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  2. Houses of Worship
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Saint James' Church

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Saint James’ Church Saint James’ Church is a beautiful, historic Episcopal church located at 71st and Madison Avenue in Manhattan. Unless otherwise noted, material in this gallery comes from a pamphlet available at the church: “A Self-Guided Walking Tour.” “The history of St. James’ Church has been marked by three major themes: neighborhood, mission, and leadership. St. James’ was founded in 1810 as a summer chapel at what is now the southeast corner of 69th Street and Lexington Avenue and has remained a constant in an ever-developing neighborhood. Early rectors of St. James’ were actively involved in mission work in Yorkville, in Manhattanville, and in Washington Heights. In 1869 a new church was constructed on East 72nd Street and the church continued its outreach with a mission near Third Avenue. In 1884 a larger church was opened at the present site on 71st and Madison Avenue. A 1924 remodeling by Ralph Adams Cram created the church building that generations of worshippers now call home. In the 1970s St. James’ began mission efforts in Harlem and internationally. The parish sponsored Carol Anderson, who in 1977 was ordained at St. James’ Church as the first woman priest in the Diocese of New York, setting a prominent example for the national Church. In the 1980s St. James’ extended outreach to Africa, supported Bishop Desmond Tutu against apartheid, and supported peace efforts in Northern Ireland. The parish now maintains worship and working relationships with Malawi and Haiti in addition to Southern Africa. In partnership with East Side religious and social service organizations, St. James’ provides assistance to the homeless and others in need. In 1996, St. James’ called as rector the Rev. Brenda Husson, the first woman chosen to lead a parish of such prominence in the diocese. Under her leadership the parish has expanded its worship, music, mission and Christian formation activities in a fully renovated church and parish house, and celebrates its faithful past and unlimited future. History of the Church Buildings The First Church Building (1810-1869) “Consecrated on May 17, 1810, the first church building was located on Hamilton Square (at the corner of present-day Lexington Avenue ad 69th Street). The building was a simple wooden structure with a capacity to hold perhaps up to 200 people, with double doors opening to the north beneath a tall bell tower. The Second Church Building (1869-1884) When the city eliminated Hamilton Square from the street grid, the old church building was in the path of Lexington Avenue. The new church building, designed by James Renwick (KB note-Renwick also designed Saint Patrick’s Cathedral) was constructed in the Victorian Gothic style on 72nd Street between Lexington and Third Avenues. Due to the limited resources of the growing parish, this structure was considered to be a temporary home. The Third Church Building-First Version (1884-1924) When the city continued to move northward and the parish and its resources has sufficiently grown, Robert H. Robertson was engaged to design a new church for St. James’ at the present 71st Street and Madison Avenue location. The brownstone exterior was executed in the Romanesque style with its main entrance on 71st Street. The interior of the church was oriented toward the west with the high altar in an apse situated on Madison Avenue. There were tall, narrow windows over the altar and all the side windows were smaller and shorter than those currently in place. The nave ended where the current chancel steps begin. Heavy beams in the ceiling were adorned with large carved angels at their ends. The Third Church Building-Second Version (1924-present) Having acquired land immediately to the east of the church building, the vestry wished to enlarge the existing structure to accommodate a larger congregation and change the principal entrance from 71st Street to Madison Avenue. Ralph Adams Cram, one of the great Gothic Revival architects, was engaged to substantially alter the original Robertson design, incorporating only the floor, walls and roof and adding a chancel on the newly-available eastern lots. The Madison Avenue apse was demolished to make way for the new entrance. The rusticated brownstone exterior walls were smoothed. The side walls were raised and the aisle roofs were made almost flat to accommodate higher, wider aisle windows. The original interior support columns were substantially filled out to give the effect of true Gothic supports. With the use of arches and applied columns and the addition of the new north-side chapel, Cram created the illusion of a cruciform transept. Most of the stained glass windows from the Robertson structure were removed and stored, sold or given away and replaced by windows executed by various stained glass studios under Cram’s direction. In 1926 a Cram-designed square top to the bell tower was installed and subsequently replaced by the current spire, designed by Richard A. Kimbell in 1950. The current parish house was erected in 1938 and extensively renovated in 2003. In 1983 the chancel floor space was enlarged by the removal of two choir stalls, allowing greater flexibility in the worship