Stained glass is lauded as one of the most beautiful and compelling forms of architectural decoration; however, it is also one of the most vulnerable (Brown et al. 2002, xi). The fabric of the glass itself, the paint or stain used to decorate it, and even the metal framework used to hold the design together are all at risk for deterioration, and will likely require conservation work to ensure their longterm survival. Historic glazing is subject to damage caused by continued exposure to pollution and the elements, on top of that resulting from inherent authentic doug mcdermott jersey problems, such as the innate fragility of glass and any potential chemical instability of the materials involved (Brown et al. 2002, xi; Rauch 2004). vandalism) (Brown et al. 2002, xi; Vogel et al. 2007).

Owing to the delicate nature of the materials, and the incalculable historic and aesthetic value of stained glass work, any and all treatments should be planned and performed by professional conservators and craftspeople, who have been specially trained in the peculiarities of the medium. While preservation is the shared responsibility of all involved, including visitors, caretakers, and other stakeholders, it is imperative that professionals are consulted to ensure the continued integrity of the physical materials and their associated significance. For this reason, all projects should begin doug mcdermott bulls jersey with a conservation plan that incorporates research in such topics as the history of the windows or building, the materials involved, and past alterations, as a key element of all conservation decisions. The type of conservation treatment employed should reflect this research, as well as the needs of the building as a whole, and should always be documented for reference in the future (CVMA 2004).

For information on the creation, construction, and history of stained glass windows dennis rodman bulls jersey see Stained glass.

Deterioration etwaun moore bulls jersey of stained glass

The primary aim of conservation is to slow the rate of deterioration, caused by various factors, to the point where the loss of significance, such as historic information and/or aesthetic value can be kept to a minimum (Pye 2001, Ch. 5). However, in the case of stained glass, these efforts are complicated by the nature of the medium itself. This is because a stained glass window, is a 'complex object' in that it is made from more than one component material, each with its own inherent risks and conservation needs (Pye 2001, 80). In addition to the most obvious component, glass, all windows will typically involve some sort paint or stain as decoration, metal strips, or 'cames' used to join the pieces of glass together, waterproofing materials, and fixing systems or frameworks used for additional support (Brown et al. 2002; Vogel et al. 2007). As a result most historic glazing that has been left in situ is subjected to a constant onslaught of harmful conditions including (but not limited to): UV light from sunlight, extreme weather conditions, indoor and outdoor manmade pollution, and biological damage caused by pests such as pigeons, bats, and various microorganisms (Rauch 2004, 3). As a result, panels often become encrusted with thick layers of dirt that eventually become quite firmly affixed, and can even begin to intermingle with the underlying, corroded layers of paint (Rauch 2004, 3). Environmental influences also play a role in the continuing deterioration of metal cames and frameworks, which can cause significant structural damage. In addition to these environmental stressors, further deterioration can also result from the myriad of other factors that influence the materials out of which the window is constructed, such as vibration from building use and the remains of previous treatments and repairs that have since deteriorated and increased the corrosion processes of other materials (Rauch 2004, 3).

Although glass as a material is known for its chemical stability resistance to natural deterioration, impurities and variations in glass composition can cause considerable chemical instability that may further destructive processes (Vogel et al. 2007, 7). Glass is also susceptible to atmospheric pollution, and high levels of humidity or moisture over long periods of time, both of which can speed up the corrosion rate of chemically unstable glass. Over time, corrosion, marked by pitting or pocking of the glass, can deepen and spread until the surface layer itself breaks apart, uncovering the vulnerable, damaged core, until the it becomes opaque (Rauch 2004, 3). This opacification occurs as water seeps through the subsequent cracks, causing the formation of opaque syngenite and gypsum crystals that block light from filtering through the previously translucent glass (Rauch 2004, 3). As these crystals continue to grow, they pose an even greater danger to the glass, eventually breaking through the surface and dislodging the delicate paint layer, or even causing cracks (Rauch 2004, 4). Glass plates can also darken or cloud as the result of the oxidisation of certain metals, such as manganese, which was a common addition to late medieval glass (Rauch 2004, 4).

Breakdown of paints, enamels, stains

As previously mentioned, the paint/stain layer may suffer as the result of deterioration within the fabric of the glass itself; however, this fragile layer is at risk for other types of damage as well. Painted surfaces that would have been applied to glass cold and fired on, are especially vulnerable to damage from condensation or weathering, if they were fired improperly during the production process (Vogel 2007, 7). This is often the case with the fading or disappearance of fine detail, such as faces, in figural stained glass art (fig. 2). Over time, enamels can begin to flake off of glass panels, and certain types or colours of stains can discolour with continued UV exposure, all of which significantly alters the aesthetic impact of the work as a whole (Brown et al. 2002, 1819; Vogel et al. 2007, 7). Although stone elements are not prone to excessive change due to environmental conditions, this is not the case with metals, which are much more likely to deteriorate from prolonged exposure to the elements. For example, the cames that make up the matrix of a stained glass window, for which lead and zinc were most commonly used, undergo quite a bit of thermal expansion and contraction, eventually resulting in metal fatigue, which in turn weakens the joints between the plates, causing whole panels to deform or simply fall apart (Vogel et al. 2007, 8). Additionally, metal matrixes and frames may weaken with stress, such as that which has occurred at Holy Trinity Church in StratforduponAvon, UK, where years of wind buffeting the leaded clerestory windows has endangered the structural integrity of not only the glazing, but also, the upper portion of building itself (fig. 3) (Friends of Shakespeare's Church 2009).

