History of Stained Glass

The first mention of glass being used in windows dates to the 4th century, in early Christian writings. By the year 1,000, figurative window designs appear, unpainted, with different coloured pieces fitted together like a mosaic. By the 12th century, stained-glass windows rose in popularity for both religious and aesthetic reasons. In this time, painters began to detail glass. These windows were often used as instructions, telling stories of Christianity to those who were illiterate. Today, stained-glass artwork is used in both ecclesiastical and commercial buildings, with both traditional and experimental styles.

How it's made

The making of a stained-glass window like those in Dublinia is a multi-step process. To complete a work of stained-glass, drawings are first presented to the client, then scaled into full size renderings. Cutters are needed to cut the individual glass panels, and then painters use a variety of techniques to paint the glass. During an apprenticeship, one artist might focus on painting drapery only, while another is tasked with painting flesh. When the artwork is completed, the glass is sent on the kiln to be fired before the glazers put lead into fit the painted panels together. The windows can then be installed in place.

George Walsh works with an architect and a glazier ensure the proper supports will be in place for a commission, and he drafts designs to theme. Though many traditional stained-glass windows are ecclesiastical, George also likes to work experimentally within the medium to create works in more commercial settings like Dublinia.

Traditionally, many artists completed 7-year apprenticeships, learning these stages of design and creation. Apprentices might begin an apprenticeship simply by mixing colours for the painters. George Walsh, for example, recalls beginning his apprenticeship by tracing detail from the drawings onto glass, then moved up to painting and staining. Different techniques of painting and staining are learned, as these stylistic choices help bring the glass to life. Hydrofluoric acid, for example, can be used to change the colours of glass and reveal more depth in the colour.

When working on a stained-glass window, the colours are critically important. For Dublinia’s windows, George hoped to draw on the medieval feeling of the cathedral and the old church of St. Michael in his design. He used Hartley Wood and Co. glass from his father’s collection. He incorporated some French, Polish, and American glasses as well. Particularly, the hand-blown red and blue antique glass give the feel of popular medieval stained-glass work across Europe. Blue is a great contrast colour for subjects, for example, and it calls back to medieval times when red, green, or blue glass was all that was available. The window is also incorporated with gold pink glass, which uses gold to give the glass a warmer hue. According to George, colour is what makes people want to approach Dublinia’s windows, and once they’re drawn in, the history of the city is revealed.