stAined GlAss WindoW the GArden of pArAdise, the GArden of...

Mellini Art Glass © 2014 All rights reserved

M e l l i n i A r t G l A s s - Portfolio prepared for t h e U n i t e d M e t h o d i s t C h U r C h o f t h e r e s U r r e C t i o n - response to RFQ

Richard S. Vosko, PhD., Hon. AlA, Senior Pastor and Mr. Charles E. Winters, Sacred Arts Committee Chairperson

the United Methodist ChUrCh of the resUrreCtion - response to rfQ Attention to:

richard s . Vosko, phd. , hon. A lAMr. Char les e . Winters , sacred Arts Committee Chairperson

C/o the United Methodist Church of the resurrect ion13720 roe Avenue

leawood, Ks 66224

feBrUArY 2014

stAined GlAss WindoWthe GArden of pArAdise, the GArden of CAlVArY And the neW JerUsAleM




the difference between art and decoration

Dear Rev. Vosko,

It is our great honor and pleasure to have been invited to present our studio for consideration in what will clearly be a landmark project involving the use of stained glass in the United States at United Methodist Church of the Resurrection.

We have enclosed a portfolio that provides a detailed history of Mellini Studio, which prides itself on continuing the legacy of beauty and spiritual inspiration of the greatest Rennasiance eccleasastical artistians who originated in Florence, Italy. It is no coincidence that our studio is located in the heart of Florence. I have enclosed photographs of projects similar in scale compatiable to what you wish for your church.

Our work speaks for itself; the result of our artistry and experience is evident in the thousands of projects designed and installed throughout the world. The level of quality of our craftmanship and divine inspiration that we are able to achieve with our windows is un-paralleled by any other form or newly developed tech-nique, that have still not been historically proven to withstand centuries. Our work like that of the great Italian masters can indeed withstand time and provide inspiration for generations to come.

We feel our expertise translates Scripture into art and emotion. Our goal is to create a thing of beauty, be it via mosaic and/or stained glass that will move the church-goer. When one looks at the religious works of Bernini or Michaelangelo, one is struck with awe and majesty. This makes the faithful marvel at the won-der of God. By the same token, Mellini’s aim is to enhance the experience one feels in the sacred place of Church. A place of calm, serenity and refuge. A place where gazing and contemplating our depictions of the Word of God will further connect a person to his faith.

We are confident that our work meets the high standards and expectations worthy of the United Methodist and the vision that Father Hale so breathtakingly de-scribed in his description of the art glass.

It is with sincere humility and hope that we will be asked to continue in the process following your review of our submittal today. I also encourage you to speak to our clients and have them tell you of their experiences and the spiritual impact that a Mellini stained glass project has had on their parishioners.

Thank you for this opportunity.

. . . . . M e l l i n i A r t G l A s s

Massimo MelliniOwner

Mellini Art Glass & MosaicsFebruary 2014




INDEX:

I - STUDIO HISTORYII - EXAMPLES OF SIMILAR SIZEIII - CLIENT CONTACT REFERENCESIV - PROCESS CARTOONING DETAILED DESIGN FABRICATION INSTALLATIONV - PROPOSED DESIGNERSVI - STRUCTURE FEE AND SCHEDULE OF PAYMENTSVII - PROJECTS IN THE MIDWEST




i - s t U d i o h i s t o r Y




The Italian word Bella or Beauty is often synonymous with Italy or Tuscany, so it should come as no surprise to find Beauty nestled in an art glass and mosaic studio overlooking one of the world’s most beautiful cities: Renaissance Florence.

Mellini Art Glass and Mosaics finds its origins during World War II when a 16-year old Italian named Michele Mellini began to work in mosaics. After the war ended, Mellini studied more in this field and by the late 1950s, he was able to establish his own studio in Florence.

At that time, Michele Mellini also branched out to become one of the few studios that produced both stained glass and mosaics. The purpose of the studio was to revive the legacy of the Renaissance masters and carry on the Renaissance artistic tradition. Most of Michele Mellini’s work took place in the Florence and Tuscany area but as time passed and his reputation grew, commissions began to come in from other parts of Italy.

Today, Mellini Art Glass and Mosaics is headed by Michele’s son Massimo, with 12 staff working in stained glass and five in mosaics. On via Antonio Locatelli, just above Fortezza da Basso, Mellini has four buildings to house their workshops, with space for shipping and storage.

Massimo Mellini’s life in stained glass began at an early age. He remembers little else as he would come to the studio with his father from the time that he was a small child. When he helped out in the shop, sweeping floors and running errands, he was always impressed by his father’s devotion to craftsmanship and passion for his work. His father suddenly passed away in 1978 when Massimo was 16 but the studio remained in operation while Massimo pursued his course of study. Within three years, he was able to work in the studio alongside more experienced artisans. At that time, the world of stained glass in Italy and elsewhere went through a difficult period as interest in the ancient craft waned and a certain industrial or functional perspective prevailed in the world of architecture. Fortunately, over time this has been changing as people realized anew the value of well-made work that is pleasing to the eye and will also stand the test of time.

Today, the studio is engaged with commissions in stained glass and mosaics, not only in Italy but also in the United States, throughout Europe, Ja-pan, and many other countries. Mellini also has a representative in New York. Ninety-nine percent of their work is for churches, and the remaining for residences, banks, hotels, hospitals, and other public spaces. Seventy percent of their commissions are in stained glass, and thirty percent in mosaics. Most of the Mellini staff are longtime employees, some with 40 years of experience.

