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  2. Houses of Worship

Charles Connick

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Saint Patrick’s Cathedral Gallery Organ and Charles Connick Rose Window <br><br> Saint Patrick’s has two organs with the Gallery Organ located below the Rose Window over the 5th Avenue entrance. According to <a href="http://www.saintpatrickscathedral.org/music_about_organs.php">the church website</a>, plans were put in place to replace the original organ in 1927. After three years of work, the Gallery Organ was dedicated in 1930. The organ is adorned with angels and Latin inscriptions. A restoration project commenced in 1993. New consoles were obtained to replace the original ones that had deteriorated. In 1994, the hand-carved organ façade was cleaned, repaired, and oiled. The entire restoration was completed in 1995. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
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Saint Patrick’s Cathedral Gallery Organ and Charles Connick Rose Window

Saint Patrick’s has two organs with the Gallery Organ located below the Rose Window over the 5th Avenue entrance. According to the church website, plans were put in place to replace the original organ in 1927. After three years of work, the Gallery Organ was dedicated in 1930. The organ is adorned with angels and Latin inscriptions. A restoration project commenced in 1993. New consoles were obtained to replace the original ones that had deteriorated. In 1994, the hand-carved organ façade was cleaned, repaired, and oiled. The entire restoration was completed in 1995.

Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings.

According to Wikipedia, “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.”

According to the Charles J. Connick Stained Glass Foundation website “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.”

The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the foundation website “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.”

Here is an interesting video from the Massachusetts Institute of Technology on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.

churchcathedralphotostained glassSaint Patrick's CathedralSt Patrick'sorganKent Beckernot my day job photographyNew YorkCatholic

