Pegasus Medallion Connick Windows
Thoughts, news and comments concerning the art and craft of Connick Stained glass, published periodically by...

The Charles J. Connick Stained Glass Foundation, Ltd., Orin E. Skinner, Founder June, 2002
Directors and Officers
Theresa D.Cederholm    Peter Cormack (Hon.)    Judith G. Edington    Jonathan L.Fairbanks    Elizabeth B. Johnson    Robert G.Windsor    Marilyn B. Justice, President

Three publications on stained glass have recently been brought to the attention of The Connick Foundation. Below are reviews of Joan Brewster's book The Stained Glass of All Saints' and Paul Norton's book Rhode Island Stained Glass: An Historical Guide. The October 2002 newsletter will review the British Society of Master Glass Painters Journal of Stained Glass, Volume XXIV 2000 edited by Sandra Coley. - MBJ

The Stained Glass of All Saints':
All Saints' Parish Church, Peterborough, New Hampshire
Text by Joan Jessop Brewster. Photographs by William H. Gnade.
Reviewed by Lance Kasparian, A.I.A.

Guidebooks to local stained glass collections are becoming increasingly popular and in view of the work of the Connick Foundation, their numbers are bound to increase and happily so.  Within this field The Stained Glass of All Saints,' published by All Saints' Parish Peterborough, NH, with text by Joan Jessop Brewster and photographs by William H. Gnade, is an attractive addition, presenting a number of lessons for others contemplating a similar project. To begin with, the color photography of Mr. Gnade is a wonderful example of how to capture stained glass windows in pictures. Overall views and detail shots are true to the 2-dimensional format of the subject, sensitively cropped, crisply focused and without perspective distortions, making the windows more legible to the reader than is ordinarily possible to the viewer on site. This is no simple feat and how fitting for a book. Even more satisfying are the 
St. Nicholas of Myra
The lower panel of Saint Nicholas
shows "a bright green Christmas tree alive with candles. Tiny figures of boys, girls, trees, … are scattered through out the diamond shapes of white and blue background lending a spirit of spirit of love and delight." *
architectural views which depict space, light and color in images of radiant glass surrounded by colored reflections on textured stucco and stonework and polished woods and metals all framed by the shadows of architectural forms and flickering tapers.  Perhaps an emphasis on identifying sacred images and recounting biblical narratives is obligatory given the religious mission of the Parish. But, Ms. Brewster has not missed important relationships between iconography and liturgical functions, window positions and cardinal orientations, not to mention the influence of patrons, artists and architect.   Often these details are revealed in anecdotes from the history of individual window commissions taken directly from the Connick studio archive.  Biographies of artists and patrons are also a useful feature, though necessarily brief in this context.  All of this enhances immeasurably the visitor experience and understanding of All Saints Peterborough.  Perhaps the most intriguing historical incident related by Ms. Brewster concerns the complaint by stained glass artist Margaret Redmond, that her work was dismissed by Ralph Adams Cram "on the grounds that a woman's place was in the home."  Details of this sort point to the importance of a footnote and bibliography for the more inquisitive reader. Indeed, Margaret Redmond (1867-1948),  who was associated with Connick 
early in her career and later opened a stained glass studio of her own in the Back Bay is largely forgotten today.  Despite the beautiful full-page illustration of her window Isaiah the Prophet, at All Saints, she is unfortunately not recognized by a biographical entry in this book. But the historical record of American stained glass is only now just emerging from local archives and the studio records and personal papers of figures such as Charles Connick, Margaret Redmond and their patrons. It is through research and publications such as The Stained Glass of All Saints' that we should look for the history of American stained glass to emerge gradually and come to light.

Lance Kasparian is an architect and historian who has researched American stained glass for over twenty years.  He kindly contributed a review of Peter Cormack's book The Stained Glass Work of Christopher Whall (1849-1924): ‘Aglow with Brave Resplendent Colour.’ for our October 2000 newsletter.

The Stained Glass of All Saints' published in 2001 contains 56 pages paperbound. It can be ordered by mail from All Saints' Parish, 51 Concord Street, Peterborough, NH 03458 for $15.00 per copy plus $3.50 shipping.

Saint Cecilia, patron of music. One of four woman saints in lantern windows in the bell tower, All Saints' Church, Peterborough, NH. *
* Quotation by Joan Jessop Brewster from The Stained Glass of All Saints'. Both photographs copyright by William H. Gnade, reproduced by permission. 
British scholar and honorary director of The Connick Foundation, Peter Cormack will present a slide lecture "Playing with Fire: the Stained Glass of Charles J. Connick" on June 20th in Boston at New York University's conference (June 19-23) Sources and Inspiration: Boston as a Beacon for the American Arts and Crafts Movement.
Please address questions, comments and/or gifts to Marilyn B. Justice, President, at The Connick Foundation.
Rhode Island Stained Glass: An Historical Guide
By Paul F. Norton
Reviewed by Noreen O’Gara

Paul Norton’s survey of stained glass in public buildings in Rhode Island is the first of its kind and may prove to be a model for future publications.  This compact book is well organized and easy to use. The first section contains an alphabetical list of towns and individual buildings. Each annotation contains the name of the building, religious affiliation, street address, architect, and date of construction if known.  The author includes schematic designs indicating the location of specific windows for many of the churches described in his guide.  In addition to discussing iconography and style Norton makes informed attributions wherever possible.  For example, he says the Angel appearing to a Shepherd at Grace Episcopal in Providence “rightly belongs to Tiffany, even though no signature appears.” Moreover, Professor Norton never hesitates to comment on the quality of the glazing before him - the viewer, he says, may “see Connick at his best and … share his love for glass of the Middle Ages” at the Church of the Redeemer in Providence.

The second part of the book is a register of stained glass artists and studios whose work is represented in Rhode Island. Professor Norton does his best to provide valuable information on the famous (Tiffany), the prolific (Connick), and the obscure (Alphonse and Earnest Friedrick).  Small black and white illustrations appear throughout the text and there is a nice selection of thirty-two color plates representing more than 125 years of the art of stained glass. Although Norton provides a bibliography and glossary I was disappointed by the lack of references to specific print or archival sources.

Noreen O'Gara works as the young adult and reference librarian at the Bedford Free Library, Bedford, MA. Her previous contribution to Connick Windows appeared in the February, 2002 issue.

Rhode Island Stained Glass: An Historical Guide published in 2001 by William L. Bauhan, Inc., 224 pages, is available at bookstores: hardcover for $32.50 and paperback for $27.50.

Connick Windows

"I want to make beautiful interiors for both churches and souls

I want...[all people] to hear my windows singing..."

Charles J. Connick

One definition of Window is "a means of obtaining information". Our newsletter will keep you informed of the Foundation's activities, the Connick
Collection in the Fine Arts Department of the Boston Public Library, and Connick news around the country.

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