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 of the object in mind (CVMA 2004). In J. Sloan's discussion of stained glass conservation in the United States, the author gives the following list of ethical and philosophical criteria to be applied to the conservation of stained glass (Sloan 1993, 13): While this list is not exhaustive, it does illustrate the basic foundations upon which responsible conservation decisions should be made. Of utmost importance in this list are the fundamental ideas of minimal intervention and reversibility of treatment, both of which are necessary to ensure that the overall integrity of the windows, as historic and artistically valuable objects, is