space’s used. From 2002 through 2003, the original 1884 joisted masonry structure of the sanctuary floor was replaced by steel beams and resurfaced with stone and marble. The new columbarium was built in the base of the bell tower and dedicated in 2005.” <br><br> According to <a href="http://en.wikipedia.org/wiki/Ralph_Adams_Cram">Wikipedia, </a> Cram (1863-1942) was an influential American architect of collegiate and ecclesiastical buildings, generally in the Gothic style. He had a dramatic conversion experience during a Christmas Eve mass in Rome in 1887; he practiced as a fervent Anglo-Catholic who identified as High Church Anglican, according to Wikipedia. <br><br> Cram and business partner Charles Wentworth started their architectural business in Boston in 1889. Bertram Goodhue joined the firm in 1892 to form Cram, Wentworth and Goodhue. Wentworth died in 1897 and the firm’s name changed to Cram, Goodhue & Ferguson. Cram and Goodhue complimented each other’s strengths at first, but an increasingly bitter rivalry led to the dissolution of the firm in 1912. As partners, the two would sometimes provide competing plans on a commission. Goodhue left the firm and started his own firm in 1913. Cram and Ferguson continued working on major church and college commissions through the 1930s. <br><br> Cram’s major church projects include Saint John the Divine Cathedral, Saint Thomas Church, Chapel at West Point Military Academy, and Saint James’ Church. Major collegiate buildings include the West Point Military Academy, Princeton University (supervising architect), Rice University (master plan and multiple buildings), Williams, Wellesley (consulting architect), Sweet Briar, University of Richmond, and the University of Southern California. <br><br> Cram was the head of the MIT School of Architecture in the 1920s. He was a household name in the 1920s and appeared on the cover of Time magazine on December 13, 1926.
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Saint James’ Church Saint James’ Church is a beautiful, historic Episcopal church located at 71st and Madison Avenue in Manhattan. Unless otherwise noted, material in this gallery comes from a pamphlet available at the church: “A Self-Guided Walking Tour.” “The history of St. James’ Church has been marked by three major themes: neighborhood, mission, and leadership. St. James’ was founded in 1810 as a summer chapel at what is now the southeast corner of 69th Street and Lexington Avenue and has remained a constant in an ever-developing neighborhood. Early rectors of St. James’ were actively involved in mission work in Yorkville, in Manhattanville, and in Washington Heights. In 1869 a new church was constructed on East 72nd Street and the church continued its outreach with a mission near Third Avenue. In 1884 a larger church was opened at the present site on 71st and Madison Avenue. A 1924 remodeling by Ralph Adams Cram created the church building that generations of worshippers now call home. In the 1970s St. James’ began mission efforts in Harlem and internationally. The parish sponsored Carol Anderson, who in 1977 was ordained at St. James’ Church as the first woman priest in the Diocese of New York, setting a prominent example for the national Church. In the 1980s St. James’ extended outreach to Africa, supported Bishop Desmond Tutu against apartheid, and supported peace efforts in Northern Ireland. The parish now maintains worship and working relationships with Malawi and Haiti in addition to Southern Africa. In partnership with East Side religious and social service organizations, St. James’ provides assistance to the homeless and others in need. In 1996, St. James’ called as rector the Rev. Brenda Husson, the first woman chosen to lead a parish of such prominence in the diocese. Under her leadership the parish has expanded its worship, music, mission and Christian formation activities in a fully renovated church and parish house, and celebrates its faithful past and unlimited future. History of the Church Buildings The First Church Building (1810-1869) “Consecrated on May 17, 1810, the first church building was located on Hamilton Square (at the corner of present-day Lexington Avenue ad 69th Street). The building was a simple wooden structure with a capacity to hold perhaps up to 200 people, with double doors opening to the north beneath a tall bell tower. The Second Church Building (1869-1884) When the city eliminated Hamilton Square from the street grid, the old church building was in the path of Lexington Avenue. The new church building, designed by James Renwick (KB note-Renwick also designed Saint Patrick’s Cathedral) was constructed in the Victorian Gothic style on 72nd Street between Lexington and Third Avenues. Due to the limited resources of the growing parish, this structure was considered to be a temporary home. The Third Church Building-First Version (1884-1924) When the city continued to move northward and the parish and its resources has sufficiently grown, Robert H. Robertson was engaged to design a new church for St. James’ at the present 71st Street and Madison Avenue location. The brownstone exterior was executed in the Romanesque style with its main entrance on 71st Street. The interior of the church was oriented toward the west with the high altar in an apse situated on Madison Avenue. There were tall, narrow windows over