520:
397:(1555–1559) in Cheshire, England, being particularly famous for the extensive nature of its leadlighting. During this period large sheets of glass were unavailable. Domestic windows were generally small and were made of broad glass or cylinder glass before crown glass was first made in England in 1678. Broad glass is usually around 1.5 to 2 mm thick and uneven, often with scars and marks on the surface where it has been 'ironed' flat, and often has a greenish tint. Later windows often had crown glass, which has a much better surface quality and shows slight concentric ripples that form as the disk is spun. Old windows often contain a mixture of several types of glass, as they will have been re-leaded about every 100 years, with the replacement of some of the quarries. The irregular glinting surface of diamond-pane windows is a distinctive feature of old European houses. The
496:
673:
325:
685:
653:
625:
373:
508:
206:
341:
226:
278:
532:
238:
254:
36:
353:
101:
160:
fired in a kiln before assembly. The extra time and cost employed in painting and firing the glass usually prohibited its use in domestic architecture. While stained glass windows are found principally in churches and ornate buildings, leadlight windows, which rarely employ painted components, are much more common, and from the 1860s to the 1930s were a regular architectural feature in many private houses and cottages, where their style is often a clue to the age of the building.
557:
20th century commercial buildings make extensive use of leadlighting, particularly in shopping arcades and tea rooms. Leadlighting in translucent glass was also used extensively for internal doors of public and commercial buildings, theatres and other such venues because it enabled people approaching the door from opposite sides to be visible to each other.
624:
684:
401:
shape of the panes gave greater stability than square-cut straight-set panes, and it is accordingly more common. It was also convenient to cut diamond-shaped panes from a single "crown" of glass with less waste than that caused by cutting square panes. Square panes are most often found in the grander
167:
A further difference between traditional stained glass and leadlight is that the former almost always has painted pictorial details over much of the glass, requiring separate firing after painting by the artist. In traditional leadlight this is not the case, painted quarries being separately produced
159:
Traditionally, leadlight windows differ from stained glass windows principally in being less complex in design and employing simpler techniques of manufacture. Stained glass windows, such as those commonly found in churches, usually include design components that have been painted onto the glass and
475:
During this period also, many churches and public buildings were constructed in
Revival styles. Many public buildings such as town halls, public libraries, museums and hospitals had their public spaces glazed with pale-coloured leadlight, creating a pleasant ambience in areas where good lighting was
146:
Since the traditional technique of setting glass into lead cames is the same in both cases, the division between 'leadlights' and 'stained glass' became less distinct during the late 20th century. The terms are now often incorrectly used interchangeably for any window employing this technique, while
198:
The colours employed in leadlight windows may range from delicate pastels to intense hues. The glass used may be textured or patterned or bevelled (as in the small panel from the 1920s illustrated above). However, since they are generally non-pictorial, and are primarily to illuminate the interior,
189:
of
Whitefriars. Another form of decorative quarry is the etched or engraved quarry, which is made of flashed glass, most often ruby red or royal blue over a transparent layer. It then has a design cut into it using either acid or a lathe, the character of the resultant design differing accordingly.
721:
A commercially produced product, often referred to as "stained glass" or "leadlight", is made of single sheets of glass with self-adhesive lead placed on both sides to replicate lead cames, and either a film or stain placed on the surface to replicate coloured glass. This product has wide domestic
569:
of the time, and also in school buildings. With the "bungalow" style of architecture becoming increasingly popular, sash windows were also often made with leadlighting, often incorporating sections of glass very much larger than in traditional diapered windows. This trend continued until World War
556:
style dominated the design, leading to the incorporation of many long curved sections of glass that were never previously a feature of leadlight windows. As in the 19th century, there was much application of leadlighting to the foyers and public spaces of public buildings. Many late 19th and early
317:
In the late 20th and early 21st centuries the previously accepted division between leadlight and stained glass has almost disappeared, with the terms "stained glass" and "leadlight" often being used interchangeably. This is because the techniques of construction of a pictorial stained glass window
194:
are often employed, sometimes in conjunction with panels of stained glass, particularly in Italy and
Eastern Europe. Lathe-cut quarries with a simple star-burst pattern are very common in the late 19th century domestic architecture of many regions, both in leadlighting and in simpler wooden-framed
444:
and fixed windows continued to employ leadlight, often with larger panes of rectangular rather than diamond shape. Large windows set in public buildings and churches of this period also employed rectangular panes of leadlight supported by armatures emphasizing the classical design of the windows.
