Conservation

About half our work is on glass somebody else made, most of it between the fourteenth and the nineteenth centuries. The governing rule is that our intervention should be identifiable, reversible where it can be, and documented whether it can be or not.

What we will do

• Releading, where the came has crept beyond recovery
• Edge-bonding of broken pieces where a lead line would obscure the paint
• Removal of previous repairs that are actively damaging the original
• Isothermal glazing, where the environment demands it
• Full photographic and rubbed record, deposited with the diocese or owner

What we will not do

• Repaint lost trace on historic glass
• Match a repair so closely that a future conservator cannot identify it
• Clean paint that is loose, ever, by any method
• Fix a panel back into iron ferramenta that is corroding

Every job leaves with a condition report, a panel-by-panel photographic record before and after, and a note of every piece that is not original. If we replaced it, it is marked on the back where nobody will see it and every future conservator will look.