Aaron Holland Fine Art

These sketches are taken from the artist's sketchbook. They show the original conception of the Last Supper windows.

The sketch above shows a table with Jesus at the head of the table, and Judas at the opposite end. The arrows indicate the direction of the apostles gaze to direct the composition and movement of the scene.

The scene below shows the scene as it will appear in four seperate windows.

The main difficulty in this series of windows proved to be the windows themselves.

The four windows are on a wall about forty feet across with almost ten feet between each window. The windows must also be readable to both sides of the wall, as it is an interior space that divides the fireside room from the sanctuary.

Strong horizontal lines across each window helped to tie the windows together, as did the figures line of vision, and in some cases a pointing hand or two. other repetetive elements worked to unify and give an impression of the scene happening in one space. It may be suggestive of the viewer looking through the windows of an upper room .

The pictures above are taken from the artist's sketchbook. They start to show a clearer vision of the finished windows. At this stage each character starts to take on a personna of the apostles, and it is hoped that (though not actual) they might in some way represent that disciple and the character traits he is most known for.

The overall theme of the window is reinforced: The Last Supper of Christ, on the night he was betrayed, at the moment of his blessing the body and the blood.

Life size drawing of St. Andrew. Preparatory study for window #2. My teacher at the time, Brian Lewis, was kind enough to sit in character for this portrait. In fact, all of the models were acquaintances.

Lead lines are not only structurally very important, but because of their prominence in the window they are to be considered carefully. Every single line that exists in this window is intentional, and useless lines are removed early on.

I was intrigued to learn from an old Glass-Master that to figure an approximate time frame it took to create a window, you take the number of pieces of glass and multiply that by five minutes. There are of course other factors involved, but that is a rough idea, and will give you an idea of how every piece of stained glass has it's place.

From left to right: I: Jesus, John, Peter II. (top)Thomas, James, John III. (top)Thaddaeus, Matthew, Phillip, Bartholomew IV. Simon(also known as the Zealot), James the less, Judas

Small shields are painted on the lapel of each of the apostles for anyone interested in learning more about them. As you may note, the symbols assigned to each disciple suggests their manner of martyrdom.

*Symbols taken from Ferguson's book of Christian Symbolism

The windows were fabricated at The Gaytee Stained Glass Studio in Minneapolis, MN. ,where Aaron was also employed part-time. Aaron was attending the Bougie Studio as a full-time student, but was also overseeing and creating the window series. His position at Gaytee allowed him first hand experience in all areas of stained-glass under the guidance of experts.

The text in the top of the windows is as follows:Window I - Luke 22:17(KJV); Window II- Luke 22:18; Window III- Luke 22:19; IV- Luke 22:20. ( Lettering by: Mike Zimmerman)

At this point, between the final drawing and the finished window, the backgound was changed. It needed something to soften it and make it more inviting, and so a view that suggests the upper room looking out over Jerusalem was decided upon. The leaves and ivy are suggestive of the 'Living Word'.

Because this series of windows sits inside the church(interior windows) there was the problem of low lighting, and being readable from both side of the window. The text however, by necessity, was made readable only from the sanctuary side.

The windows sit between the fireside room and the sanctuary, and four skylights twenty feet up illuminate the windows.

Due to the mentioned concerns, the style adopted for the interior Last Supper windows was something similar to the German Munich Style. this style used valuable hand-blown glass known as tints. These tints are very beautiful as well as delicate in coloring with styrations and variation in color and thickness throughout. It would be similar to a watercolor painting in that the colors are large flat planes of color, and the form is rendered in a sort of line and wash technique.

The special paint used in stained-glass is known as Vitreaos paint, that means it has tiny bits of glass in the paint that melt when heated and fuse to the glass surface. The paint starts in powder form and many different mediums can be used to thin it to a workable consistency- water, spirits, clove oil to name a few. Each of these binders has different qualities that lend uniquely to the finished product.

After the paint is applied they are fired in a kiln and the glass becomes permanent painted or "stained".

The Last Supper windows were installed (just) in time for the Easter Sunday dedication service. Aaron drove them down from Minneapolis the day before, and this news clip shows Aaron and Clyde installing them at the church. To read more about St. Peter's church click here!