Artists of the Tudor court of Holbein (1543) and Lucas Horenbout (1544), and would remain as court painter to Henry's son Edward VI and as painter and lady-in-waiting to both his daughters, Mary I and Elizabeth. Levina Teerlinc, in turn, taught the art of limning to Nicholas Hilliard, an apprentice goldsmith who would marry the daughter of Queen Elizabeth's jeweler and rise to become the supreme miniaturist of the age. John Bettes the Elder apprenticed his son, John the Younger to Hilliard. Hilliard's most famous student, Isaac Oliver, later limner to Anne of Denmark and Henry, Prince of Wales, was married to the niece of
Conservation and restoration of stained glass a whole (Brown et al. 2002, 18–19; Vogel et al. 2007, 7). The breakdown of the skeletal structure that holds the glass in place, such as damage to tracery and the corrosion of metal cames and fixing systems, often poses the greatest, imminent risk to stained glass work (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,