Works of BeautyM e l l i n i A r t G l A s s A n d M o s A i C s

i - stUdio historY




EARLY YEARS

Many of the early commissions took place at small churches and other locations as the studio established its reputation and built up clientele. Unfortunately, over the years, many of those records have been lost. These days, Signor Mellini is often pleasantly surprised to find his father’s work at a church he visits, or he may meet someone who re-members his father. Sometimes, there is a signature or something written on the stained glass or mosaic, and a priest or parishioner will contact the studio.

During the 1960s, many of the early Mellini commissions in Italy occurred during a time of growth and renovation in the country after the war.

In the Emilia-Romagna area of Alfero, Verghereto (Forli), a new stone church of S. An-drea Apostolo was dedicated in 1963. Mellini glass appears in the apse, side windows and façade. The present building was built on the site of a 14th century church.

At a shrine originally from 1604, the Santuario of Madonna del Carmine (Montefalcone di Val Fortore, Benevento, Campania), apse, floor and balcony were constructed between 1958-61. During restoration work in 1967, Mellini created mosaics for the Way of the Cross, the tabernacle, and throne of the Madonna. Mellini also provided several stained glass figures of Carmelite saints such as St Teresa Avila and St John of the Cross in the presbytery, and a façade rose window of St Simon Stock.

The new Pieve San Niccolo (Agliana, Pistoia) was consecrated in 1966, although the original church at this site dates from the 13th century, with a major remodeling in the 1700s. The polygonal structure is located to the right of the old church, which currently serves as a parish hall, and is connected by an arcade. Interspersed with narrow rectan-gular openings, the stained glass windows depict symbols of the liturgy.

During the late 1960s at Santa Maria Assunta (San Donaci, Brindisi), three stained glass windows were designed by Mellini. The current neo-classical structure was rebuilt in 1899 on the former site of an older church and has been remodeled over the years.

A major highlight for Mellini Art Glass and Mosaics took place in 1967-71, with a com-mission at the Vatican. Hungarian-born artist Giovanni Hajnal created two oval windows in a contemporary design, each 180 square meters, for the Paul VI Audience Hall. Inau-gurated in 1971, the window was installed by Mellini. The now solar-powered building seats 6300 and is used for the pope’s Wednesday audiences. Considered to be one of the world’s greatest artists in stained glass and mosaics, Hajnal is responsible for four windows at Milan cathedral (1955, 1988), three windows at the cathedral of Palma de Mallorca, Spain, and windows in many Rome churches, including a façade window at Santa Maria Maggiore. Hajnal became an Italian citizen in 1958, and passed away in October 2010 at the age of 97.

After the Audience Hall was completed, Pope Paul VI requested to meet with those in-

volved. Young Massimo Mellini was invited to visit, along with his father and other artists and craftsmen, in a private audience with the pope. This relationship between the Vatican and the Mellini studio continues to the present day. Mellini Art Glass and Mosaics has had the privilege of working with two other popes: John Paul II and Benedict XVI. Their studio is now on a tour destination which starts at Vatican City. A church decoration committee from the United States or some other country usually consists of a priest or other church repre-sentatives. The group takes the one-hour train ride from Rome to Florence to view stained glass and mosaics, then continues on to Carrara to look at marble before visiting another northern Italian town or some other location for woodcarvings such as a crucifix or pews.

LITURGICAL REFORMS

Throughout the 1970s, new rules of liturgical reform implemented due to Vatican II took place in many churches, resulting in changes to interior church structures. This meant that Mellini was often called upon to design new liturgical art for the renovated buildings.

One major commission during this period took place at the Shrine of Sts Cosmas and Da-mien Albanese (San Cosmo, Cosenza). Mosaics in the nave depict six scenes from the Life of Christ, such as the Nativity, Christ’s Baptism, the Crucifixion, and Pentecost, along with figures of the Madonna, and Sts Cosmas and Damien. These mosaics were executed be-tween 1970 and 1974 by Mellini studio, based on sketches prepared by a Slavic artist. The former Basilian monastery had been in the Latin or Neapolitan baroque style, but following the 1960s, was remodeled after the Byzantine style.

Another church affected by the new reforms was Santo Stefano dei Ferri (Foggia). Altars and balustrades were removed, and the pulpit brought closer to the congregation with the Eucharistic altar facing the people. At the time of modifications in 1970, Mellini Art Glass and Mosaics designed three apse mosaics depicting Sts. Stephen, Peter, and Paul.

San Zanobi and Santi Fiorentini church located on via delle Cento Stelle near Florence’s Campo di Marte railroad station was consecrated in 1964. Built in an area severely damaged during the war, the simple structure with front portico has a rectangular hall with two Mellini studio stained glass windows (1973) on each side. The designs by artist Giovanni Bassan depict seven and five Florentine saints, respectively. A colorful combination of dark blues, reds and purples is rendered in a contemporary style while using traditional figures and symbols.

A year later, the studio designed stained glass depicting Jesus and St Joseph for the 18th century shrine of San Giuseppe Vesuviano in Naples. Another commission followed in 1977, at the Santuario of Santa Maria della Grazie at Monteprandone, on Italy’s south coast. Windows include figures of saints, the Annunciation, and Madonna and Child defeat-ing the apocalyptic dragon. A shrine has been on this site since the 1400s.