314:
stained glass studios that produced church windows also produced leadlight for commercial and domestic buildings, so that the division became blurred, and the leadlights, particularly for public buildings, were occasionally very ornate as in the windows of
Central Railway Station, Sydney (below).
163:
Unlike stained glass windows which are traditionally pictorial or of elaborate design, traditional leadlight windows are generally non-pictorial, containing geometric designs and formalised plant motifs. Leadlight windows almost always employ the use of quarries, pieces of glass cut into regular
313:
most towns had a commercial shop producing domestic leadlight. These craftsmen did not refer to their product as "stained glass". The provision of decorative stained glass windows was a task requiring many more complex skills than the provision of domestic leadlight. However, some of the major
701:
The late 20th century has seen a popular revival of the craft, which is now widely taught in technical colleges and practised by many artists, both commercial and hobbyists. With a revival of the craft, both abstract design and formalised pictorial motifs have flourished, as has the use of
722:
application and may be mistaken for genuine stained glass or leadlight. Another method now available is the use of coloured resins that are floated onto the glass, with the different colours divided by a line of resin that emulates the lead came which is used in traditional pieces.
293:
The work of the leadlighter was essentially to provide windows that excluded the weather, but admitted light into buildings. Leadlight has been in use for over a thousand years, having its origins in the Roman and
Byzantine windows that were made of thin sheets of
205:
237:
225:
547:
Prior to World War I, in domestic architecture, the front entrance remained the focus for decorative leadlighting. It was also commonly used for stairwell windows, but was uncommon in other locations where large panes of glass were valued over small ones. The
484:
or Powell's cast quarries with impressed designs. Although frequently the windows have later been replaced with pictorial stained glass, many such windows remain, particularly in less visible locations such as organ lofts and ringing chambers. In Sydney, the
702:
irregularly textured and patterned glass. Many leadlight artists employ simple pictorial forms that can be achieved without recourse to painting and firing. Recent formalised motifs have included butterflies, yachts on the ocean and a wide range of flora.
672:
652:
519:
479:
At this time also a great number of new churches were constructed, particularly in
England, the United States, countries of the British Commonwealth, and Japan. Many of these churches were initially glazed with leadlight, often in pastel
495:
142:
windows and leadlights; the former is associated with the ornate coloured-glass windows of churches and similar buildings, while the latter is associated with the windows of vernacular architecture and defined by its simplicity.
705:
Whereas in the early 20th century the product of a small leadlighting studio generally reflected trends in modern architecture and was produced with great competence by professional craftsmen fully trained through
710:, modern leadighting is increasingly the province of amateurs. The resultant product often demonstrates a lack of formal design training on behalf of the craftsperson, and a lack of awareness of stylistic trends.
690:
Post-Modern leadlighting combining traditional diamond pane form with the squareness of an iron armature and the arch of a church window in a design of great precision and subtlety. Karlstad
Cathedral, Sweden.
560:
In domestic architecture, after World War I, the focus on the decoration of the front door became less common, and the front windows became the location of leadlighting. Many houses of the 1920s and 30s have
507:
617:
in 1901, which brought a profusion of designs based on
Australian flora and fauna to local leadlight production, a notable example being the windows of the booking hall of Sydney's Central Railway Station.
609:
all having much influence on leadlighting, both commercial and domestic. Many of the larger-scale works in leadlight of this period, particularly in public and commercial venues, are artistic masterpieces.
