essentially in almost all the works of the participants in the Council and the “Chain” the same cultural myth is being worked out. Vasily Lukkhardt in 1920 creates a project of the church in the form of a crystal. Khablik makes models and sketches of buildings similar to glass crystal druses, Hans Sharoun invents buildings in the form of flowers, Johannes Molzan makes his glass crystal, Max Taut invents the People’s House in Grunewald in the form of a crystalline flower and widely uses plant-crystal forms in other projects, etc. Even among architects, it would seem,

140   Die Glaseme Kette, S. 39.

141   Ibid., S. 32.

142   H. Finsterlin. Innenarchitektur. - Frulicht, 1 Jg, H.2, Winter 1921-1922, S. 36.

143   Ibid., S. 36.

quite far from the cult of glass, such as Hans Pelzig or Erich Mendelssohn, the echoes of this cultural myth are obvious. Mendelssohn, for example, built his famous Einstein tower as a sketch of the future cathedral. The tower was supposed to absorb light from above and with the help of mirrors reflect the rays in the dungeon 144   completely in the spirit of the "light-catching tower" of Sheerbart's Lazabendio.

In the same ideological line, one should consider the more famous and less utopian projects of the same time - the design of the glass skyscraper on Friedrichstrasse (1919) by Misa Vander Rohe, his own design of the glass tower (1921) or the “Glass Tower” by Frank Lloyd Wright, with his ideas "organic architecture" and the cult of glass, expressed completely in the Taut-Bene categories 145 .

Here, of course, there is no way to even dwell briefly on dozens of projects of glass houses created by members of the Taut group and architects who find themselves in the circle of their ideas.

The mysterious tension of the myth began to fall sharply by the mid-20s. Architects found work Glass houses began to take root and accordingly lose their utopian dimension. The socio-spiritual revolution, expected from the widespread adoption of glass, did not happen. It is significant that Bruno Taut himself very quickly moved away from the cult of glass, so that the residential areas built by him in the twenties have little in common with the architectural utopia cultivated by him. Mythological anachronism is, for example, the project of a glass church on a mountain presented in 1928 for a church architecture competition by Peter Grund, where the believer was supposed to penetrate deep into the cliff to the water cascade, and then to the sanctuary, above which the glass vault burned with colorful lights 146 .