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Stained Glass pictures


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The first pictures are of abstracts or experiments. This front door panel was designed to go with the light and airy feel of the house, which is on the waterside. The previous side panel was commercially patterned pale yellow glass, as were the lights in the door itself.


The autonomous panel ‘Program Abstract I’ is inspired by a computer program in the programming language Pascal (though that detail is not important). Computer programmers will not need it to be explained; the indentation is part of computer program design, and the red oval is the start point. Keywords and free text are subtly different greens.


This window ‘Mysterious Road’ was an experiment in absolutely minimal use of colour. All the white is clear antique glass; two very similar reds are used elsewhere but one is smooth transparent and the other is translucent. This does not show up so well in photos but you can just see it. It was inspired by a cut-work embroidery.


The second set are a selection of four from twelve windows I made for Holy Spirit Church in Duke Street, Hobart, Tasmania. The windows are in three series: God’s promises to Man (no samples here), Creation and Fall (pictured are ‘Creation of Light, Night and Day’ and ‘Separation of Land from Waters’), and the Four Last Things (pictured are ‘Heaven’ and ‘Hell’ taken before they were installed in the church). ‘Creation of Light, Night and Day’ shows all the planets known to ancient peoples, and God igniting a swollen Sun, as well as a terminator on Earth. The ribbed clear background glass representing incessant rain does not show up in the picture of ‘Separation of Land from Waters’, but you can see the clouds, the lightning, the volcano and the heaving sea.  ‘Hell’ borrows some themes from three different pictures of Hieronymous Bosch and contains a bagpipe monster (because I dislike the sound of that musical instrument). ‘Heaven’ is an abstract in spritual blues.



The ‘Palm Door’ is the door to my studio under the main part of the house, and I put it in for contrast. The palm tree rises from a coral island, since the studio also stores my scuba diving gear. The blank pane second from the bottom is designed as a cat ‘door’.


I did this set of five lights in the bay window of a large bedroom in a 1915 Federation-style heritage-listed house, about 20 years ago. The branches, leaves, flowers and gumnuts are Eucalyptus globulus (Blue Gum), the Tasmanian floral emblem. There were orange-coloured glue-chipped glass panes before which gave everything in the bedroom an eerie orange cast.


Finally, this is my most recent window, made in fused glass. It is set in five louvres in a narrow light alongside the pool toilet door. The result is much lighter than leadlight, and the use of clear join lines instead of black lead lines will be obvious.  I learnt several lessons from this experiment and I would make changes even in this simple window were I to remake it. The first picture is of the panes before installation, and second is from inside the toilet. The photo is much darker than the reality.

© Copyright 2000 Arthur Sale

Last revised 2000 April 17