Walking SubiacoLeadlight

A self-guided walk of approximately 4 kilometres – allow 2 hours Please respect the privacy of residents whose homes you pass on this walk.

Leadlight

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The Subiaco StoryThe City of Subiaco is part of the Swan River and Swan Coastal Plains area that has been the home ground of the Nyungah people since the beginning of time. The wetland systems were created by the movements of the Rainbow Serpent through Nyungah spiritual dreaming and are of religious significance to the Nyungah people of this area, as are other places of worship to non-Aboriginal people. Nyungah people of the Swan River and Swan Coastal Plains are the traditional land owners, keepers of knowledge, custodians and carers of the land and waterways.

The first European residents were a group of Benedictine monks who came from Subiaco, Italy, in 1846 and built a monastery in the area. They were followed by other settlers whose makeshift dwellings clustered around water sources such as the wells made by John Rowland Jones and the Whittaker Brothers. In 1886 the Jones family built the first European style house in Subiaco on Mueller Road, now called Roberts Road, near the Perth – Fremantle railway line. The railway opened in 1881 encouraging settlement. Retail and industrial development rapidly occurred, due to land being much cheaper in Subiaco than in Perth.

Subiaco’s population increased phenomenally in the 1890s due to a depression in the eastern states and the gold rush in Kalgoorlie. Rokeby Road, named after Lord Rokeby of Armagh, rapidly became Subiaco’s focal point, and remains so.

Subiaco was proclaimed a municipality in 1897 and became the City of Subiaco in 1952. Throughout the city which includes the suburbs of Jolimont, Daglish, Shenton Park, Subiaco, Crawley, Shenton Park, Hollywood and Nedlands, care has been taken in the design and preservation of parks, gardens, houses and public buildings, resulting in varied and attractive precincts.

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Welcome to Walking Subiaco – Leadlight

The walk begins and ends at Subiaco Museum. The walk covers a sample of Subiaco leadlights, for more information visit www.subiaco.wa.gov.au

The City of Subiaco boasts wonderful streetscapes, tree lined verges and a built environment that reflects each passing era since the late 1800s. The large collection of leadlight windows and doors, which are visible from Subiaco’s streets, reflects the changing times.

Subiaco’s early development was generally based on simple construction, favouring leadlight window and door panels as a way of beautifying and softening the features of these houses.

From the early days, settlers had strong allegiances to Britain; however, by federation in 1901 people were assuming an Australian identity, highlighted by the evolving style and content of leadlight windows and doors.

The leadlight windows and doors on show in many of Subiaco’s homes add to their individuality and collectively enhance Subiaco’s identity.

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Leadlight and stained glass

The decorative panels of coloured, clear and painted glass known as leadlight or stained glass are crafted by supporting small sections of glass together in strips of H- shaped lead cames.

Stained glass windows were traditionally associated with ornate church and institutional architecture. They were created by painting pigmented mixtures onto glass, which was then fired in a kiln to fuse the decoration to the base layer.

Leadlights used ready-coloured pieces of glass known as metal, with the colours in the glass made by adding metallic oxides to crucibles of melted glass. For example, copper created a green colour, iron produced red and cobalt made the glass blue.

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History of glass windows

Glass has been used in various forms for at least three thousand years. The Romans were the first to use glass for windows and, many years later, the French perfected techniques for stained glass windows.

Stained glass was used during the Middle Ages to beautify churches and illustrate biblical stories for a largely illiterate population. Sadly, in the sixteenth century, the Protestant preference for austerity resulted in the destruction of many stained glass windows.

William Morris revived medieval stained glass expertise in the 1860s and, in partnership with artists Edward Burne-Jones and Dante Gabriel Rossetti, popularised the use of stained glass in institutional and domestic buildings into the twentieth century.

Domestic leadlight windows and doors were not usually signed or marked by the artist, making it difficult to trace the craftsman or the manufacturer.

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Making leadlight

To make a leadlight panel, the artist first draws a design that is suitable for glass. The next step is to create a cartoon – a working or scaled drawing of the design, which becomes the plan for the entire window. The glass is then cut into appropriate shapes according to the cartoon.

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Leadlight fashions

The arts and crafts movement respected and revived the skills of craftsmen, made it accessible to working people, and popularised forms inspired by nature. Its influence in Australian domestic architecture and leadlight is seen in federation homes (1890–1914), and in those derived from the Californian bungalow (1915–1940) and interwar old English styles (1915–1940).

