Stained Glass Masters
The innovative artists of the American Stained Glass Movement focused on using glass to create new effects not seen in European painted windows. They essentially painted with glass, that is, they used features of the glass itself as well as new techniques to achieve pictorial details.
They created new vividly colored glass and new types of textured glass. They invented drapery, confetti, and ridged glass, among others. They were the first to use faceted glass nuggets and pressed glass jewels. But the most important development was opalescent glass, which became a trademark of the American Movement. Opalescent glass included multiple colors in the same piece, suggesting highlights and shadows, muting bright light, and creating complimentary tones to adjacent colors. It allowed the artist to render realistic subjects relying on the effects within the glass rather than painting on the glass. Both La Farge and Tiffany claimed to have invented opalescent glass windows.
The use of multiple layers of glass was another major technological innovation that deepened colors and allowed for the creation of shadows and other effects without painting. This technique is called plating. The layers created depth of field and the suggestion of three-dimensions. Layering also enhanced the effects of sunlight shining through glass. Much smaller pieces of glass were used in American windows than in European ones. American artists sometimes layered small pieces of glass behind larger pieces to depict clothing and other details.
The size and positioning of leading took on new importance in the work of the American artists. For centuries, leading had played a functional role in stained glass windows—connecting the pieces of glass. In American windows, leading had an additional purpose—it also provided lines within the design. The American artists also used leading of various sizes. They did not always use straight lines of lead as had been done in the past. La Farge developed a technique of back-plating leading to create the impression of shadows.
Traditional leading was difficult to use for complex patterns requiring many small glass pieces. For such projects, American artists developed the copper foil technique. They wrapped the edges of glass pieces with a thin copper foil before the pieces were laid out and soldered together. This type of leading flowed with the design and helped create more organic landscapes.
The new types of glass and new techniques meant American artists did not have to rely on painting on glass to create details. Therefore, they limited painting primarily to faces, hands, and feet. They were thus able to create windows with a new and stunning appearance like those you see in our Collection.
Stories from the Stained Glass Masters Gallery
Thy Faith Hath Made Thee Whole
Joseph Lauber, Tiffany Studios
Date unknown

Tiffany Studios

Tiffany Studios

Tiffany Studios
• Types of glass: 1. Opalescent 2. Striated 3. Nodular 4. Cathedral 5. Antique Cathedral
• Painting on faces, hands, and feet
• Multiple Layers
• 1921
Joseph Lauber worked for Tiffany from 1888 to 1892. However, according to documentation, he likely designed windows for Tiffany as late as 1898. Lauber was a muralist, etcher, sculptor, mosaic artist, and painter, as well as an art professor at Columbia University.
Like many artists and designers at Tiffany, Lauber contributed to the greatness of the firm while receiving little credit for his accomplishments. One of the goals of this exhibition is to showcase the work of great yet virtually unrecognized artists who were overshadowed by Tiffany’s fame, such as Mary Tillinghast, Frederick Wilson, and Edward P. Sperry, among others.
Special Features
• An unusual technique was used in the creation of the robes. Striated glass is plated over hundreds of slivers of different colored glass, diffusing and softening the colors while creating folds in the robes. There is no drapery glass in this window.
• Another unusual technique seen here is the layering of cathedral or one color glass over opalescent glass rather than opalescent glass over opalescent glass.
• The above factors contribute to the magnificence and uniqueness of this window.
Biblical Story of the Window
The biblical story of a woman who is healed of a long illness by touching the robe of Jesus is vividly depicted in this window. She believed that by touching the hem of his robe she would be cured. Jesus said to her, “Daughter, your faith has made you well; go in peace, and be healed of your disease.” (Mark 5:34) His white robe signifies his divinity and purity, while her darker clothes reflect her suffering prior to being healed.
St. John the Evangelist
Mary Tillinghast
1907

