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How did William Morris and Edward Burne-Jones use lead lines in their stained-glass designs?

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The north rose window at Chartres Cathedral in France, featuring intricate stained glass with vibrant geometric and biblical designs in a large circular and five tall vertical panels. — stained glass The stained-glass rose window in the north transept of Chartres Cathedral, France.

In the stained-glass designs of William Morris and Edward Burne-Jones, the lead line was treated as an integral part of the overall composition.1

While Burne-Jones provided the artistic designs, Morris was responsible for adapting them to the medium of stained glass. This process involved Morris taking the uncoloured designs from Burne-Jones, selecting the specific colours, and strategically placing the lead lines to define the work. This approach marked a departure from some earlier 19th-century methods that lacked aesthetic appreciation for the medium, instead re-establishing the lead line as a fundamental structural and decorative element of the window. Notable examples of this collaborative technique can be seen in their work for Christ Church at Oxford, Salisbury Cathedral, and Birmingham Cathedral.21