Stained Glass Church Windows
Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine or vinegar, then fired to make it permanent. The art of painting details became increasingly elaborate and reached its height in the early 20th century. Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire
click for larger image Full Window (left)
click for larger image Full Window (right)
St. Joseph's Church
Brantford, ON.
These six stained glass windows are located in the prayer room of St. Joseph's Church, on Brant Avenue in Brantford, ON.
These windows were designed by Vanessa Fraser and leaded by Gord Hill in his studio. It was a collaborative effort between Fraser and Hill and each window has elements that are hand painted by each artist.
Brantford, ON.
These six stained glass windows are located in the prayer room of St. Joseph's Church, on Brant Avenue in Brantford, ON.
These windows were designed by Vanessa Fraser and leaded by Gord Hill in his studio. It was a collaborative effort between Fraser and Hill and each window has elements that are hand painted by each artist.
click for larger image Sr. Faustyna KawalskaPainted by
G. Hill: Gown, matting.
V. Fraser: Face, habit.
click for larger image The Guardian Angel Painted by
V. Fraser: Face, halo, wings.
G. Hill: Gown, hands, matting.
click for larger image St. JohnPainted by
V. Fraser: Face, halo, book, sleeves.
G. Hill: Gown, hands, matting.
click for larger image St. Anne & Virgin Mary Painted by
V. Fraser: All.
G. Hill: Matting.
click for larger image Pope John Paul II Painted by
V. Fraser: Face, keys, crown, sleeves.
G. Hill: Gown, crucifix, hands, matting.
click for larger image St. JosephPainted by
V. Fraser: All.
G. Hill: Matting.
click for larger image He Is Risen Church of the Redeemer
Fisherville, ON.
2007
Designed by V. Fraser.
click for larger image Memorial Window, CosmosSt. Andrew's Church
Darling St.
Brantford, ON
2004
Designed by V. Fraser.
About Stained Glass
The term stained glass refers either to the material of coloured glass or to the art and craft of working with it. Throughout its thousand-year history the term "stained glass" was applied almost exclusively to the windows of churches, cathedrals and other significant buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture.
Modern vernacular usage has often extended the term "stained glass" to include domestic leadlight and objets d'art created from lead came and copper foil glasswork such as exemplified in the famous lamps of Louis Comfort Tiffany. As a material the term stained glass generally refers to glass that has been coloured by adding metallic salts during its manufacture. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in which all the colours have been painted onto the glass and then annealed in a furnace.
Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate workable design, and the engineering skills necessary to assemble the decorative piece, traditionally a window, so that it will fit snugly into the window frame for which it is made and also, especially in the larger windows, is capable of supporting its own weight and surviving the elements. Many large windows have withstood the test of time and remained substantially intact since the late Middle Ages.
In Western Europe they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as 'illuminated wall decorations'.
The design of a window may be non-figurative or figurative. It may incorporate narratives drawn from the Bible, history or literature, or represent saints or patrons. It may have symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church - episodes from the life of Christ; within a parliament building - shields of the constituencies; within a college hall - figures representing the arts and sciences; or within a home - flora, fauna or landscape.
The term stained glass refers either to the material of coloured glass or to the art and craft of working with it. Throughout its thousand-year history the term "stained glass" was applied almost exclusively to the windows of churches, cathedrals and other significant buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture.
Modern vernacular usage has often extended the term "stained glass" to include domestic leadlight and objets d'art created from lead came and copper foil glasswork such as exemplified in the famous lamps of Louis Comfort Tiffany. As a material the term stained glass generally refers to glass that has been coloured by adding metallic salts during its manufacture. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in which all the colours have been painted onto the glass and then annealed in a furnace.
Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate workable design, and the engineering skills necessary to assemble the decorative piece, traditionally a window, so that it will fit snugly into the window frame for which it is made and also, especially in the larger windows, is capable of supporting its own weight and surviving the elements. Many large windows have withstood the test of time and remained substantially intact since the late Middle Ages.
In Western Europe they constitute the major form of pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as 'illuminated wall decorations'.
The design of a window may be non-figurative or figurative. It may incorporate narratives drawn from the Bible, history or literature, or represent saints or patrons. It may have symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church - episodes from the life of Christ; within a parliament building - shields of the constituencies; within a college hall - figures representing the arts and sciences; or within a home - flora, fauna or landscape.