The Basilica of Maria Consolatrice del Carpinello (Visciano, Napoli) was rebuilt after a devas-tating 1962 earthquake, taking into account post-Vatican II liturgical reforms. This octagonal structure has a multi-tiered star-shaped cupola. In the center of the 32-meter high cupola is a circular dome in which the ribs converge to form a star. The marble floor is also star-shaped. Eight columns support the dome and the sides of the cupola, which contains triangular win-dows designed by Mellini associate Giovanni Hajnal (1986). The Beatitudes are represented in eight scenes from the life of Christ including the Crucifixion, the Good Samaritan, and Heal-ing at the pool of Bethsaida. The Mellini studio also created a central mosaic of the Risen Christ surrounded by 14 mosaic panels of the Stations of the Cross in the crypt.

In 1980, at Pieve dei SS Filippo e Giacomo (Pistoia province) a mosaic by Mellini depicting the Madonna del Rosario was added to the façade. A church has been at this site since the 1300s, although remodeled.

In 1980-85, a 60 mq. polychrome gold mosaic with cross relief located above the altar was installed at the Chapel of the Cuore Immacolato di Maria, Campi Bisenzio (Firenze, Tuscany).

In 1983, at Hotel Beau Rivage, a five-star deluxe hotel Lausanne Switzerland, Mellini was responsible for a stained glass window Woman under the Moon. This marked the beginning of many studio commissions outside of Italy.

In 1984, at Palazzo dei Congressi, Agrigento (Sicily), Mellini studio created a modern 2400 sq ft, polychrome and glass dome. The structure is a central venue for concerts, large con-ferences, and conventions. Artist Di Cristina’s striking repetitive motif of a geometric design uses dark green and contrasting gold, and also alternate reds and deep reds, which are al-most black.

At the shrine to Ss Maria Vittoria Termoli (Larino), the Mellini studio executed a glass cross of light above the main entry. This 16th century church located in Campobasso is an annual pilgrimage destination around Easter.

In the mid-90s, Mellini was responsible for two 20-mq mosaic icons depicting various saints including Sts Francis of Assisi, Corrado, and Lucia at the Santuario delle Madonna Lacrime (Siracusa, Sicily). Located in the aisles and framed by a circular altar, eight chapels in the crypt are dedicated to various saints. The unusual conical structure was designed by French architects Michel Arnault and Pierre Parat in 1994, and is intended to evoke a giant teardrop to commemorate an image of the weeping Madonna. The structure is 74 meters or 243’ high with a diameter of 80 meters.

In 1995, at the rebuilt 18th century chapel Chiesa Santa Maria di Portosalvo (St Teresa di Riva, Sicily), new Mellini mosaics replaced a damaged fresco in the apse. The fresco by painter Ignazio Pagano depicting the Coronation of the Virgin surrounded by angels and God the Father with outstretched arms, had become damaged over time. The new Byzantine-

Norman style of Christ Pantocrator follows in the same design. That same year, the Mellini studio created a 40-sqf stained glass work for the Sanctuary of St Joseph, Siena.

Also in 1995, at the Papal Basilica of Santa Maria Maggiore with artist Giovanni Hajnal, Mellini fabricated a 450 cm. rose window in the main façade. The piece portrays the Virgin Mary as the link between the Church and the Old Testament. A seven-branched candlestick and the tablets of the Ten Commandments symbolizes the Old Testament, while a Eucharistic chalice and a cross represents the New Testament.

In 1996, Mellini designed a window for the church of San Michele Arcangelo in Longhi (Messina, Sicily). Located above the door, the scene depicts St Michael raising his sword against the Dragon, while in the right hand his spear points to the image of the Madonna holding the Christ Child, with the image of the Eternal Father surrounded by angels.

THE 2000s

The new millennium opened in collaboration with longtime associate Giovanni Hajnal. Hajnal de-signed a contemporary stained glass rendition of the Trinity in primary colors of blue, yellow, and red. Mellini installed three 263 sq. m. windows for the church ceiling in the new basilica of San Francesco di Paola (Cosenza, Calabria).

The next year, Mellini designed a 20 sq. ft. stained glass Madonna and Child for the Redemptoris Mater Chapel, Vatican City. This chapel is primarily used for ecumenical events and spiritual re-treats. Modern artwork of stained glass and mosaics was initially requested by Pope John Paul II with some work carried out by a Russian Orthodox artist, and others by Jesuits.

In 2001-02, at the Santuario Madonna di Fatima (Ariano Irpino), Mellini designed stained glass windows depicting the message of Fatima, the mysteries of the Rosary, and the mysteries of the Eucharist along with figures of the four evangelists.

Foreign projects increased substantially in this decade. The Annunciation Cathedral complex in Hong Kong includes a round-shaped church with a large nave and annex octagonal baptistery, community hall, activity rooms, kindergarten, and health care center. The church was built in the 1990s with liturgical decoration added later. Six windows by Mellini studio (2000) portray the An-nunciation, the Nativity, Last Supper, Christ’s Passion, the Resurrection, and Pentecost. Artist Enzo Quadrelli designed the 82 sq. meter mosaic of 13,000 pieces using 600 different colors, de-picting the Risen Christ surrounded by Mary, the disciples, and angels.

In Japan, Mellini produced three Life of Christ scenes of 200 square feet each at the Niigata cathe-dral, and another window at the cathedral in Sakata (2002).




At the Greek Orthodox Cathedral of the Annunciation in Houston (a Byzantine revival building from1952), Mellini created four Byzantine style mosaics depicting the Life of Christ. Mellini also designed a stained glass window of the Harrowing of Hades by Christ for Holy Resurrection Church Greek Orthodox in Palatine, IL (near Chicago, consecrated 2005). The bay is located above the entrance doors.