Creating a authentic dennis rodman jersey conservation plan

In many ways, proper conservation is as much about research and documentation as it is about 'handson' conservation treatments and restoration (Sloan 1993, 27). The conservator must be familiar with not only the general materials with which he or she is working, but also the john paxson jersey details specific to the project at hand, in order to understand and address the needs of a particular window or building.

All intervention must be the least required to achieve the desired end.

Original materials should be retained so far as is possible.

All conditions, procedures, materials and processes must be recorded.

The doug mcdermott jersey hand or style of the conservator should not be visible to the casual observer on the object. However, all restoration should be discernable to future conservators.

The conservator is ethically bound to provide the authentic john paxson jersey highest quality restoration within his [or her] power without regard for his [or her] personal opinion of the value [] of the object.

While this list is not exhaustive, it does john paxson bulls jersey illustrate the basic foundations upon which responsible conservation decisions should be made. For example, a conservator working on a set of windows in the United States, will want to ascertain whether the glass was produced before, during, or after the mid19th century, as changes to general glass composition were made during this time that could influence the types of impuritiesand subsequently, some of the deteriorationto be expected (Vogel et al. 2007, 7). This research phase should also include a full condition report on the current condition of the stained glass that includes a record of any and all evidence of past intervention or repair (CVMA 2004).

Decisions should be made using the information gathered during research, and implemented by experienced conservators. Caretakers and project managers should be responsible for screening conservators/studios effectively, while the conservators themselves are responsible for advocating on behalf of etwaun moore jersey the stained glass during any negotiations. As much as possible, benefit to the historic glazing should come before all other considerations (Vogel et al. 2007, 1). At all stages, steps should be taken to ensure that the actions taken are in keeping with the aims of the conservation plan.

I've been reflecting on our years of friendship and I'm beginning to realize that 99% of the great times we've had together either involve inside jokes nobody else would get, or wildly inappropriate shenanigans that are not appropriate for a room full of family members, or both. She's my partner in crime, and that's why we have so much fun together. But I'm a little stumped as to how to approach this in a way that somehow reflects how much I know and love her and how fun she is, but also won't scandalize anybody (or bore them, once it's all made PG.) I also feel like I kinda want to make things up to her for how unavailable a maidofhonor I've been thus far this is my one chance to really kill it and make her wedding awesome.

I've searched through some other AskMe's on wedding toasts but they're mostly asking for specific advice for a particular set of circumstances. And most of the answers are from people who wrote the toasts, not the toastees. I want to know, from those of you who have been on the receiving end of an amazing toast what about it really made it fantastic? Was it hilarious? Touching? Creative? Did it involve a great story? I think I can go in just about any direction with this, so I'd love to hear what ended up meaning the most to you. Please be as specific as possible, it'll help!

Possibly of note, I'm also a little nervous because I hardly know anybody who's going to be at/ involved in this wedding. She's been living in another state for years now, it's where she met her husband to be and where basically all their current friends except me live. (I've hung out with husbandtobe enough times that I know and love him, so I plan to include him in the toast.) But I'm worried that by talking about things her and I have done/ experienced before she lived there, or how she was when I knew her back home might be somehow alienating . . . I don't know. It may not matter. Maybe I just also feel nervous because I don't know my audience and want to impress them and/or not horrify them. Mostly though I just want her to love it. Also, I'd prefer to keep it personal and specific to them probably not quotes/ passages/ etc but I'm open to hearing them if they're really great. Thanks so much!

posted by GastrocNemesis to human relations (22 answers total) 14 users marked this as a favorite

2. Practice your delivery (see 1.)

3. Don't aim to impress. Aim to honor who she is.

4. If you can think of stories that demonstrate something about who she is, and why she's so awesome, not just to you, but to other people, pick the best one, and tell it to your mom or someone else who will be brutally honest with you about what comes across.

5. Feel free to allude to wild times with something like, "and if you want the real dirt, you can find me at the bar later," but remember what Authentic Brian Schwenke Jersey matters just being honest about her and how happy you are for her.

I've seen many excruciating or awkward toasts, and pretty much all violated those five rules, so if you hold to them, you'll knock it out of the park.

posted by canine epigram at 7:03 PM on April 9 [6 favorites]

My best Ryan Succop Jersey friend gave a great toast at my wedding. He opened by talking a (very short) bit about how we came to know each other and warmed the crowd at his own expense:

"I met Brandon in biology class in college. He got an A. I got a D. It was great."

He then went on to talk about how he met my wife through me, and was able to watch us grow together, and talk about the specifics of our personalities that made us a great fit together. He ended by wishing us many years of happiness.

