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Stained glass windows are mostly found in churches and cathedrals although some have found its way to public buildings, academic institutions and even to private homes. A few, however, are found in Jewish synagogues and Moslem mosques. Stained glass windows are favoured by ecclesiastical and religious institutions probably because of the calming and hallowed effect it gives out from the controlled colourful light and reflections filtering into the inside of the building, instead of the glary, somewhat offensive effect of bright light coming through clear glass windows. Stained glass artwork has reached that soul-lifting level of aesthetic effect through centuries-old techniques, continually enhanced and transformed with new innovations that are characteristic of both science and art. The processes involved in the “staining” or colouring of glass are complex unlike the crudely hand painted glass windows of modern shops that chip or fade after some time. Materials used in making stained glass windows have undergone various steps and age-old techniques, sometimes combined with modern technology innovations, to attain the desired effects of artists and designers commissioned by wealthy patron and large institutions to do the extraordinary and meticulous work. The process of making stained glass windows involves the following steps: • Creating the design draft on paper. • Making a template copy as basis for cutting the glass parts, incorporating adjustments for the lead cames or copper foil that join the parts together. • Transferring the design templates to glass, done through any of the following methods: o Gluing the cut paper onto the glass before cutting it. o Pressing the cut paper onto the glass and tracing its outline or shape with a marking tool. o Placing the sheet glass over the pattern illuminated from beneath through a “light box” and marking the outline on it. o Directly cutting the glass sheet following the edges of the pattern. • Cutting the glass is done by etching or scoring the “pattern” line with cutting oil-lubricated steel or carbide wheel glass cutter and breaking it with breaker-grozier pliers, running pliers or traditional glass cutter with built-in grozier. Complicated shapes me be “broken” by tapping from the other side with the ball end of the glass cutter sending vibrations that break the glass at its weakest point, the scored line. • Grinding the cut glass with a diamond-coated grinding wheel or a carborundum stone to smoothen inaccuracies and sharp edges. • Smoothening and “stretching” the lead came for maximum lateral tensile strength (which is refuted by some artisans as it may weaken the material). • The painstaking assembly of the lead and glass starting from one corner and building gradually away from it, tucking the lead came end under the ears of the other lead came it meets and joins. • Soldering the lead joints with lead or tin solder, fluxing where necessary. Applying linseed oil and calcium carbonate as waterproofing putty is the last step and the stained glass window or leadlight is ready for installation.
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