Restoration work took place at the church of the Blessed Virgin Mary Immacolato (Cat-enanuova, Nicosia) between 1994-2004. Following this, the Mellini studio created a se-ries of six stained glass windows to replace old glass. The designs depict events in the life of the Blessed Virgin such as the Annunciation, Nativity, and Coronation.

In 2005, the Church of the Medaglia Miracolosa in Salerno was inaugurated. Mellini designed two stained glass windows with artist Bertuzzi Vittorio: Our Lady of the Mi-raculous Medal for the main façade, and in the apse, Christ in Majesty surrounded by symbols of the Evangelists, Apostles and flames with the words: “I am the Way, the Truth and the Life.”

Other major commissions in stained glass or mosaics in Italy include: cathedrals at Si-ena, Milan, Agrigento, Brindisi, and Civitavecchia, as well as Basilicas at Loreto and S Benedetto, Norcia. Mellini Art Glass and Mosaics also has installations at MIT in Boston, St Martin of Tours-Lenox Avenue, New York City, the J. Dupont home in Philadelphia, and the Methodist Hospital in Houston. Various foreign locations include Abu Dhabi, Bei-rut, and Qatar.

Mellini Art Glass and Mosaics has undertaken restoration work at cathedrals in Siena and Palermo, also at the Basilica of Sts Antonio and Francesco in Bologna, Pisa’s Pala-zzo Comunale, University of Naples, and many other locations.

ARCHITECTURAL RELATIONSHIPS

Like many stained glass studios, Signor Massimo Mellini has established good working relationships with architects who specialize in church building. This cultivation can result in a fruitful, long-term collaboration over time. For Massimo Mellini, these relationships have caused the studio’s work to shift more to the United States and other countries.

Massimo Mellini’s connection with Architect Martin A. De Sapio of Flemington, New Jer-sey began in 2001 when De Sapio was the architect for the St Magdalen de Pazzi com-plex in Flemington, New Jersey. They first met the church priest who then introduced them to De Sapio, who had just finished some renovations to the complex, and needed someone to provide the mausoleum decoration. Mellini fabricated two 2 mq exterior mo-saics of the Madonna and Child and St Joseph and Child, which flank the central entry

doors of the St Magdalen mausoleum, as well as an interior mosaic of the Holy Trinity. Mel-lini also provided a stained glass window of the Resurrected Christ.

When De Sapio was appointed as the architect in 2002 for St Thomas More Church, St John’s University, Queens Campus (Jamaica, NY), he contacted Mellini to see if they would be interested in providing the mosaics. The octagonal-shaped church has a circular-shaped interior space that seats about 450, with a granite altar located in the center of the 13,400 sq ft worship area. Curved cherry wood pews fit into the church walls. A shrine com-memorates 75 St John’s alumni and others who perished in the September 11th tragedy, and includes a cross fashioned of steel remnants from Ground Zero. The Vincentian-run university was founded in 1870.

Mellini mosaics in the narthex depict the life and mission of St Vincent de Paul, and the history of the community including the journey of past Congregation members from France to Brooklyn, and ultimately to St. John’s University in Queens. Created entirely in enamel tessere or tiles (2.5 million pieces total), the on-site assembly process took Mellini artisans more than a month to complete. In the upper narthex of the church is a 90-foot linear by 12 foot high mosaic. For the lower narthex at the left entry, Mellini artists provided two panels 17 mosaic portraits of American saints and martyrs, and the Apparition of the Miraculous Medal to Daughter of Charity St Catherine Laboure. In addition, Mellini created 14 mosaic Stations of the Cross for the Blessed Sacrament Chapel. All vibrant, handcrafted mosaics utilized original designs by Mellini studio artists.

Another architectural firm with close ties to Mellini is Rohn & Associates Design located in New York City, Pittsburgh, PA, and San Antonio, Texas. Mellini has worked with the liturgical consulting firm on several major projects in Texas, some which are still ongoing.

IN 2008, AT THE CO-CATHEDRAL OF THE SACRED HEART, GALVESTON-HOUSTON,

Mellini Art Glass and Mosaics executed the Resurrection window with Christ rising over Houston in the front façade of the building. Romano Cosci, the only living artist with work at St. Peter’s Basilica, executed the original drawings. The window is 40 feet high and 20 feet wide, and consists of 40 panels of opalescent and hand-blown glass. Each piece (a total of 6000 pieces of leaded glass) was hand-painted and fired before shipment to Texas.

In addition, the Mellini studio fabricated three rose windows for the Co-Cathedral. On the back wall of the sanctuary, the mystical Eucharistic Christ appears above a 20 ft high hand-carved Crucifix on a gold-leaf reeded background of carved wood. The 14 ft diameter rose in the east transept depicts the Sacred Heart aflame, using bright red glass against a prism of radiating color, and in the west transept a rendition of the Immaculate Conception in cobalt blues with accents of gold glass. The center of the latter window uses the symbols




“AM” for Ave Maria set beneath Mary’s Crown, which is surrounded by a circle of twelve stars rendered in the same design and shape as the Texas state star.

As Rohn completed the final touches, scaffolding covering the massive stained glass Resur-rection window at the front of the cathedral was finally removed. For the first time, the Italian artists who designed and created the window were able to view it in its entirety.

At the unveiling, Massimo Mellini stated, “It’s something that all of us made together. It’s taken about two years. It’s been a long journey. We are really happy about it and we hope that ev-erybody who looks at this stained glass window will have the same feeling.”

