Architectural stained glass, since 1988
Light, cut by hand.
Every window is cut, painted and leaded in the same workshop that restored its neighbours a century ago.
The craft
Every window starts as a drawing, not a piece of glass.
The cartoon — the full-size working drawing — decides every lead line before a single piece is cut. Scroll to watch a rose window assemble the way ours actually do, cell by cell.
Cartoon
A full-size working drawing fixes every lead line and every piece of glass before any cutting starts.
Cutting
Each piece is scored and broken to the cartoon by hand, matched by hue and texture from sheets we choose one at a time.
Painting & firing
Faces, drapery and silver stain are painted on and fired in the kiln, fusing the pigment into the glass itself.
Leading & glazing
Every piece is set in H-profile lead came, soldered at each joint, then cemented and installed on site.
The gallery
9 commissions, installed by hand.
Every entry carries the real dimensions, piece count, and technique — the same detail we give a client walking the workshop floor.
Chapel of the Deposition
St. Æthelburh's Chapel, Norfolk
2019
The Ascending Vine
Private residence, Edinburgh
2022
Fractured Meridian
University library atrium, Leeds
2021
Saint Fiacre’s Garden
Parish church, Somerset
2017
Morning Room Triptych
Private residence, Bath
2023
The Long Nave
Cathedral clerestory, Lincoln
2024
Cascade
Corporate lobby, Manchester
2020
Wisteria Stair
Private residence, Bristol
2018
Requiem for the Elm
Memorial garden pavilion, Kent
2022The atelier
One bench, three generations of tools.
We still cut on the same iron-topped benches the workshop bought secondhand in 1988 — replaced only when a top finally wears through.
Every commission that leaves the workshop has passed across the same three benches — cutting, painting, and leading — regardless of whether it's a two-piece repair or a six-light cathedral restoration. We turned down a franchise proposal in our ninth year because it would have meant a second workshop we couldn't stand in ourselves, and we still think that was the right call.
Client notes
From the people who commissioned them.
“Cascade had to satisfy a structural engineer and an art committee at the same time. Verre was the only atelier we asked who didn’t flinch at that.”
Facilities director, Manchester“Wisteria Stair is the first thing every guest asks about, five years on. Money well spent.”
Private client, Bristol“The Long Nave took two winters and I watched every piece go up from a scaffold platform. It was worth every delay.”
Cathedral fabric committee, Lincoln