324:
277:
468:
designs which often included among the motifs lilies, tulips and sunflowers. In the late
Victorian period it was common for leadlight windows in wealthier homes to contain small rondels painted in
420:
During the 19th and early 20th century a great number of important medieval houses were restored and had their windows returned to an earlier style of glazing. The glazing of the western range of
253:
713:
The finer products of late 20th and 21st century leadlighting continue to display a mastery of the traditional technical skills, an awareness of design trends and original creative artistry.
565:
elements, including gables decorated with pseudo half-timbering and leadlight casement windows in diamond panes at the front of the house. This architectural style is commonly found in
174:(grey). Quarries painted in grisaille were employed both in the Medieval period and in the 19th century, the most famous ancient windows to have been decorated in this manner being in
531:
231:
This domestic leadlighting above the residential entrance of a 19th-century
Australian hotel shows a use of opaque glass which allows the name to be visible both by day and night.
185:
and imprinted with black and yellow stain. Used extensively during the 19th century in England and Commonwealth countries, these quarries are often the product of a single studio,
372:
457:
brought about a new popularity for diamond-pane windows, which were initially found in homes of the wealthy. Soon the fashion for leadlight windows spread, promoted by the
785:
in the world, because Subiaco's early residents were predominantly working class and as they moved into middle class prosperity they expressed their wealth through home
306:
material (rather than alabaster), lead "cames" of H-section were used to hold the glass in place, with the iron armatures being retained as support for larger windows.
944:
436:, leadlighting became much less common in the domestic setting, giving way to larger panes of glass set into wooden frames. Doors were often surmounted by decorative
424:, Derbyshire, is particularly effective as each pane is set at a different angle to those adjacent, creating jewel-like facets when seen from the exterior.
352:
340:
138:. The term 'leadlight' could be used to describe any window in which the glass is supported by lead, but traditionally, a distinction is made between
318:
and a domestic leadlight window are basically the same, and any glass that is coloured or carries a stain is generally referred to as stained glass.
678:
This abstract design in a hotel in Romania demonstrates the blurring of the definitions of leadlight and stained glass windows in the 20th century.
964:
G + B : Ted Gowers & Albert Brown : Western Australia stained glass artists : history of W.A. stained glass circa 1954 -2009
613:
The medium responded to local character, and local events. A typical example is the effect of the unification of the Australian states through
65:
247:
motif in brightly coloured opalescent glass set in transparent glass which is both textured and cut with bevelled edges to reflect the light.
877:
G + B : Ted Gowers & Albert Brown : Western Australia stained glass artists : history of W.A. stained glass circa 1954
440:
in which the panes of glass might be supported by lead, but wood was also commonly used as the support for the glass in fanlights.
164:
geometric shapes, sometimes square, rectangular or circular but most frequently diamond-shaped, creating a "diaper" pattern.
998:
971:
909:
884:
87:
58:
782:
168:
and leaded in with those of plain glass, in the form of armorial crests and occasionally small scenes painted in
283:
Fanlight to a kitchen, using a wide variety of types of glass. Jeffrey Hamilton, 2021. (by permission of artist)
646:, Sydney Central Station, NSW, Australia. Despite the complexity, the execution was classed as "leadlighting".
849:
837:
762:
486:
1033:
525:
A 19th-century leadlight church window set with small stained glass roundels with symbolic motifs. England
215:, combines traditional diamond panes with the pale translucent and textured quality of modern so-called "
1028:
513:
A leadlight window set with an heraldic shield (1840s) in the church of St. Paul and St. Louis, Paris
810:
774:
461:. Leadlight became a commonplace feature of houses, generally to be found in or around the front door.
501:
A leadlight window (18th-century-style) set with salvaged remnants of ancient stained glass. England
606:
48:
405:
In grander houses, the windows often contain small painted panes or stained glass panels containing
746:
465:
458:
264:
52:
44:
614:
1038:
309:
By the late Middle Ages the profession of domestic leadlighter was common across Europe. Until
69:
597:
The designs varied greatly in character and quality in this period, with the famous designers
741:
666:, Australia, shows a wide variety of textured glass with some streaky glass in muted colours.