RECENT WORK

In 2011, in another project with Rohn & Associates Design, Mellini studio artisans created a mosaic mural for the new Immaculate Conception Chapel at Mount St Mary’s Seminary, Cincinnati. Inspired by St. John’s vision from the Book of Revelation, Twelve Apostles and St. Paul bow before a gold Lamb, a symbol of Christ. The mural is located behind the chapel altar, with figures rendered in many shades of gold against a striking red smalti background. Massimo Mellini remarked that the studio possesses 50 colors of gold mosaic in its mosaic “bank” so perhaps they were used here. Two smaller icon-style mosaics of the Blessed Moth-er and St. John flank the larger mosaic.

Another Mellini project with Rohn was completed at the Casa Santa Maria, a newly renovated villa of the Institute for Continuing Theological Education (ICTE) at the Pontifical North Ameri-can College in Rome. The facility is primarily for American priests who are pursuing graduate studies. Rohn and Associates designed the fabric of the O’Toole Chapel with the purpose of fostering the mission of priestly formation. Mellini artists provided 11 stained glass windows of American Saints and Blesseds for the Chapel, which were installed in 2012.

In 2013, Mellini and Rohn collaborated again at the new 37,000 square foot St. John Neu-mann Catholic Church in Austin, Texas. St. John was dedicated in March 2012 but work on the interior continued, with all Mellini contributions to be completed by Summer 2014. “Trinity through the Cross” is the central theme of the church, featuring three domes. The largest dome is situated over the altar and assembly, where the dome, transepts, and balcony unite to form a triangle and cross representing the Holy Trinity. The Rohn and Associates Design, Inc. team, headed by Liturgical Design Consultant Rolf Rohn, worked closely with the priest and A&E Committee of the church to design the entire space in keeping with the church’s theme. The new dome consists of Italian smalti mosaic, of enamel and gold glass tesserae fabricated and installed by Mellini. Colors were handpicked from a palette of over 8,000 shades of color, emphasizing gold, to form the images. The large central dome contains an image of the Lamb of God surrounded by seraphim and cherubim. Emanating from the center

to form the shape of a cross are the symbols of the Four Evangelists: lion, ox, eagle, and man. Four Eucharistic scenes are also depicted, forming a second cross. These include the sacrifices of Melchizedek and Abraham from the Old Testament, and from the New Testament, the Miracle of the Loaves and Fishes and Wedding at Cana. Surrounding this inner circle are the twelve tribes of Israel interposed with the twelve Apostles. The beginning words of the Our Father --“on earth as it is in heaven”--encircle the ring below. In the pendentives, four archangels uphold inscribed scrolls.

The Adoration Chapel adjoins the church by a separate entrance. A mosaic of the Blessed Mother and Child appears over the entrance door, while seven windows based on a Eucharistic theme outlined by Rolf Rohn, depict symbols of the seven sacraments. The leaded glass Eucharistic win-dows, fabricated and installed by Mellini, were designed by Maria Hubbard in c concert with the church’s A&E committee. They presented many challenges due to their high and narrow shape. Various native flowers of Texas appear at the bottom of each window’s scene.

With a different architect, in 2011, Mellini completed three stained glass windows for St John Chrysostom Chapel at the Greek Orthodox Metropolis in Westfield, New Jersey. The Archdiocese, which oversees 25 mid-Atlantic and New Jersey churches, recently purchased a larger building which has been renovated for multi-purpose administrative and conference use. The Metropoli-tan Office, already aware of Mellini’s reputation, contacted them directly. In addition to the chapel glass, Mellini provided two mosaic icons of the Blessed Mother and Jesus.

Mellini’s relationship with the Metropolis led to another commission at St Andrew’s Greek Orthodox Church in Randolph, New Jersey. Mellini received a commission for four 15-foot windows of Greek saints: Constantine and Helen, Katherine, Photini (the Samaritan Woman), and Mary Magdalene and Jesus. These windows were installed in the Summer 2012.

Mellini studio designed six new windows for the Chapel of the Generalate in Rome, representing La Sallian Saints, Blesseds or Venerables. The dedication of the Christian Brothers School chapel took place in July 2011. Some years prior, Mellini had been responsible for decorating the Chapel of Mont La Salle in Beirut, and this factor was a consideration when Mellini was selected by the School to take on this new stained glass commission.

In March 2012, Mellini installed 43 windows of saint figures at the Monastery of the Mater Eccles-siae in Lagos, Nigeria. An additional mosaic commission for a 600 sq ft Trinity and Resurrection was added to the Roman Catholic Cathedral in Lagos.

In 2011, after winning a stained glass competition, Mellini Art Glass & Mosaics installed eight new rose windows in the cupola (in Italian occhio or eye) of the 18C baroque Cathedral of San Nicolò in Noto, Sicily. (Val di Noto is a Unesco world heritage site.) Due to a long history of earthquakes in the region, combined with some ill-executed repairs, a minor quake in 1990 caused a great por-tion of the cathedral to collapse in 1996. This included parts of the nave, pillars, cupola, and roof. Renovation took eight years and was completed in 2007.




Interior decoration included stained glass, with some designs by painter Francesco Mori depicting the Seven Sacraments and the Word of God in a modern, abstract style, while making use of traditional symbols. In addition, eighteen life-size figure windows were in-stalled in the nave in Summer 2012. Saints venerated in the Diocese, such as Peter and Paul, George, and Sebastian were portrayed, along with Blesseds Mother Teresa and Pope John Paul II.