the altar and all the side windows were smaller and shorter than those currently in place. The nave ended where the current chancel steps begin. Heavy beams in the ceiling were adorned with large carved angels at their ends. The Third Church Building-Second Version (1924-present) Having acquired land immediately to the east of the church building, the vestry wished to enlarge the existing structure to accommodate a larger congregation and change the principal entrance from 71st Street to Madison Avenue. Ralph Adams Cram, one of the great Gothic Revival architects, was engaged to substantially alter the original Robertson design, incorporating only the floor, walls and roof and adding a chancel on the newly-available eastern lots. The Madison Avenue apse was demolished to make way for the new entrance. The rusticated brownstone exterior walls were smoothed. The side walls were raised and the aisle roofs were made almost flat to accommodate higher, wider aisle windows. The original interior support columns were substantially filled out to give the effect of true Gothic supports. With the use of arches and applied columns and the addition of the new north-side chapel, Cram created the illusion of a cruciform transept. Most of the stained glass windows from the Robertson structure were removed and stored, sold or given away and replaced by windows executed by various stained glass studios under Cram’s direction. In 1926 a Cram-designed square top to the bell tower was installed and subsequently replaced by the current spire, designed by Richard A. Kimbell in 1950. The current parish house was erected in 1938 and extensively renovated in 2003. In 1983 the chancel floor space was enlarged by the removal of two choir stalls, allowing greater flexibility in the worship space’s used. From 2002 through 2003, the original 1884 joisted masonry structure of the sanctuary floor was replaced by steel beams and resurfaced with stone and marble. The new columbarium was built in the base of the bell tower and dedicated in 2005.”

According to Wikipedia, Cram (1863-1942) was an influential American architect of collegiate and ecclesiastical buildings, generally in the Gothic style. He had a dramatic conversion experience during a Christmas Eve mass in Rome in 1887; he practiced as a fervent Anglo-Catholic who identified as High Church Anglican, according to Wikipedia.

Cram and business partner Charles Wentworth started their architectural business in Boston in 1889. Bertram Goodhue joined the firm in 1892 to form Cram, Wentworth and Goodhue. Wentworth died in 1897 and the firm’s name changed to Cram, Goodhue & Ferguson. Cram and Goodhue complimented each other’s strengths at first, but an increasingly bitter rivalry led to the dissolution of the firm in 1912. As partners, the two would sometimes provide competing plans on a commission. Goodhue left the firm and started his own firm in 1913. Cram and Ferguson continued working on major church and college commissions through the 1930s.

Cram’s major church projects include Saint John the Divine Cathedral, Saint Thomas Church, Chapel at West Point Military Academy, and Saint James’ Church. Major collegiate buildings include the West Point Military Academy, Princeton University (supervising architect), Rice University (master plan and multiple buildings), Williams, Wellesley (consulting architect), Sweet Briar, University of Richmond, and the University of Southern California.

Cram was the head of the MIT School of Architecture in the 1920s. He was a household name in the 1920s and appeared on the cover of Time magazine on December 13, 1926.

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  • Saint James’ Church Saint James’ Church is a beautiful, historic Episcopal church located at 71st and Madison Avenue in Manhattan. Unless otherwise noted, material in this gallery comes from a pamphlet available at the church: “A Self-Guided Walking Tour.” “The history of St. James’ Church has been marked by three major themes: neighborhood, mission, and leadership. St. James’ was founded in 1810 as a summer chapel at what is now the southeast corner of 69th Street and Lexington Avenue and has remained a constant in an ever-developing neighborhood. Early rectors of St. James’ were actively involved in mission work in Yorkville, in Manhattanville, and in Washington Heights. In 1869 a new church was constructed on East 72nd Street and the church continued its outreach with a mission near Third Avenue. In 1884 a larger church was opened at the present site on 71st and Madison Avenue. A 1924 remodeling by Ralph Adams Cram created the church building that generations of worshippers now call home. In the 1970s St. James’ began mission efforts in Harlem and internationally. The parish sponsored Carol Anderson, who in 1977 was ordained at St. James’ Church as the first woman priest in the Diocese of New York, setting a prominent example for the national Church. In the 1980s St. James’ extended outreach to Africa, supported Bishop Desmond Tutu against apartheid, and supported peace efforts in Northern Ireland. The parish now maintains worship and working relationships with Malawi and Haiti in addition to Southern Africa. In partnership with East Side religious and social service organizations, St. James’ provides assistance to the homeless and others in need. In 1996, St. James’ called