598:
186:
299:
24:
8:
394:
199:
with or without a decorative function, the glass is usually of pale hue, or transparent.
925:
751:
994:
967:
905:
880:
778:
1023:
553:
639:
583:
537:
Mid-19th-century window of Powell's impressed and silver-stained quarries. Sydney
481:
441:
359:
216:
109:
806:
736:
731:
602:
454:
212:
191:
135:
945:"Sale of historic stained-glass windows to help Film and Television Institute"
302:
of wood or wrought iron. With the employment of small pieces of glass as the
178:; these have inspired many 19th century imitations painted with little birds.
1017:
635:
591:
587:
413:. Some European churches also retain diaper glass of this period, some, like
260:
139:
754:– this American architect was also a proponent and designer of stained glass
100:
829:
566:
433:
414:
410:
331:
310:
268:
175:
472:(grey) and depicting birds or fruit and flowers representing the seasons.
631:
572:
549:
421:
303:
148:
126:
are decorative windows made of small sections of glass supported in lead
105:
147:
the term 'stained glass' is often applied to any windows, sculptures or
707:
562:
1008:
786:
663:
469:
295:
170:
594:. From 1940 until about 1980 domestic leadlighting was less common.
853:
821:
817:
659:
578:
437:
406:
244:
20:
445:
Heraldic motifs in stained glass were often set into the windows.
643:
402:
or later buildings, and sometimes only on ground floor windows.
758:
852:
was one of the most prolific and Arthur Clarke was their head
794:
790:
464:
The style might be medievalising, formal classical motifs or
833:
825:
761:
of Stained glass and Leadlight windows for Barnett Bros of
131:
127:
582:, which both employed a great variety of glass, including
453:
By 1840 there was a growing fashion for the Medieval. The
966:. Bass Hill, New South Wales: Kenneth Wildy. p. 14.
879:. Bass Hill, New South Wales: Kenneth Wildy. p. 14.
378:
A design for a cafe window by Franz Wilhelm Seiwert, 1928
489:
retains an intact set of Powell's impressed quarries.
154:
393:
Many buildings exist that were glazed at this period,
904:. Perth, Western Australia: UWA Press. p. 116.
130:. The technique of creating windows using glass and
181:Quarries may be mould-cast into patterns such as
1015:
57:but its sources remain unclear because it lacks
820:- John Kennedy. Owned for 40 years by heritage
836:attributed to Arthur Clarke of Barnett Bros
800:
824:Polly Willis. Current owner Thomas Murrell.
487:Anglican Church of St. Philip's, Church Hill
330:Medieval diamond pane and armorial glass at
902:Identity prized : a history of Subiaco
427:
346:18th-century-style leadlighting, Brussels.
88:Learn how and when to remove this message
899:
781:contains one of the most well preserved
288:
99:
716:
243:Domestic leadlight (1920s) employs an
1016:
843:
769:
642:, with the state's floral emblem, the
388:
991:Stained Glass, an Illustrated History
961:
942:
874:
358:19th century domestic leadlight with
870:
868:
725:
696:
630:One of a series of large windows of
155:Description of traditional leadlight
29:
1009:the Building Conservation Directory
417:, with painted and fired quarries.
13:
983:
265:University of Pennsylvania Library
14:
1050:
943:Torre, Giovanni (21 March 2020).
865:
334:, England, seen from the exterior
683:
671:
651:
623:
530:
518:
506:
494:
371:
351:
339:
323:
276:
252:
236:
224:
204:
34:
542:
448:
955:
936:
918:
893:
789:such as leadlights, many with
476:required, but a view was not.
1:
859:
570:II, the style evolving from
259:A highly detailed design by
7:
962:Wildy, Ken Bernard (2016).