Francesco Mori has a PhD in History of Medieval Art from University of Siena. In 2006, he was chosen to hand-paint the reproduction of Siena cathedral’s 13C Duccio di Buoninsegna (650 cm diameter) apse rose window of Life of the Virgin with Saints and Prophets to re-place the original now in a museum.

In an interview at Mellini Studio, Mori shared some of the challenges he faced in translating from canvas to the medium of stained glass. One concern was in working with leads as part the stained glass design. In canvas painting, the brush strokes flow undeterred across the canvas, whereas in working with stained glass, the painter’s natural line may be interrupted by the leads or the glass itself. Lead lines often define the perimeter of a figure. In painting, the artist would shade in, moving to different colors, say from red to yellow, and the figures’ mantles or cloaks would naturally drape a certain way. Mori created fabric draperies to use as a model while he painted. One also has to consider the weight and size of a solid piece of glass.

By trial and error, Mori resolved what type of paint or paintbrush to use. In some cases, he applied three different kinds of black paint to create the desired shading contrast or artistic blend with the lead lines. With well-known figures such as Mother Teresa or Pope John Paul II, Mori worked from actual photos.

To deal with the distance of the glass from the viewer, especially the glass located inside the cathedral dome, Mori used contrasting, exaggerated shapes and designs such as a sunburst, along with strong, bright colors such as purple and dark blue against yellows and reds, applying darker shades to balance against the light. Light is brighter at that height, since there would be no trees or buildings to cast shadows or block the windows.

Interview with Massimo Mellini by Stained Glass Quarterly

THE FUTURE

Trying to keep pace with the steady stream of stained glass and mosaic commissions is a welcome challenge for Signor Mellini. In addition to several American commis-sions, Mellini is looking at possible projects in Africa, South America, and Asia. Many of the current staff are long-time employees and represent the best in their discipline. However, Massimo Mellini is always on the lookout for new, talented people who are dedicated to the artisanship of stained glass and mosaics such as Francesco Mori. He remarks, “It takes time and patience to put two, three or even four people on the right track, but we are happy to include them.”

Signor Mellini hopes to inspire young people for the next generation. He regularly takes time out from his busy schedule to host students from local schools on visits to the studio. Twenty or thirty at a time receive a full studio tour so they can see what it is like to work in the ancient crafts of stained glass and mosaics.

“People cannot live without the truly beautiful,” Massimo Mellini reflects. “People are tired of the ugly, the industrial, and the functional. We are made for the beautiful and the eternal. When I work, it’s not really about the money. I contribute something of myself, of my spiritual-ity, to the work. Our goal is to create work that touches the hearts of viewers and brings them closer to their God. Through my work, I give something to God, to my children, and hopefully, I lead others to a deeper communion with the One who is truly beautiful.”Massimo Mellini’s desire is that a new generation of artisans will be inspired by such beauty, and will decide to pursue a career in stained glass or mosaics. When he is called to travel outside of his native Italy to the United States, South America, Asia, or Africa to follow up on commission requests, he is pleased to share the Beauty of Italy with the rest of the world.




i i - e X A M p l e s o f s i M i l A r s i Z e




This is the original color sketch for the Resurrected Christ window at the Co-Cathedral of the Sacred Heart in Houston, TX.

Archbishop Joseph A. Fiorenza visits the studio to give final approval to the design, here shown with the life size cartoon of the window

Co-CAthedrAl of the sACred heArt, hoUston, teXAs

i i - eXAMples of siMilAr siZe




Every step of the design and creative process is carefully managed to ensure the high quality of our designs. Here the art committee visiting our studio. The Resurrected Christ window during installation.





Above the Cathedral’s great mahogany entry doors is a three-paneled tympanum, the center is Christ the King.





For the east transept of the Co-Cathedral, we created a rose window of the Sacred Heart of Jesus, for the west transept a rose window in similar style was created depicting the Immaculate Conception.

Above are the original concepts created for the east and west transepts rose windows.




sAint John neUMAnn - AUstin, tX Dome mosaic - currently under fabrication,instalation begins june 2014

SAINT JOHN NEUMANN CATHOLIC CHURCH - AUSTIN, TEXAS

DOME MOSAIC DESIGN UPDATED 10-18-12 - Completed design without dimensions

© 2

012

Rohn

& A

ssocia

tes D

esign

, Inc

. with

A&

E C

omm

ittee

of S

aint

John

New

man

n C

atho

lic C

hurc

h, A

ustin

, TX

Approved By: ______________________________________________________________________Rolf Rohn (Signature required)

Approved By: ______________________________________________________________________Authorized member of A&E Committee (Signature required)

Date of Final Approval: ____________________________ Corrections Requested: Yes______ OK as is: _______




