The article describes the multi-layer stained glass making technology, an art technique most vividly reflected in the projects designed and produced by L. C. Tiffany. The present paper is a continuation of the series of academic articles published in the scientific journal Secreta Artis in 2018 and 2019 that reveal the step-by-step process of creating a Tiffany stained glass, from sketch and cartoon preparation to artwork finalization. The proposed method has been tried out and proven in practice: taught to students at the Academy of Watercolor and Fine Arts of Sergey Andriaka, the technology is, likewise, used to create original pieces of art, as well as make stained-glass windows as part of various architecture projects. A multi-layer stained glass allows one to significantly expand the glass palette at hand, enrich compositions with exquisite color and tonal effects, which are particularly difficult to achieve in a single-layer stained glass, insert different objects and materials in-between layers of glass. The purpose of the article is to demonstrate to artists, designers, teachers, students and all fine art lovers artistic possibilities of Tiffany stained glass and provide a step-bystep guide to its production. The outlined technique can be applied in a stained glass workshop, with a basic set of tools and equipment. The article formulates key multi-layer stained glass making methods and delineates some of the most typical challenges and ways to overcome them. The methodology is exemplified by L. C. Tiffany’s work in stained glass, along with the artwork designed by the author of the article.

Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.