211:A leadlight church window,
10:
1055:
801:Significant Historic Homes
662:domestic casement window,
383:
18:
607:Charles Rennie Mackintosh
828:and Entry leadlights of
747:Charles Rennie MacIntosh
459:Arts and Crafts Movement
432:With the development of
428:Late 17th–18th centuries
43:This article includes a
19:Not to be confused with
875:Wildy, Kenneth (2016).
816:Built for Scottish Ice
805:An example is Fairview
72:more precise citations.
930:Fairview Historic Home
900:Spillman, Ken (1985).
151:using coloured glass.
112:
993:1995, Bracken Books,
926:"History of Fairview"
757:Arthur Clarke - Head
742:Louis Comfort Tiffany
599:Louis Comfort Tiffany
289:Origin and continuity
187:James Powell and Sons
104:Domestic interior by
103:
717:Artificial leadlight
134:came to be known as
108:showing a leadlight
1034:Church architecture
844:Significant Studios
770:Significant Suburbs
395:Little Moreton Hall
389:15th–17th centuries
190:Etched quarries of
1029:Glass architecture
752:Frank Lloyd Wright
113:
45:list of references
779:Western Australia
726:Important artists
697:Late 20th century
98:
97:
90:
1046:
978:
977:
959:
953:
952:
949:Guardian Express
940:
934:
933:
922:
916:
915:
897:
891:
890:
872:
848:Barnett Bros in
687:
675:
655:
627:
588:opalescent glass
534:
522:
510:
498:
442:Casement windows
407:heraldic emblems
375:
355:
343:
327:
280:
256:
240:
228:
208:
93:
86:
82:
79:
73:
68:this article by
59:inline citations
38:
37:
30:
1054:
1053:
1049:
1048:
1047:
1045:
1044:
1043:
1014:
1013:
986:
984:Further reading
981:
974:
960:
956:
941:
937:
924:
923:
919:
912:
898:
894:
887:
873:
866:
862:
846:
803:
772:
728:
719:
699:
692:
688:
679:
676:
667:
656:
647:
640:cathedral glass
628:
584:cathedral glass
545:
538:
535:
526:
523:
514:
511:
502:
499:
482:cathedral glass
466:Arts and Crafts
451:
430:
391:
386:
379:
376:
367:
360:cathedral glass
356:
347:
344:
335:
328:
291:
284:
281:
272:
257:
248:
241:
232:
229:
220:
217:cathedral glass
209:
157:
110:casement window
94:
83:
77:
74:
63:
49:related reading
39:
35:
28:
17:
16:Type of windows
12:
11:
5:
1052:
1042:
1041:
1036:
1031:
1026:
1012:
1011:
1003:Ben Sinclair,
1001:
985:
982:
980:
979:
972:
954:
935:
917:
910:
892:
885:
863:
861:
858:
845:
842:
802:
799:
771:
768:
767:
766:
755:
749:
744:
739:
737:Daniel Cottier
734:
732:William Morris
727:
724:
718:
715:
708:apprenticeship
698:
695:
694:
693:
689:
682:
680:
677:
670:
668:
657:
650:
648:
629:
622:
603:Alphonse Mucha
592:bevelled glass
544:
541:
540:
539:
536:
529:
527:
524:
517:
515:
512:
505:
503:
500:
493:
455:Gothic Revival
450:
447:
429:
426:
390:
387:
385:
382:
381:
380:
377:
370:
368:
357:
350:
348:
345:
338:
336:
329:
322:
290:
287:
286:
285:
282:
275:
273:
258:
251:
249:
242:
235:
233:
230:
223:
221:
213:Czech Republic
210:
203:
192:Venetian glass
156:
153:
136:came glasswork
124:leaded windows
96:
95:
53:external links
42:
40:
33:
15:
9:
6:
4:
3:
2:
1051:
1040:
1039:Stained glass
