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 October, 2001
Directors and Officers: Theresa D.Cederholm    Judith G. Edington    Jonathan L.Fairbanks    Elizabeth B. Johnson    Robert G.Windsor    Marilyn B. Justice, President

Remembering the Connick Studio (1912-1986)
by Catherine Zusy

In preparation for our Connick exhibition --slated to open at the Boston University Art Gallery in 2003 and then to tour to three other venues-- The Connick Foundation organized a party on June 9, 2001 to gather reminiscences of the Studio.

As part of this process, we contacted thirteen former Studio workers and many members of workers' families. Thirty-four people, including former workers, family members of workers, historians and writers, attended the event, which was recorded on audio and video tape. We also received telephone calls and letters from eight others.

Below is a sample of recollections from a few of these folks. Each provides a glimpse of the vital Connick Studio community of dedicated craftsmen. See the photograph below.

Carl Paulson, who made Sandwich glass medallions for the Studio, 1932-1935 and 1938-1942, recalls
"Connick was pretty fussy. They [the medallions] had to be just right. So every day I listened to criticism of what I had
made the day before and after about a year Mrs. Connick asked me, 'Carl, are you getting discouraged?' And I suppose I
just said 'no,' because it was good learning. Then, all of a sudden, one week my stained glass medallions received no
more criticism. Because they needed more help at 70 Hull Street [Newtonville, MA, where Paulson worked in the
basement of Connick's house], so they sent Edgar Martin from the painting department [of the Studio] in Boston to help
me and he got all the criticisms… Later you miss criticism; it's too easy to go downhill without knowing."
Anthony Accettullo, son of Joseph Accettullo, painter at the Studio, 1922-1978, relates
"My father spoke of the Studio as if they were members of his own family.
"The most impressive thing, I think, was Connick. As a child, I think I may have been nine or ten years old when I went
up there. It was so dirty, so dark, so dusty, but the love and the warmth of those men and going into that dark room and
seeing one of those rose windows up in the light, it was just like another world."
Anthony also remembered that the Studio had many parties (none of which, alas, he had attended) and how his father - a
great gardener and cook - would bring fresh vegetables to the Studio and cook up big pots of sauce for co-workers.
Anthony also brought a copy of the essay he had written in 1938 about Connick's seminal work, Adventures in Light and
Color (Random House, NY, 1937). All the children of Studio workers were invited to submit essays for a competition.
Anthony won third honorable mention; Orin Skinner's son Charles won first prize.
Anne Piandarian, daughter of Harald Nickelsen, cartoonist, 1924-1986, remembers
"… going up to the rickety old
steps at the Studio. It was like
going into another time and
another world. ... I remember the
big hall … a grandfather clock in
the big hall in the middle, and
seeing my father's sketches and
my Uncle Ralf's [Nickelsen]
sketches. My mother and father
had met each other there ... and my
mother's father had worked there

If readers of this newsletter have
memories to share, please send
them to Cathie Zusy, Connick
Exhibition Curator, at 202
Hamilton Street, Cambridge, MA
02139, or to
These memories will be added to
the archives of The Connick

  From left to right: Tracy Rudd, Leo Cartwright, Troto Mainini, Walter Palchanis and Knute Svendsen working at the Studio. 
  Photograph by Don Bristol from The Connick Foundation collection.
Peter Cormack writes:
In the last issue of Connick Windows (June 2001), I suggested that an important essay on ‘Stained and Painted Glass’
in Volume I of the 1915 book American Churches was written by Charles J. Connick, using the pseudonym ‘George
Herbertson Charles’. As a result of researches in the Foundation’s archives, Connick’s authorship can now be
confirmed unequivocally, since a somewhat abridged version of the same essay was subsequently published under his
own name in The Ornamental Glass Bulletin (March 1922, Volume 16, No. 2, pp. 9-12). The 1915 text is therefore the
earliest substantial article on stained glass by Connick which has so far been traced.

Continued on the OVERLEAF.
The Orin E. Skinner Annual Lecture will be held Wednesday November 14, 2001 at 6:30 pm in the Rabb Lecture
Hall, Boston Public Library, Copley Square. Stained glass consultant Julie L. Sloan will lecture on the History of
Stained Glass in America. This lecture is free and open to the public.
Please address questions, comments and/or gifts to Marilyn B. Justice, President, at The Connick Foundation.

History of Stained Glass in America

The history of stained glass in the United States is older than the nation, beginning in the Dutch colony of New Amsterdam in the
17th century. The craft was not widely practiced until the Gothic Revival of the 1840s. But it was not until the Gilded Age of the late
19th century that the medium became extraordinarily popular, due to the development of opalescent glass and its successful
marketing by Tiffany Studios, combined with its widespread use in residential architecture. Following World War 1, a second Gothic
Revival, spearheaded by architect Ralph Adams Cram, created a new generation of craftspeople and a new style. The Great
Depression saw the end of this era, where the lecture closes.

Julie L. Sloan is a stained glass consultant. She has worked in stained glass for 19 years and is the author of Conservation of Stained Glass in
America and many articles on stained glass history and conservation. She is also adjunct professor of historic preservation at Columbia University,
has taught at Williams College and Rensselaer Polytechnic Institute, and has given seminars around the country. Her MS in historic preservation is
from Columbia University. Following Ms. Sloan's 18 years of research on the leaded glass of Frank Lloyd Wright she curated an exhibition and
wrote two major books on the subject, Light Screens: The Complete Leaded Glass Windows of Frank Lloyd Wright and Light Screens: The Leaded
Glass of Frank Lloyd Wright (exhibition catalog), both published by Rizzoli International (2000). Julie Sloan is currently working on books on the
stained glass of artist John La Farge and of the Prairie School, in addition to consulting on restoration of significant stained glass windows around
the country, including Princeton University and Trinity Church, Boston.

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

Saint Cecilia (1920). Center panel of gallery
window at St. Catherine of Sienna Church
Norwood, Massachusetts
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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