Abstract

This work presents the results of the exposure of soda-lime, potash-lime and mixed-alkali silicate glasses during ten and twenty months in different Portuguese monuments with historical stained-glass windows to characterize the influence of local environmental conditions. The glass samples were exposed in the Monastery of Batalha (Batalha), the Monastery of Jerónimos (Lisbon), and the Cathedral of Évora (Évora). A set of analytical techniques to assess the physicochemical effects were used, including optical microscopy and Fourier transform infrared spectroscopy. All the samples presented crystalline deposits on their surface; however, their quantity and nature depended on the atmospheric conditions during the days before the collection. Potash-lime silicate glass was the most altered glass in comparison with soda-lime and mixed-alkali silicate glasses. The samples from the Cathedral of Évora showed a high content of dust and salts on their surface but without severe chemical pathologies; however, those samples exposed in the Monastery of Jerónimos and the Monastery of Batalha presented alteration layers due to a high humidity environment.

Highlights

  • Portugal has an extensive collection of historical stained-glass windows from different chronologies spread around the country

  • The most ancient stained-glass windows in Portugal are located in the Monastery of Batalha, built between around 1388 and 1533, in the church aisle, south transept and west windows as well as in the Founder’s Chapel

  • The glasses presented different behaviors depending on their chemical composition

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Summary

Introduction

Portugal has an extensive collection of historical stained-glass windows from different chronologies spread around the country. The most ancient stained-glass windows in Portugal are located in the Monastery of Batalha, built between around 1388 and 1533 (for what is to be seen in-situ), in the church aisle, south transept and west windows as well as in the Founder’s Chapel. Various panels of these ancient windows, preserved in the monastery, were designed by Luis Alemão (Louis the German) and present figurative and geometric motifs [1,2]. A more realistic style of stained-glass windows was produced An example of this movement was observed in the church choir and chapter house glazings, produced between 1514 and around 1531. They were certainly designed (and partly painted) by Francisco Henriques and financed by the King Manuel I of Portugal

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