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1021:
1019:
1010:
1006:
1005:Plain Glazing
1002:
1000:
999:1-85891-157-5
996:
992:
989:Sarah Brown,
988:
987:
975:
973:9781684180813
969:
965:
958:
950:
946:
939:
931:
927:
921:
913:
911:9780855642402
907:
903:
896:
888:
886:9781684180813
882:
878:
871:
869:
864:
857:
855:
851:
841:
839:
835:
831:
827:
823:
819:
814:
812:
808:
807:Historic Home
798:
796:
792:
788:
784:
780:
776:
764:
760:
756:
753:
750:
748:
745:
743:
740:
738:
735:
733:
730:
729:
723:
714:
711:
709:
703:
686:
681:
674:
669:
665:
661:
654:
649:
645:
641:
637:
633:
626:
621:
620:
619:
616:
611:
608:
604:
600:
595:
593:
590:, as well as
589:
585:
581:
580:
575:
574:
568:
567:public houses
564:
558:
555:
551:
533:
528:
521:
516:
509:
504:
497:
492:
491:
490:
488:
483:
477:
473:
471:
467:
462:
460:
456:
446:
443:
439:
435:
425:
423:
418:
416:
412:
411:coats of arms
408:
403:
400:
396:
374:
369:
365:
361:
354:
349:
342:
337:
333:
326:
321:
320:
319:
315:
312:
307:
305:
301:
297:
279:
274:
270:
266:
262:
261:Frank Furness
255:
250:
246:
239:
234:
227:
222:
218:
214:
207:
202:
201:
200:
196:
193:
188:
184:
179:
177:
173:
172:
165:
161:
152:
150:
144:
141:
140:stained glass
137:
133:
129:
125:
121:
120:leaded lights
117:
111:
107:
102:
92:
89:
81:
78:February 2008
71:
67:
61:
60:
54:
50:
46:
41:
32:
31:
27:for lighting.
26:
22:
1004:
990:
963:
957:
948:
938:
929:
920:
901:
895:
876:
847:
830:Bearded Iris
815:
804:
773:
720:
712:
704:
700:
612:
596:
577:
571:
559:
554:Secessionist
546:
543:20th century
478:
474:
463:
452:
449:19th century
434:sash windows
431:
419:
415:York Minster
404:
398:
392:
363:
332:Ightham Mote
316:
311:World War II
308:
292:
269:Philadelphia
197:
183:fleur de lys
182:
180:
176:York Minster
169:
166:
162:
158:
149:works of art
145:
123:
119:
115:
114:
84:
75:
64:Please help
56:
783:collections
632:Art Nouveau
573:Art Nouveau
550:Art Nouveau
422:Haddon Hall
364:bull's eyes
304:translucent
267:(1888–90),
106:Jan Vermeer
70:introducing
1018:Categories
860:References
850:East Perth
838:East Perth
763:East Perth
634:design in
615:Federation
563:Mock Tudor
116:Leadlights
21:LED lights
787:adornment
664:Melbourne
470:grisaille
438:fanlights
300:armatures
296:alabaster
195:glazing.
171:grisaille
1007:, 2001,
854:designer
822:activist
818:Engineer
797:motifs.
660:Art Deco
579:Art Deco
263:for the
245:Art Deco
1024:Windows
811:Subiaco
775:Subiaco
644:waratah
636:Favrile
384:History
298:set in
66:improve
997:
970:
908:
883:
759:artist
399:diaper
834:Roses
795:Fauna
791:Flora
128:cames
51:, or
995:ISBN
968:ISBN
906:ISBN
881:ISBN
832:and
826:Hall
793:and
638:and
605:and
586:and
409:and
362:and
219:".
132:lead
25:LEDs
23:and
809:of
658:An
576:to
552:or
122:or
118:,
1020::
947:.
928:.
867:^
856:.
840:.
813:.
777:,
601:,
55:,
47:,
976:.
951:.
932:.
914:.
889:.
765:.
366:.
271:.
91:)
85:(
80:)
76:(
62:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