  • Saint Patrick’s Cathedral Gallery Organ and Charles Connick Rose Window <br><br> Saint Patrick’s has two organs with the Gallery Organ located below the Rose Window over the 5th Avenue entrance. According to <a href="http://www.saintpatrickscathedral.org/music_about_organs.php">the church website</a>, plans were put in place to replace the original organ in 1927. After three years of work, the Gallery Organ was dedicated in 1930. The organ is adorned with angels and Latin inscriptions. A restoration project commenced in 1993. New consoles were obtained to replace the original ones that had deteriorated. In 1994, the hand-carved organ façade was cleaned, repaired, and oiled. The entire restoration was completed in 1995. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick <br><br> Charles Connick designed this window depicting the Annunciation and the Adoration of the Magi. <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick Charles Connick designed this window depicting Saint James the Great, the patron saint of the parish. <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick Charles Connick designed this window depicting Saint Thomas. <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick Charles Connick designed this window depicting Saint John. <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window of Thomas, Matthew, and James the Less by Charles Connick <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick The south window was designed by Charles Connick and depicts scenes of Christ's life with the apostles. I love the rich blue, purple, and red colors in the window. This panel reads "Follow Me And I Will Make You Fishers of Men." <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint James' Church Stained Glass Window by Charles Connick The south window was designed by Charles Connick and depicts scenes of Christ's life with the apostles. I love to deep, rich blue, purple, and red colors in the window. This panel reads "He That Receiveth You Receiveth Me." <br><br> Connick (1875-1945) produced most of the spectacular stained glass windows in the church. Connick was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. <br><br> Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Cathedral of Saint John the Divine Rose Window by Charles Connick <br><br> This is the West Rose window above the front entrance. According to information from the church, Charles Connick designed the Great Rose Window at the top in 1933. It depicts Christ in Glory, surrounded by angels, beatitudes, the four evangelists (Matthew, Mark, Luke, John), the prophets (Isaiah, Jeremiah, Daniel, and Ezekiel), Divine Love, Seraphim, and Divine Wisdom: Cherubim. <br><br> The Lower Rose window is also by Connick in 1933. "The seven points of the star are derived from the Revelation of St. John. In the center is Our Lords Monogram, IHS, the first three letters of Jesus in Greek, surrounded by seven fountains, seven vines, seven pairs of doves and seven stars." <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection. <br><br> This shot is captured with a focal length of 16mm. This is an HDR combining three exposures (-2, 0, 2) ranging in duration from 2 seconds to 30 seconds at f8, 100 ISO.
  • Cathedral of Saint John the Divine Rose Window by Charles Connick Similar to the previous photo, this is a tighter shot of the West Rose window above the front entrance. According to information from the church, Charles Connick designed the Great Rose Window at the top in 1933. It depicts Christ in Glory, surrounded by angels, beatitudes, the four evangelists (Matthew, Mark, Luke, John), the prophets (Isaiah, Jeremiah, Daniel, and Ezekiel), Divine Love, Seraphim, and Divine Wisdom: Cherubim. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection. This was captured with a focal length of 27mm. This is an HDR combining three exposures (-2, 0, 2) ranging in duration from 2 seconds to 30 seconds at f8, 100 ISO.
  • Saint John the Divine Great Rose Window by Charles Connick (1933) According to material from the church, Charles Connick designed the Great Rose Window in 1933. "Christ is surrounded by angels, beatitudes, the four evangelists (Matthew, Mark, Luke, John), the prophets (Isiah, Jeremiah, Daniel and Ezekiel), Divine Love, Seraphim and Divine Wisdom: Cherubim." This is one of the first photos I took with a long telephoto lens, a Canon 70-200 f4 USM. My work up to that point was with much wider angle lenses, 10-22mm or 17-55mm, which provides a nice overall view of a window. However, I wanted a much closer perspective, tight enough to see the artist's detail of the work. Considering the 1.6X crop factor, this was shot at 290mm. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint John the Divine Great Rose Window by Charles Connick (1933) According to material from the church, Charles Connick designed the Great Rose Window in 1933. "Christ is surrounded by angels, beatitudes, the four evangelists (Matthew, Mark, Luke, John), the prophets (Isiah, Jeremiah, Daniel and Ezekiel), Divine Love, Seraphim and Divine Wisdom: Cherubim." This is one of the first photos I took with a long telephoto lens, a Canon 70-200 f4 USM. My work up to that point was with much wider angle lenses, 10-22mm or 17-55mm, which provides a nice overall view of a window. However, I wanted a much closer perspective, tight enough to see the artist's detail of the work. Considering the 1.6X crop factor, this was shot at 112mm. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint John the Divine Lesser Rose Window by Charles Connick (1933) <br><br> According to material from the church, Charles Connick designed the Great Rose Window in 1933. "The seven points of the star are derived from the Revelation of St. John. Int the center is Our Lords Monogram, IHS, the first three letters of Jesus in Greek, surrounded by seven fountains, seven vines, seven pairs of doves, and seven stars." <br><br> This is one of the first photos I took with a long telephoto lens, a Canon 70-200 f4 USM. My work up to that point was with much wider angle lenses, 10-22mm or 17-55mm, which provides a nice overall view of a window. However, I wanted a much closer perspective, tight enough to see the artist's detail of the work. Considering the 1.6X crop factor, this was shot at 300mm. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint Vincent Ferrer Pipe Organ by Schantz Organ Company and Western Rose Window by Charles Connick <br><br> The pipe organs at the church were constructed by the Schantz Organ Company of Orrville, Ohio. In all, the two organs consist of 86 ranks of pipes. The gallery organ was installed in 2002 and has 68 ranks of pipes over five divisions. <a href="http://www.nytimes.com/2002/06/22/arts/another-jewel-in-new-york-s-crown-of-organs.html">The New York Times </a> hailed it as another jewel in the crown of New York organs. <a href="http://www.nycago.org/Organs/NYC/html/StVincentFerrer.html">NYCAGO</a> for more detail on the organ.