The flowing curves of the art nouveau style (1890–1914), developed from the arts and crafts movement, were influential in the decorative arts in Australia. The popularity of this style was enhanced by the work of American painter and glassmaker Louis Tiffany (1848–1933), who had a keen interest in natural forms and produced art works depicting plants, flowers, leaves and animals in stained glass. Art nouveau themes are common in leadlights of federation and Californian bungalow style homes across Australia.

The appearance of Australia’s flora and fauna in Australian decorative arts from the 1880s reflected an emerging national identity. The European birds and plants found in some early leadlights were less common in the late Victorian and Edwardian periods, as Australiana grew in popularity.

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Clear glass leadlights

Leadlights in homes constructed by the Workers Homes Board in Daglish and Shenton Park from 1929 and during the 1930s are of clear glass. Some of them are influenced by the art deco style, with its streamlined forms and straight lines. Cut glass inserts are also seen, and are easily distinguished from the coloured leadlights found in older areas of the city.

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Subiaco’s heritage – stained glass windows

The leadlight windows and doors within Subiaco houses provide a reminder of the city’s cultural heritage, how tastes and fashions change with time, and the influence European homelands once had, and the rise of Australian identity.

Reminiscent of an open air art gallery, Subiaco allows passers-by to get a glimpse of the past and an insight into the generations who built this great city.

Leadlight appreciation

Save the Children established the Festival of Leadlights in 1989. The biennial event was organised by Subiaco resident Mrs Keren McCullagh, and featured walking tours of illuminated leadlights around Subiaco. The event planning became too cumbersome hence the final festival was in 2006.

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Glossary

Edwardian: pertaining to the reign of King Edward VII in England from 1901–10.

Firing: the process of heating painted glass in a kiln to fuse the paint with the glass.

Kiln: a specialised oven designed to reach high temperatures for processing pottery, glassware and enamel.

Lead cames: strips of lead with channels along the length in an H shape to support glass.

Leading: the process of using lead cames to assemble and hold together glass pieces in a window or panel.

Metal: Coloured glass made by adding metallic oxides to crucibles of melted glass.

Vernacular architecture: relates to popular tastes and methods of construction using locally available resources and traditions of an area.

Victorian: pertaining to the reign of Queen Victoria in Great Britain and Ireland from 1837–1901.

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References

Danaher, Paul and Dexter Jackson (1987), Australian Leadlighting. Ringwood: Penguin Books Australia Ltd.

Davey, Peter (1980), Architecture of the Arts And Crafts Movement. London: The Architectural Press Ltd.

Duthie, Arthur (1982), Decorative Glass Processes. New York: The Corning Museum of Glass, Corning in association with Dover Publications, Inc.

Milne, Howard (1979), Seeds of Subiaco. Subiaco: A.G. O’Keefe & Son.

Osborne, June (1981), Stained Glass in England. London: Fredrick Muller Limited.

Padovan, Richard (1999), Proportion. London: Routledge.

Snodin, Michael, and John Styles (2001), Design and the Decorative Arts Britain 1500 -1900. London: V&A Publications.

Spillman, Ken (1985), Identity prized: a history of Subiaco. Nedlands: University of Western Australia Press.

Stannage, Tom, editor (1981), A New History of Western Australia, pp 511-550. Nedlands: University of Western Australia Press.

Zimmer, Jenny (1984), Stained Glass in Australia. Melbourne: Oxford University Press Australia.

Image acknowledgments

The City of Subiaco thanks all house owners who shared their leadlighting for this brochure.

Origins of street names used in the guide

Hamersley: after Edward Hamersley (1810 –1874), landowner and member of the Western Australian Legislative Council (1857-1867).

Hensman: after Alfred Peach Hensman (1834 -1902), barrister, judge and Attorney General for Western Australia in 1882.

241 Rokeby Road Subiaco WA 6008 Po Box 270 Subiaco WA 6904

Phone: 9237 9222Fax: 08 9237 9200

Email: city@subiaco.wa.gov.auwww.subiaco.wa.gov.au

Subiaco Museum239 Rokeby Road, Subiaco

For opening hours, visit www.subiaco.wa.go.au

Groups welcome by appointmentFor enquiries please call 9237 9227

Subiaco is accessible by train or bus from Perth and Fremantle.

Updated 2012

Persons following the route suggested in this self-guided walk do so at their own risk

This information can be provided in alternative formats upon request.

The City of Subiaco is committed to protecting the global environment through local action. This brochure is printed using vegetable based inks on Australian made 100 per cent recycled paper.