It was direct, it was earnest, and it was just over a minute. It was much more about the two of us than about his experiences with us. It assumed that the people that came to our wedding knew us and didn't need drawn out anecdotes to know what our personalities were. Pretty much perfect.

posted by bfranklin at 7:12 PM on April 9 [3 favorites]

I agree with Canine Epigram. Excellent advice!

I loved the speech my maid of honor made. She talked about how long we had known each other, added in a fun/tame story about how I would always take a specific candy from her candy stash, alluded in passing to some things that only I would understand, and mentioned how she knew I had found the right guy. The whole thing was probably no more than 35 minutes (hard to keep track of time on your wedding day) and came full circle. That said my MOH was also an English Major, so that may have had an effect.

It's a perfect time to let your friend know Brian Schwenke Titans Jersey what characteristics you love about her as a friend. I mean, obviously she probably already knows, but it can be really special to hear it said aloud.

posted by donut_princess at 7:36 PM on April 9

My favorite wedding toasts were. forgettable. It's not about you and your hilarious toast. Make it about them Brian Schwenke Jersey and how wonderful they (plural) are. Then get out of the way.

posted by PCup at 7:57 PM on April 9

This is a pretty general previous thread

posted by greta simone at Ryan Succop Titans Jersey 8:06 PM on April 9

Just to clarify, when I say I want it to be amazing, I mean Authentic Ryan Succop Jersey that I want it to be that way from the bride's perspective I don't care what anyone else will think of it, with the exception that I don't want it to be embarrassing or awkward. I assume tearjerking is also to be avoided. I'm looking for the best way to make HER happiest with my toast. (Though she is the type to care what others think, so the better it sounds to everyone, the more she'll like it.)

And greta, thanks, I missed that one. I searched for the tag "wedding" + "toast" and that didn't come up I see it's tagged as "weddings" and "toasts." Oops! Will check it out now.

posted by GastrocNemesis at 8:18 PM on April 9

At my wedding, my dad made a ridiculous bunch of nonsense about the family coming over from Ireland (which is untrue in uncountable ways), and it was just rambling silliness that everyone took for what it was, and many laughs were had.

Whites in the former Boer republics of the Transvaal and Orange Free State voted decisively in favour, as did those in South West Africa. In the Cape Province there was a smaller majority, while Natal, which had an Englishspeaking majority, voted against. Following the referendum result, some whites in Natal even called for secession from the Union.[2] Five years previous, some 33,000 Natalians had signed the Natal Covenant in opposition to the plans for a republic.

The opposition United Party actively campaigned for a 'No' vote, while the smaller Progressive Party appealed Derrick Rose Bulls Jersey to supporters of the proposed change to 'reject this republic', arguing that South Africa's membership of the Commonwealth, with which it had privileged trade links, would be threatened.

Are you in favour of a Republic for the Union? (English)

Is u ten gunste van 'n Republiek vir die Unie? (Afrikaans)[3]The National Party had not ruled out continued membership in the Commonwealth after the country became a republic, but the Commonwealth included new Asian and African members who saw the apartheid state's membership as an affront to the organisation's democratic principles. Consequently, South Africa left the Commonwealth on becoming a republic.

At a Commonwealth Prime Ministers' Conference held after the referendum, Dr. Verwoerd raised the issue of continued membership after South Africa became a republic. This should not have caused too many problems, as India maintained its Commonwealth membership despite becoming a republic in 1950, but Verwoerd stirred up a confrontation, causing many members to threaten to withdraw if South Africa's renewal of membership application was accepted.

As a result, Verwoerd's plan worked, membership application was withdrawn, meaning that upon its becoming a republic South Africa's Commonwealth membership simply lapsed. Many Afrikaners welcomed this as a clean break with the colonial past. When the Republic of South Africa Derrick Rose Authentic Jersey was declared on 31 May 1961, Queen Elizabeth II ceased to be head of state, and the last Governor General of the Union, Charles R. Swart, took office as the first State President.

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Legal references to the Crown were replaced by those to the Derrick Rose Jersey State.

Queen's Counsels became known as Senior Counsels.

The Crown was removed from the badges of the military and police.

The Royal title was dropped from the names of some South African Army regiments, such as the Natal Carbineers. However, some institutions retained the Royal title, such as the Royal Michael Jordan Bulls Jersey Natal National Park and the Royal Society of South Africa[4]

Other references to the monarchy had been removed before the establishment of a republic; in 1952, the title of South African Navy vessels HMSAS (His Majesty's South African Ship) Michael Jordan Jersey was changed to SAS (South African Ship),[5] and in 1959 the Crown in the SAN cap badge was replaced with the Lion of Nassau from the crest of the country's coat of arms.

The new decimalised currency, the Rand, which did not feature the Queen's portrait on either notes or coinage, had already been introduced before the establishment of the Republic.

However, the only notable difference between the Constitution of the Republic and that of the Union was that the State President was the ceremonial head of state, in place of the Queen and GovernorGeneral.

The National Party decided against having an executive presidency, instead adopting a minimalist approach, as a conciliatory gesture to Englishspeaking whites who were opposed to a republic; the office did not become an executive post until 1984. Similarly, the Union Flag remained a feature of the Flag of South Africa until 1994, despite its unpopularity among many Afrikaners.