Occasionally in Toronto, one can find an original Queen Anne Style window in a Bay and Gable, or other Victorian, styled home. Apparently, improved glass making in the 1880s meant that designers could build larger windows with fewer small mullioned panes, however, mullions were still appreciated for their aesthetics.
Queen Anne window style, the result of improved glass making, was a completely new style of window that did not exist in previous historic styles.
At this time, public preferences and architect recommendation called for widows with divided, or “fancy top” upper windows and single full lower windows that would allow for unobstructed view while still maintaining the look of a divided window in the top pane. In different windows the divided lights march around the casement, allowing for a larger central window. The look of multiple mullions of varying coloured antique or muffle glass can be very spectacular when sun shines from behind. Due to the era, these windows were largely installed in Queen Anne houses, from which they are named, but are also called “cottage” windows. This window style, the result of emerging technology, was a completely new style of window that did not exist in previous historic styles.
One will need to find a good carpenter when trying to replace a Queen Anne window given the intricate mullion that comprises the panes. Luckily southern Ontario has many good carpenter that specialize in keeping alive the large Victorian housing stock in the province. Hoffmeyer Mills in Sebringville specializes in period millwork and made a perfect sash to custom specs.
Glazing stained glass lights on a Queen Anne window requires a bit of knowledge of period glass used in 1880s windows. A local stain glass supplier was very helpful in locating the perfect classic Victorian cobalt, red and amber glass that was so often matched together in Queen Anne windows of the period. While the cobalt blue, red and amber was a popular combination, Queen Anne windows were glazed using multiple coloured and textured glass that was produced at the time.
Reproduction “Antique Glass” can be purchases in varying qualities from mouth blown to machine rolled. In both cases, a glass that is dynamic and brilliant in light is produced. The high quality mouth blown glass is exceptionally brilliant given the random striations and swirls produced as the glass maker spins the glass to fabricate the panes. In many instances, other rolled textured glass, such as muffle glass, were used in these windows.
Individual panes can be either be secured with glazing points and putty or set in a small bead of putty and secured with small wooden stops. I would recommend using the wood stops since glazing points may be hard to secure given the small pane sizes and the increased chance of breaking a pane given that reproduction antique glass is more brittle.
The final window was installed using four inch reproduction Victorian hinges and window hardware. A minor amount of wood planing was needed to get a snug fit in the window jam. Given that it was installed in a humid bathroom, it will eventually get a good coat of oil based paint.
Thanks for this post – enjoyed the history lesson! Windows look great!
nice information about the stained glass
Thanks! I enjoyed your blog.
B&G
Nice window. I have a 36 lite multicolored sash I have searched for years to identify and try to date with no luck at all. I can NOT even see a photo of a 36 over window ANYWHERE. Was removed from a sky lite in a 1850ish home in Greenpoint section of Brooklyn New York. Any way at all to identify its origin and creator or at least it’s true date?
36 lights! Wow, that is pretty unusual, but I have seen some Victorian era skylights tended be multi-light, probably to reduce the likely-hood of glass failure and injury. For dating, I would go with the period of the home which you know. As for maker, that would be very difficult. For instance, in Toronto in the late 1880s there were upwards of 35 different stained-glass studios practicing and supplying glass to builders with each studio varying somewhat in style, quality and ornateness. Nonetheless, many produced hand enamel painted and silver stained birds as centre medallion and everywhere in the old Toronto neighborhood these great examples of early glass can be found. Given the number of artisans and studios, and I suspect it would be the same for Brooklyn, it would be very difficult to trace a window to a specific artisan unless there were feature of exceptional quality that could mark a well known maker.
Queen Anne’s window style is very elegant! Thanks for posting this, it’s an informative article.