  • Great Western Window of Saint Raymond of Penafort by Charles Connick <br><br> The Great Western Window at Saint Vincent Ferrer is beautiful, dominated by deep shades of blue and purple. Charles Connick designed the window along with the other windows in the church. The center of the window is a depiction of Saint Raymond of Penafort (1175-1275). According to <a href="http://en.wikipedia.org/wiki/Raymond_of_Penyafort"> Wikipedia, </a> Raymond was a Catalan Dominican friar in the 13th-century, who compiled the Decretals of Gregory IX, a collection of canon laws that remained a major part of Church law until the 20th century. He is honored as a saint in the Catholic Church and is the patron saint of lawyers, especially canon lawyers. <br><br> He was educated in Barcelona and at the University of Bologna, where he received doctorates in both civil and canon law. From 1195 to 1210, he taught canon law. In 1210, he moved to Bologna, where he remained until 1222, including three years occupying the Chair of canon law at the university. He came to know the newly-founded Dominican Order there and entered it in 1216, at age 41. <br><br> Raymond was instrumental in the founding of the Mercedarian friars in 1218. <br><br> Raymond died at the age of 100 in Barcelona in 1275 and was canonized by Pope Clement VIII in the year 1601. He was buried in Barcelona. <br><br> From the <a href="http://www.csvf.org/Architecture-M.html">church website: </a> <br><br> “The dominant theme of the great Rose Window is “the whole company of heaven, and all the powers therein,” marshaled under the nine choirs of angels. In medieval angelology, there were nine orders of angels: Angels, Archangels, Powers, Thrones, Dominations, Principalities, Virtues, Cherubim, and Seraphim. Orders are grouped around figures of saintly and celebrated Dominicans who serve as the representatives on earth of the distinctive spiritual qualities symbolized by the various members of the angelic choir. <br><br> The Great Western Window was made by the master craftsman Charles Connick, who worked under the direction of Bertram Goodhue, the architect of the church. <br><br> St. Raymond of Penafort, the counsellor to the King of Aragon, surrounded by the Principalities, who are sent by God to protect earthly rulers.” <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint Vincent Ferrer Saint Raymond of Penafort Stained Glass Window by Charles Connick <br><br> <a href="http://www.csvf.org/Architecture-N.html">The church website</a> provides substantial panel-by-panel detail on the windows in the church. This beautiful window caught my eye, the Raymond of Penafort window. At the top center is Saint Raymond of Penafort. From the church website: “St. Raymond of Penafort (1175-1275) holds his traditional symbols – a key and book. The key represents St. Raymond’s priestly power to judge and absolve sin, which he exercised in a particular way as Pope Gregory IX’s confessor and Grand Penitentiary. The books represents St. Raymond’s own work, the Decretals, in which he collected and codified in one place the disparate canons and laws of the Church. The Decretals remains one of the most influential works of canon law in the history of the Church.” <br><br> The figure at the top right is St. Jean-Baptiste Marie Vianney, known popularly as the ‘Curé d’Ars’. He stands wearing the dark purple stole of the confessional with a penitent at his feet. <br><br> At the top left is Saint Peter Nolasco. “St. Peter Nolasco (1189-1256) was tutor to the Royal Court of Peter of Aragon. Because of his concern for Christians enslaved by the Moors, he devoted his life to the freeing the Christians and converting the Moors. St. Raymond of Penafort was also interested in this work of evangelization. St. Peter is portrayed here with the habit of the Mercedarians, the Order he founded. The badge of the Order can be seen on his chest. Around his neck are the broken chains of a ransomed Christian. A freed captive is kneeling at his feet.” <br><br> See the church website for much more detail. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • The Great Western Rose Stained Glass Window by Charles Connick <br><br> <a href="http://www.csvf.org/Architecture-M.html">The church website</a> provides a very detailed description of the Great Western Rose Stained Glass Window by Charles Connick. I copied material from the website describing the individual panels. The first part starts at the left circle in the middle of the photo and goes from left to right. <br><br> At the bottom are the 15 Mysteries of the Rosary: <br><br> The Glorious Mysteries start on the left: 1) The Resurrection – Jesus conquers death by rising to a new and more glorious life. 2) The Ascension – Jesus ascends to the Father. 3) The Descent of the Holy Spirit – The Holy Spirit comes down upon the disciples and Mary at Pentecost. 4) The Assumption of Mary – The Mother of God is taken up, body and soul, to heaven. 5) The Coronation of Mary – Mary is given a share in Christ’s sovereignty over all things. <br><br> In the middle tier are the Sorrowful Mysteries, from left to right: 6) The Agony in the Garden – Jesus sweats blood as he prepares to accept his death on the cross. 7) The Scourging of Jesus at the Pillar – Jesus’ body is whipped and beaten. 8) The Crowning with Thorns – Jesus is cruelly mocked and humiliated by soldiers who crown him with thorns and bow before him. 9) The Carrying of the Cross – Jesus hauls the wood on which he will die to Calvary. 10) The Crucifixion – Jesus is nailed to the cross and dies for our sins. <br><br> On the bottom, from left to right, are the five Joyful Mysteries: <br><br> 11) The Annunciation – Mary humbly accepts the call delivered by the angel to be the mother of the Savior. 12) The Visitation – Mary is recognized as mother of the Savior by her cousin Elizabeth. 