One of the most beautiful pieces of stained glass we’ve seen in Mexico is the butterfly ceiling at the Xcaret Resort outside Playa del Carmen. The craftsmanship in both the design and installation of this stained glass ceiling is extraordinary. We applaud it’s creators!

While we at Scottish haven’t done a stained glass ceiling of that size, we did a complete restoration of the stained glass ceiling at the Boulderado Hotel in Boulder, Colorado.

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Established in 1889 and expanded substantially over the next 5 decades, the majority of University of Idaho buildings were built with beautiful hand crafted stained glass windows. These particular examples were directly inspired by the Tiffany Stained Glass that was so popular in the beginning of the 20th century. Specifically notice the rich greens, blues, and opaque white stained glass. These colors as well as the ways the design and complimentary elements are signatures of the Tiffany style.

While we were unable to trace the origins of these particular windows, it’s very likely they were imported from New York City as a great majority of the stained glass throughout the United States was in the early 20th century.

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Chagall’s windows are perhaps the most famous stained glass windows to a younger generation of Americans. Designed as a gift for Chicago mayor Richard Daly and displayed at the Art Institute of Chicago, Chagall’s window have always served as a state side inspiration for some of the beautiful painted stained glass windows that Scottish Stained Glass has produced. The vibrant colors and great placement allow the light to sparkle with a special vibrancy.

While I haven’t gotten to see the stained glass since the restoration and redisplay mentioned in this article the one time I did see them, I remember thinking about how beautiful the combination of the paint and glass really were.

Below is an excerpt from the article in tablet. To read the full article click here..

“Back in 1977, when the windows were installed, the self-celebration was America’s, the work had been planned for the 1976 Bicentennial and conceived as a special gift to Chicago’s Mayor Richard Daley, a man better known for encouraging his law enforcement officers to test their billy-clubs out on Yippies than for his adoration of the vitreous harmonics of stained glass. Daley died in May 1976 before he could see the windows in situ.

In June 1986, the windows got a big lift when Ferris Bueller and his inamorata, Sloane, stood in awe before them during a time-out on his energetic day off. The viewing area briefly became a hot dating spot for young Chicagoans. Five years ago the museum, about to begin the construction of a new gallery, dismantled the windows for cleaning and restoration, and late last year, amid much hoopla, they were put back on display, all bright and sparkly.

The major difference in the new installation is that the windows are no longer functioning windows in walls but free standing in front of actual windows. Stephanie D’Alessandro, a curator at the Institute, explained that now “the entire installation is lit with a special internal lighting system … to protect it from the elements and further wear and tear.” In terms of preservation, this is clearly good news; the extraordinarily vibrant blues, yellows, and reds will not fade or accumulate residue of any kind. On the other hand, much as I loved seeing the windows in their new setting, some subtle shift in ambiance accrues when they are presented, albeit for good reasons, more like paintings. This is not to say that the soaped up, washed off, and newly nitid panels aren’t stunning.”