Stained Glass Windows
Window-staining is the oldest most ingenuous of art forms; it is not considered an isolated discipline but rather a complementary one which, when married to painting, manuscript, upholstery and printing, has contributed to its development and beauty and has been influenced by it. Furthermore, the special relation existing between glass and light, places stained-glass windows in a unique spot in the world of art; surely, stained glass loses its charm without light, but, in the presence of it, it transforms greatly, it lights up and influences the whole environment; it provides a visual and emotional well-being. It is a special art, a live art.
The techniques of glass staining consist of mixing silica sand (glass) and metal oxides that give glass different colour variation; the mass is heated, then melted at specifically set temperatures; this assures the many different tones and shadings. Professor Guido Nincheri had created 400 colour variations in his Montreal Studio.
The glass, opaque not transparent, would later be reheated if gray paint was to be applied. In preparing to make the windows, Guido Nincheri undertook firstly to study the church's architecture; the premises, the shape, the size and the biblical times. He then proceeded to make a miniature model.
Once the above criteria is satisfied the glass pieces are cut, arranged and held together by specifically fitted led sticks whose endings are beaten with a wooden utensil. The glass panel is then mounted on a steel frame and once installed, will be fitted externally with a second glass panel as a means of protection from pollution, bad weather or vandalism.