ChUrCh nAMe




pope’s AUdienCe hAll - VAtiCAn, roMe




ChUrCh nAMe CitY

MoUnt st MArY’s seMinArY ChApel, CinCinnAti , oh




sAn dAMiAno Cross - pApUA neW GUineA




i i i - C l i e n t / C o n t A C t r e f e r e n C e s




i i i - Client/ContACt referenCes




From: "Br.Donald F. Lippert, OFM Cap." Date: April 14, 2010 1:00:24 AM EDT To: <[email protected]> Subject: RE: San Damiano Stained Glass Window Dear Francesca, Pace e bene! Happy Easter! A few days after your email arrived... I received a call from the builder saying that they needed to see the San Damiano stained-‐glass window. I have been very protective and cautious about the window and so it has been safely stored until it needed to be opened... So I rushed to where the window was being stored and they began to open the crate. Our vice-‐provincial was also here so he came along. The architect also happened to be here for a meeting and so he was there too for the grand opening.... When they finally got the crate opened and the crucifix was removed... a great, reverential hush came over everyone ... like in church or in a museum or something... it was really amazing. We were all awe-‐struck by the beauty of the window... I practically had to choke back the tears – I was overwhelmed. The beauty of the colors, the detail... it was as if we were all transported to the little hermitage of San Damiano in the 1200’s when Saint Francis first prayed there... It was a religious experience for all of us.... The builder says that he thinks that in about three weeks we will be at the half way mark. They would like to finish the project by September... When the whole chapel and other buildings are to be dedicated, I will let you all know... IF you are anywhere in this part of the world, it would be wonderful to have you here... but if not you will be here in spirit.... and you will always be here through the awesome beauty of this exquisite piece of sacred art. Wishing you abundant blessings on you, your families, your companies and all your endeavours and plans. Love and prayers, Fr. don, ofm cap. Papua New Guinea




i V - p r o C e s s , C A r t o o n i n G , d e t A i l e d d e s i G n , f A B r i C A t i o n A n d i n s t A l l A t i o n




iV - proCess, CArtooninG, detAiled desiGn, fABriCAtion And instAllAtion

Description of Design, Production and Installation Process

I) Meeting to discuss the definition of the subjects, the vision of the Pastor, and the lay-out of the windows within the Church.2) The design in scale and in original color based on the style proposed following your indications and input at the above meeting.3) Client approval of the designs.4) The preparation of a sample to establish the interpretive key that will be applied in the execution of the work.5) The preparation of the internal division of each individual window frame following the requirements of the approved designs for the window manufacturer.6) The relief of measurements and mouldings by the window manufacturer once the windows are produced.7) We will produce, in their natural size, life size cartoons of the stained glass windows.8) Producing sheets of transparent paper, where the shapes of each individual piece of glass will be determined. The selection of colors from a pallet of first quality glass from among 760 tones of different colors in order to obtain the base color.9) Every single piece of glass will be cut by hand following the shapes determined above.10) Painting with a brush using grisaille powder on each individual piece of glass in order to achieve fundamental traits, such as shadowing, roundness etc., all called for in the design.II) The cooking of the painted glass in electric ovens to permit their indelible vitrification with a return to the atmosphere’s temperature.12) The weaving of individual pieces of glass using a leaded outline in the shape forming the letter “H”. The thickness of the “H” in different exterior dimensions in order to folow the lines of the design.13) 60% tin welding at every point of union of the lead outline in both parts.14) The plastering of the entire area of the stained glass to strengthen and waterproof15) Re-cleaning the glass with a steel brush.16) Packaging the single window panels in wooden crates using styrofoam and wood shaving to secure its’ safe transport.17) Individual crates are loaded and stowed in a container to be shipped by boat.18) Delivery to the job site.19) Installation by Mellini craftsmen.




sAint John neUMAnn, AUstin, teXAs




Co-CAthedrAl of the sACred heArt, hoUston, tX




sAnCtUArY of sAint frAnCis of pAolA, CosenZA, itAlY




V - p r o p o s e d d e s i G n e r s




Francesco Mori | Biography

Painter, engraver, calligrapher and illuminator’s career began as an autodidact. He graduated in 2001 from the University of Siena in Medieval History and earned his Ph. D. in 2005 for the same under the guidance of Prof. Luciano Bellosi. Mori was compelled to look towards the “masters” in the work shop for inspiration and knowledge. Under Peter Annigoni (1910-1988), Mori was versed in the techniques of painting and drawing. He also conducted extensive research on techniques, materials and styles utilized in medieval illumination. He surrounds himself with master calligraphers from Italy and other European countries such as Anna Ronchi, Klaus Peter Schaffel and Ivano Ziggiotti, allowing Mori to delve into the technical and stylistic methods that are key to the creation of a magnificent manuscript rich in traditional pigments.

V - proposed desiGners

For seven years Francesco Mori lectured numerous courses throughout the Tuscan and Ligurian regions, sharing his extensive knowledge of art history, drawing and painting.

In 2006, he received the singular commission to paint a reproduc-tion of the famous stained-glass window by Duccio for the oculus of the apse from the Cathedral of Siena, dating from 1288. Mori’s copy has now replaced the original window which is preserved in the Siena Museo dell’Opera del Duomo. In this reproduction work, the skills of art historian and artist are joined, giving it a life of its own without compromising the original style of the Sienese master. He even skillfully reproduced gaps and alterations that are visible on the ancient stained glass window.

In July 2007, Vittorio Sgarbi, on behalf of the committee responsi-ble for the reconstruction of the Cathedral of Noto (SR), appointed Francesco Mori together with Mellini Studio to create the stained glass in the cathedral. This was a major undertaking that included the depiction of the Seven Sacraments and the Word of God in the dome and a series of figures of saints and sacred symbols in the nave and the transept.

Francesco Mori is a scholar, historian and is a new light burning brightly in the world of art..

In adddition to the many Mellini own master artists, we have an exclusive relationship with the following designers, we also welcome working and collaborating with outside designers to acompish the vision.




ROMAN COSCI was born in Seravezza (Lu) in 1939 and study in Pietrasanta . It ‘ a painter and sculptor .

