When he began working on the décor for Sainte-Amélie Church, Guido Nincheri initially devoted himself to the frescoes. Over the days spent painting them, he was able to study the natural light inside the church. The stained-glass windows were subsequently designed accordingly, allowing him to adapt them to the luminosity of the painted features and magnify their colours.

The stained-glass windows were produced in Nincheri’s studio in Montreal. In this bustling workspace, the stained-glass windows were brought to life through a well-orchestrated artistic process. It was a genuine collective effort which began by meticulously designing each work. Nincheri first sketched the overall composition, before refining all the details in a more intricate drawing. What set this audacious artist apart was his preference for live models. Many parishioners, neighbours and even members of his own family would sit for him. And he would sometimes add his own likeness to his compositions!

Once the drawing was finished, an entire team of talented craftspeople got to work, each contributing their own specialized knowledge in order to bring these magnificent glass depictions to life. The master glassmakers, experts in the age-old art of working with glass, meticulously shaped each and every piece of the multicoloured puzzle. The artisan painters used their skilled brushstrokes to add colourful touches that would illuminate the stained-glass panels once they were assembled. The experts in leadwork then joined these glass sections together with a goldsmith’s precision to create a dazzling visual symphony. 

When the stained-glass panels were finished, they were shipped to Sainte-Amélie so they could be installed. This was done gradually once the painted décor had been completed, that is to say between 1946 and 1959. It therefore took nearly 20 years after its consecration before the church was finally arrayed in all its finery.