13) The Nativity – Jesus is born. 14) The Presentation of the Lord – Jesus is presented in the Temple and prophecies are made about the path of his life. 15) The Finding of Jesus in the Temple – The wisdom and knowledge of Jesus are manifested as he teaches the Temple elders. <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Great Western Window of Saint Raymond of Penafort by Charles Connick <br><br> The Great Western Window at Saint Vincent Ferrer is beautiful, dominated by deep shades of blue. Charles Connick designed the window along with the other windows in the church. The lower center of the window is a depiction of Saint Dominic (1170-1221). According to <a href="http://en.wikipedia.org/wiki/Saint_Dominic "> Wikipedia, </a> Saint Dominic was a Spanish priest and founder of the Dominican Order. Dominic is the patron saint of astronomers. <br><br> From the <a href="http://www.csvf.org/Architecture-M.html">church website: </a> <br><br> “The dominant theme of the great Rose Window is “the whole company of heaven, and all the powers therein,” marshaled under the nine choirs of angels. In medieval angelology, there were nine orders of angels: Angels, Archangels, Powers, Thrones, Dominations, Principalities, Virtues, Cherubim, and Seraphim. Orders are grouped around figures of saintly and celebrated Dominicans who serve as the representatives on earth of the distinctive spiritual qualities symbolized by the various members of the angelic choir. <br><br> The Great Western Window was made by the master craftsman Charles Connick, who worked under the direction of Bertram Goodhue, the architect of the church. <br><br> St. Dominic, surrounded by the Seraphim, whose name in Hebrew means ‘the burning ones.’ The Seraphim burn mostly brightly as those angels closest to God. A dream of his mother, Bl. Jane of Aza, foretold that Dominic would ignite the world on fire with his preaching.” <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
  • Saint Vincent Ferrer Saint Rose of Lima Stained Glass Window by Charles Connick <br><br> <a href="http://www.csvf.org/Architecture-S.html">The church website</a> provides substantial panel-by-panel detail on the windows in the church. This beautiful window caught my eye, the Saint Rose of Lima window. At the upper center is Rose of Lima. From the church website: “Rose of Lima is portrayed attired in the habit of the Third Order of St. Dominic. She carries a crucifix and a lily, and a padlocked chain sits around her waist. She wore it as a penance. At her mother’s request, her confessor forbade her to continue this practice. Rose then made a girdle of the chain, drew it around her waist and fastened it with a lock. She threw away the key because she was afraid she would be tempted to remove the chain. Above her is the Christ Child surrounded by roses. A devil stands at her feet.” The figure at the upper right is Blessed Imelda Lambertine. From the website: “Bl. Imelda Lambertini is the patroness of First Communicants. She wears the veil of the Second Order and points to the symbol of the Blessed Sacrament in her heart. At her feet is a symbol of Calvary, which she erected in a corner of her garden and surrounded with flowers.” At the upper left is Blessed Jane of Portugal. She stands “…wearing the veil of the Second Order. At her feet are the Arms of Portugal with five small shields.” <br><br> Charles Connick (1875–1945) was a prominent artist best known for his work in stained glass in the Gothic Revival style. He was born in Crawford Country, Pennsylvania and developed an interest in drawing at an early age. He left high school when his father became disabled to become an illustrator on the staff of the Pittsburgh Press. At the age of 19, he learned the art of stained glass as an apprentice in the shop of Rudy Brothers in Pittsburgh, where he stayed through 1899. He worked for a number of stained glass companies in Pittsburgh and New York. He went to England and France to study ancient and modern stained glass, including those in the Chartres Cathedral. His first major work was First Baptist Church in Pittsburgh in 1912. Connick settled in Boston opening a stained glass studio in Back Bay in 1913; the Charles J. Connick Associates Studio continued to operate after his death until 1986. He produced many notable windows in such churches as Saint Patrick’s Cathedral, Saint John the Divine, the Princeton University Chapel, and Saint Vincent Ferrer. According to Wikipedia, the Charles J. Connick Associates Studio produced some 15,000 windows in more than 5,000 churches and public buildings. <br><br> According to <a href="http://en.wikipedia.org/wiki/Charles_Connick">Wikipedia, </a> “Connick preferred to use clear "antique" glass, similar to that of the Middle Ages and praised this type of glass as "colored radiance, with the lustre, intensity, and baffling vibrant quality of dancing lights." He employed a technique of "staggered" solder-joints in his leading and bars, which English stained-glass historian Peter Cormack says gives the windows their "syncopated or 'swinging' character." His style incorporated a strong interest in symbolism as well. Connick expressed the opinion that stained glass's first job was to serve the architectural effect and he believed that his greatest contribution to glasswork was "rescuing it from the abysmal depth of opalescent picture windows" of the sort popularized by Louis Comfort Tiffany and John La Farge. Although firmly committed to a regenerated handicraft tradition, Connick welcomed innovation and experimentation in design and technique among his co-workers at his studio.” <br><br> According to the <a href="http://www.cjconnick.org/">Charles J. Connick Stained Glass Foundation website</a> “Using pure, intense color and strong linear design, this guild of artists led the modern revitalization of medieval stained glass craftsmanship in the United States. Their work reflected a strong interest in symbolism in design and color, and stressed the importance of the relationship between the window’s design and its surrounding architecture. As if with one mind and one pair of hands, the craftsmen in the Connick Studio worked collectively on their windows like the 12th- and 13th- century artisans whose craft inspired them.” <br><br> The Charles J. Connick Stained Glass Foundation was formed after the studio closed in 1986. According to the <a href="http://www.cjconnick.org/">foundation website</a> “The mission of the Charles J. Connick Stained Glass Foundation, Ltd. is to promote the true understanding of the glorious medium of color and light and to preserve and perpetuate the Connick tradition of stained glass.” <br><br> Here is an interesting <a href="http://video.mit.edu/watch/charles-j-connick-and-mit-10153/">video from the Massachusetts Institute of Technology</a> on Connick. In December 2008, the foundation donated materials to the MIT’s Rotch Library of Architecture and Planning to form the Charles J. Connick Stained Glass Foundation Collection.
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