With the irruption of the Quattrocento, the church window disappears from the Italian influence areas, the tradition in the Netherlands and England being held.

Reappearing again of the hand of the romanticism, which it revises the architectures from a new optics that, on the one hand will flow, in the need for restoration -after the revolution of 1789- of the French churches. They are reliable reproductions. For the other one, the one played the lead by the movement Arts English and Crafts, with W. Morris and the Pre-Raphaelite Burne-Jones in front, who sketch a conception of design that is not quite represented.

Collecting the witness three tips of lance of the du end architecture siècle: Mackintosh, in Scotland; F. Lloyd Wright, in USES, and Gaudí, here, that they design and stained-glass windows already restore the church window as element with the premise of the modern movement of integration of the arts, that is, in the service of an architectonic environment.

It is contemporarily -after the second great war and as a result of the restorations, in Germany, of the cathedrals- where the stained-glass window keeps taking an intrinsic value, beside one (re)valuation of the profession of the hand of new treatments and new technologies for the manipulation of the glass. All in all, the craftsman becomes artist and their discipline takes artistic autonomy.

Of such a luck that the stained-glass window can reach a double use, so much as component of an architectonic environment, where their main function is the creation of an environment, as work of art with intrinsic value. The stained-glass window, today, does not imitate the paint; its same transparencies it inferring the condition of mutant element.

So much so that it is not strange of finding stained-glass windows in museums, as is the case of Narcissus Quagliata (Misery Porca) in the Metropolitan Museum of Art New York.

Easily, it is observed that there where the industrial and technological impression is top, are kernels of glaziers artists, as it is the case of Germany, USA, Canada, France, Japan, England, etc.

In our country there is a devoted focus: Barcelona, with two schools. The traditional one, to stub of the Escola Massana, with clear indications of evolution, and the avant-garde one, about the Center of the Glass, of recent creation.

The other focus that has kept being forged throughout the last decade is that of Valencia, fifty-fifty given impulse from the School of Applied Arts of Valencia, for José I. Pertegaz (glazier artist and professor), and from the autodidactic, that with the addition of individuality (Ernesto Gonga, Alicia Renau, Ximo Roca, Dew Padilla, etc.) it is creating a movement that tries to crystallize into an association for such an of facilitating the assembling of exposures, introduction in the industry of its products and to facilitate the feed-back of international information, at the same time of inviting to the Administration to collaborate and promoting this world in expansion. They are artists that they expose out of regularly outside of Valencia and of the country, as it is the case of Francesc Maria (the Cabanyal, 1950) and Ernest Perales (Valencia, 1958), that Vitral Française have obtained the second prize of the Salon International du, this year celebrated -with the participation of 152 selected artists of twenty-one countries- with two works, one in Chartres and the another in Nimes. In these they introduce the three-dimensionality in an artistic object that until today had been always bidimensional.

In its rebellion in the plan on a slight structure, the glasses slide of its vertical position to the point of floating in the space, playing with brightness and nuances in the face of the absence of color in the used glasses.

Whereas, in its multiple Unit, the glasses acquire the condition of cantilever in a compact and sober structure that until today had only been obtained fragilely. In this, the color takes a paper|role protagonist in a brief range of them.

One may send the simplicity reached, intended through all its work and that today, at last increases them to the range of teachers.

Article published in the suplement DIAREMA (Levante-EMV).