Mary Tillinghast

Mary Tillinghast

Mary Tillinghast

Mary Tillinghast
• Types of glass: 1. Opalescent 2. Striated 3. Nodular 4. Mottled 5. Herringbone 6. Granite
• Painting only on flesh
• Up to 3 Layers
This is one of the largest and most stunning windows in the collection. The vivid colors are typical of the work of Mary Tillinghast. The complex design includes geometric shapes, stylized flowers, crowns, landscapes, and figures. The window was originally installed at Trinity Methodist Church in Auburn, New York. St John is in the center panel. In the panel to his left, an angel is supporting a cross. In the panel to his right, an angel is holding a bouquet of lilies. The bottom three panels include memorial inscriptions and biblical quotations.
The image of St. John is based on a lunette with St. John and the Eagle (c. 1520) by Correggio in the Church of St. John the Evangelist in Parma Italy. That painting has been translated into stained glass several times. John La Farge used the image in creating his The New Jerusalem window at Trinity Church in Boston, which was done when Tillinghast was working with him.
Special Features
• Tillinghast carefully placed individual pieces of glass to create the details in this window. Her selection of glass makes the window look like a painting.
• The glass is often plated on the back using striated glass on the front. The water sparkles because of the nodular glass plated on the back.
• The Mary Tillinghast fecit 1907 signature is unusual in that it was painted or enameled. Her inscriptions and signatures are usually in a mosaic style using pieces of glass, as in the Maiden and Scholar windows in the East Gallery.
Biblical Story of the Window
St. John the Evangelist wrote the Book of Revelation, one Gospel, and three epistles. He is often called the Theologian because of the profundity of his Gospel, which starts with the famous prologue: In the beginning was the Word and the Word was with God and the Word was God. The Book of Revelation is the only prophetic book in the New Testament. These writings reveal details about the last days or end times often in visions, culminating in the Second Coming of Christ. The lush landscape in this window is indicative of the Greek island of Patmos, which is where St. John received the Book of Revelation while in exile. The Book is symbolized in the image of New Jerusalem in the center panel. The strong, graceful eagle in the center panel represents St. John and the theological heights to which he soars in his Gospel.
Three Reproductions of La Farge's Sealing of the Twelve Tribes Window
Gilbertson's Stained Glass
2015-2016

Gilberston's Stained Glass Design by John La Farge

Gilberston's Stained Glass Design by John La Farge
• Types of glass: 1. Opalescent 2. Milk 3. Wispy 4. Marbleized
• Painting only on faces, limbs and hands
• One Layer, Two Layers, Three Layers
• Contemporary
American stained glass artists developed new types of glass that were tremendously varied and rich in textures and colors. While searching for the most effective way to use these new creations, American artists began layering glass in their windows. This technique is called plating.
This trio of windows was created to show the varying visual effects of one, two, and three layers of glass. The shapes of the glass pieces are the same; it is the additional layers that change the appearance.
The lower left window has a single layer of glass. It is more translucent than the other windows. The colors are not as vibrant. The faces and hands are more rudimentary, and they are in colors that are not realistic. Overall, the window is very flat and lacks depth.
The lower right window has up to two layers of glass with the additional layers added to the back of the window. In general, plating deepens and strengthens the colors of glass. In this window, the faces are plated with milk glass painted in a flesh tone, which gives the skin a deeper color. The more realistic sky has an uneven blue color, which was produced by plating with blue wispy and marbleized glass. The grey and white sections of the woman’s gown deepened in color because of the adjacent brown section being plated with pink and blue glass.
The top window includes up to three layers of glass with the additional layers added to the front of the window. Notice how they add depth of field and three-dimensional effects to the composition. They also enhance the effects of light shining through the glass. Plating has made the lower portion of the gowns appear softer and three-dimensional. The man’s arm also now appears three-dimensional. The faces and hands received a light clear layer with texture that created a deeper tone close to real flesh color. And the sky is now the deeper color of a real sky. The section of missing glass in the bottom right corner reveals the three layers.