Came glasswork

The metal came selected generally depends upon the size, complexity and weight of the project.

[1] The work may be made waterproof by forcing a soft oily cement or mastic between the glass and the cames.

[2] Theophilus Presbyter, the first to write about joining art glass using the came technique[3] in the book De Divers Artibus.

Theophilus was a Benedictine Monk who was a glass and pigment worker who practiced in the late 11th and early 12th centuries.

[4][5] Materials to complete a glasswork project may include the pattern, cut glass, came, wood trim, solder, cement.

Additional supplies include newspaper, cutter oil, a plywood board, masking tape, flux,[nb 1] and whiting.

[11] The traditional method of creating "camework glass" uses lead came, which ages into a dark blue-gray patina.

In comparison to other came metal strips, like brass, copper and zinc, lead is softer and more flexible, making it easier to cut and bend.

[9] Water tightness is achieved by brushing cement under the flanges of the leads to both faces prior to installation or by applying putty afterwards.

Lyon and Cottier, Stained glass panel in the transept of St. John's Anglican Church, Ashfield, New South Wales (NSW).
Canterbury, Canterbury cathedral-stained glass
Railway station showing fine Art Déco leadlighting with grisaille and yellow stain. Limoges, France.
Frank Lloyd Wright, Hollyhock House, Los Angeles, CA
Theo van Doesburg, Leaded Glass Composition I
A typical copper foil Tiffany lamp , with a jonquil daffodil design
Clara Driscoll , head designer at Tiffany & Co. , c. 1899–1920, Tiffany "Daffodil" leaded glass table lamp. This is an example of copper foil glasswork, an alternative to came glasswork.