These amazing gates at Millbrook Manor in Jersey were made by a collaboration of Artists.

 There are two iron gates each with two cast glass heads back to back. The heads are held in place with a copper band.

 The four heads are made of two slightly different designs and were cast with bullseye billets.

The glass was cast by Julie Bolton at Jersey Glass Art studio.

There are up lighters that highlight the gates and illuminate the glass at night time.


 The initial design was by Neil Mackenzie

The metals were forged by members of Rylance Limited

 The team of metalworkers and blacksmiths were : Nathan Twomey, Kate Webber and Fil Guy.

The gilding was done by Catriona Ellery.


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Most of St Matthew’s Church (the Glass Church as it is known locally) at Millbrook in Jersey is decorated in art deco style Lalique glass dating back to 1934.

The picture below is of one of the lamps inside the front door of the ‘Glass Church‘ designed and made by Rene Lalique.

Glass Art lamp

It is said to be the only church that French master glass artist Rene Lalique designed for.

Below is a picture of the windows that are all around the Glass Church.

Rene Lalique

The glass art work for the church was commissioned and paid for by Lady Trent who lived in Jersey across the road from the glass church.

Here is a picture of the front doors taken from the inside of the Glass Church

Rene Lalique

The Glass Church was was done in memory of her husband, Jesse Boot, who was the founder of Boots the Chemist.

This is the magnificent alter cross in the Glass Church.

Rene lalique

Renee Lalique is recognised as one of the world’s greatest glass art makers and jewellery designers

of the art Nouveau and art Deco periods.

This is a picture of the glass font in the Glass Church, it is signed by Rene Lalique on the base.

Rene lalique

These are the interior walls of the Glass Church which separate areas of the church.

Rene lalique

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Sticky: Fused glass ‘Techniques’


Most contemporary fusing methods involve stacking, or layering thin sheets of glass, often using different colors to create patterns or simple images. The stack is then placed inside the kiln (which is almost always electric, but can be heated by gas or wood) and then heated through a series of ramps (rapid heating cycles) and soaks (holding the temperature at a specific point) until the separate pieces begin to bond together. The longer the kiln is held at the maximum temperature the more thoroughly the stack will fuse, eventually softening and rounding the edges of the original shape. Once the desired effect has been achieved at the maximum desired temperature, the kiln temperature will be brought down quickly through the temperature range of 815 °C (1,499 °F) to 573 °C (1,063 °F) in order to avoid devitrification. It is then allowed to cool slowly over a specified time, soaking at specified temperature ranges which are essential to the annealing process. This prevents uneven cooling and breakage and produces a strong finished product.

This cooling takes place normally for a period of 10–12 hours in 3 stages.

The first stage- the rapid cool period is meant to place the glass into the upper end of the annealing range 516 °C (961 °F). The second stage- the anneal soak at 516 °C (961 °F) is meant to equalize the temperature at the core and the surface of the glass at 516 °C (961 °F) relieving the stress between those areas. The last stage, once all areas have had time to reach a consistent temperature, is the final journey to room temperature. The kiln is slowly brought down over the course of 2 hours to 371 °C (700 °F), soaked for 2 hours at 371 °C (700 °F), down again to 260 °C (500 °F) which ends the firing schedule. The glass will remain in the unopened kiln until the pyrometer reads room temperature.

Note that these temperatures are not hard and fast rules. Depending on the kiln, the size of the project, the number of layers, the desired finished look, and even the brand of glass, ramp and soak temperatures and times may vary.

Julie Bolton

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