He taught until 1986 pictorial disciplines in art schools Carrara and Grosseto. Since the mid- fifties he attended workshops and art foundries of Pietrasanta, meets the sculptor Leonidas Parma, from whom he learned the basics of the craft, and support him in the realization of many works in marble. He knows so Ferruccio Vezzoni , with whom he formed a deep bond of friendship , drawing important lessons from his long experience as an excellent painter and sculptor .

Traveling, visiting museums and art galleries to deepen the analysis and knowledge of the masters of the past and more contemporary artists is particularly attentive to the painting of Masac-cio and Piero della Francesca as that of Vermeer, Chardin, Manet, admires Lorenzo Viani, is strongly attracted by Morandi and Messina .

proposed in-hoUse desiGners And oUtside desiGners

His work is a secluded and intense, which occupies the largest space research, which intensifies and strengthens the special and intimate relationship with the environment and human culture of Versilia, with its extraordinary landscape. Since the first exhibition gets qualified acclaim from audiences and critics alike, which go far beyond regional borders .

The next fundamental knowledge of Pietro Annigoni and the atten-dance of his Florentine studio, play an essential role in its forma-tion and strengthen the artistic personality that rests one hand on the given emotional and lyrical, and the other is based on the rigor of everyday exercise that ties him to the best tradition of painting.

The reality is the basic element for Romano Cosci to be seized and savored, and is always found in sacred subjects in still lifes and landscapes.

In addition to the awards and accolades in Paestum, Varese and Milan, which are cited among the many, we highlight the personal estate in Marina di Pietrasanta, in 1978. At the Municipal Hall of exposures and subsequent confirmations in the eighties in Milan, Galleria Bolzani; Vigevano Galleries Antiques and Capricorn, in Montecatini, the Square Gallery, in Marina di Pietrasanta, in the prestigious area of “La Versilia “ (1985) .

It opens for him a new intense season, during which goes achiev-




ing the important frescoes for the church of S. Antonio Abate in Ripa Se-ravezza (“The Supper at Emmaus“ and “The Last Supper”, 1990-1995) for the church of Corpus Christi in Massa (“The Last Supper”, 1996) and in the cathedral of Martinafranca (“ll return of the prodigal Son“ and “The Parable of the adulteress“, 1994). Do not forget that some personal Montecatini in 1990, in Pietrasanta in the Cloister of St. Augustine in 1992 and the Medici Palace Seravezza, in 1996.

He has made several commemorative medals and sculpture trophy that is al-located each year to the winner of the Award organized by the Club Fratelli Rosselli, dedicated to the artists who contribute with their work to raise aware-ness of Pietrasanta and Versilia in the world. The portrait of Pietro Annigoni, that of Blessed Josemaria Escriva, founder of Opus Dei, housed in the church of St. Eugene in Rome, the two marble bas-reliefs depicting the Holy Family and the Angel Protector and fourteen bronze bas-reliefs of the stations Sta-tions of the Cross, placed in the church of the parish of Blessed Josemaria Escriva in Rome, Tre Fontane, are some of his most recent creations .

In 1999, in the same church, painted in fresco, “The Crucifixion of St. Peter“, “The Beheading of St. Paul“ and two figures of Archangels, “San Raffaele“ and “ St. Gabriel “. In addition, for the Brothers of the Christian Schools in Rome, made a bronze group depicting two angels in flight.

In 2000, at Pompeii, performs a bronze life-sized dedicated to Blessed Bartolo Longo, to the Institute of the courtyard. In the summer of the same year he held a solo exhibition at the Museum of Carrara marble entitled “Laboratories“, entirely dedicated to the sculpture workshops in Pietrasanta .

In 2001 he created the bronze doors dedicated to the eight priests Martyrs in Versilia during World War II.

In 2002 he carves a niche side of St. Peter’s Basilica at the Vatican a colos-sal sculpture in Carrara marble, depicting Santa Maria Josefa of the Heart of Jesus

For the Institute “Servants of Suffering” in San Giovanni Rotondo realizes the bronzes of the “Four Evangelists“ and for the altar Paleotto a relief depicting “The Last Supper“.

His works are in public and private collections in Italy and abroad.




V i - s t r U C t U r e f e e A n d s C h e d U l e o f p A Y M e n t s




07-14-14 20% upon signing agreement

03-15-15 15% upon approval of artwork

04-15-15 15% upon beginning of fabrication

05-31-15 20% upon half completion of fabrication

07-16-15 20% upon completion of fabrication

12-06-16 10% upon installation

Vi - strUCtUre fee And sChedUle of pAYMentsSTAIN GLASS WINDOW SCHEDULE 1/23/2014

Dates Months Committee Process 12/13 ‐ 2/14 3 RFQ Process 3/14 ‐ 5/14 2 Select Studio 6/14 ‐ 6/14 1 Negotiation 7/14 ‐ 7/14 1 Preliminary Design 8/14 ‐ 11/14 4 Fund Raising Schedule for Window 1/15 – 2/15 2 Final Design 12/14 ‐ 3/15 4 Fabrication 4/15 ‐ 7/16 16 Shipping 8/16 ‐ 8/16 1 Installation 9/16 ‐ 11/16 3 Completion 12/16 ‐ 12/16 1

Window Size: 95 x 48, 4560 SF

STAINED GLASS WINDOW SCHEDULE 01-23-14




V i i - p r o J e C t s i n t h e M i d W e s t

stAined GlAss WindoW the GArden of pArAdise, the GArden of...

Documents

Transcript of stAined GlAss WindoW the GArden of pArAdise, the GArden of...