as rector the Rev. Brenda Husson, the first woman chosen to lead a parish of such prominence in the diocese. Under her leadership the parish has expanded its worship, music, mission and Christian formation activities in a fully renovated church and parish house, and celebrates its faithful past and unlimited future. History of the Church Buildings The First Church Building (1810-1869) “Consecrated on May 17, 1810, the first church building was located on Hamilton Square (at the corner of present-day Lexington Avenue ad 69th Street). The building was a simple wooden structure with a capacity to hold perhaps up to 200 people, with double doors opening to the north beneath a tall bell tower. The Second Church Building (1869-1884) When the city eliminated Hamilton Square from the street grid, the old church building was in the path of Lexington Avenue. The new church building, designed by James Renwick (KB note-Renwick also designed Saint Patrick’s Cathedral) was constructed in the Victorian Gothic style on 72nd Street between Lexington and Third Avenues. Due to the limited resources of the growing parish, this structure was considered to be a temporary home. The Third Church Building-First Version (1884-1924) When the city continued to move northward and the parish and its resources has sufficiently grown, Robert H. Robertson was engaged to design a new church for St. James’ at the present 71st Street and Madison Avenue location. The brownstone exterior was executed in the Romanesque style with its main entrance on 71st Street. The interior of the church was oriented toward the west with the high altar in an apse situated on Madison Avenue. There were tall, narrow windows over the altar and all the side windows were smaller and shorter than those currently in place. The nave ended where the current chancel steps begin. Heavy beams in the ceiling were adorned with large carved angels at their ends. The Third Church Building-Second Version (1924-present) Having acquired land immediately to the east of the church building, the vestry wished to enlarge the existing structure to accommodate a larger congregation and change the principal entrance from 71st Street to Madison Avenue. Ralph Adams Cram, one of the great Gothic Revival architects, was engaged to substantially alter the original Robertson design, incorporating only the floor, walls and roof and adding a chancel on the newly-available eastern lots. The Madison Avenue apse was demolished to make way for the new entrance. The rusticated brownstone exterior walls were smoothed. The side walls were raised and the aisle roofs were made almost flat to accommodate higher, wider aisle windows. The original interior support columns were substantially filled out to give the effect of true Gothic supports. With the use of arches and applied columns and the addition of the new north-side chapel, Cram created the illusion of a cruciform transept. Most of the stained glass windows from the Robertson structure were removed and stored, sold or given away and replaced by windows executed by various stained glass studios under Cram’s direction. In 1926 a Cram-designed square top to the bell tower was installed and subsequently replaced by the current spire, designed by Richard A. Kimbell in 1950. The current parish house was erected in 1938 and extensively renovated in 2003. In 1983 the chancel floor space was enlarged by the removal of two choir stalls, allowing greater flexibility in the worship space’s used. From 2002 through 2003, the original 1884 joisted masonry structure of the sanctuary floor was replaced by steel beams and resurfaced with stone and marble. The new columbarium was built in the base of the bell tower and dedicated in 2005.” <br><br> According to <a href="http://en.wikipedia.org/wiki/Ralph_Adams_Cram">Wikipedia, </a> Cram (1863-1942) was an influential American architect of collegiate and ecclesiastical buildings, generally in the Gothic style. He had a dramatic conversion experience during a Christmas Eve mass in Rome in 1887; he practiced as a fervent Anglo-Catholic who identified as High Church Anglican, according to Wikipedia. <br><br> Cram and business partner Charles Wentworth started their architectural business in Boston in 1889. Bertram Goodhue joined the firm in 1892 to form Cram, Wentworth and Goodhue. Wentworth died in 1897 and the firm’s name changed to Cram, Goodhue & Ferguson. Cram and Goodhue complimented each other’s strengths at first, but an increasingly bitter rivalry led to the dissolution of the firm in 1912. As partners, the two would sometimes provide competing plans on a commission. Goodhue left the firm and started his own firm in 1913. Cram and Ferguson continued working on major church and college commissions through the 1930s. <br><br> Cram’s major church projects include Saint John the Divine Cathedral, Saint Thomas Church, Chapel at West Point Military Academy, and Saint James’ Church. Major collegiate buildings include the West Point Military Academy, Princeton University (supervising architect), Rice University (master plan and multiple buildings), Williams, Wellesley (consulting architect), Sweet Briar, University of Richmond, and the University of Southern California. <br><br> Cram was the head of the MIT School of Architecture in the 1920s. He was a household name in the 1920s and appeared on the cover of Time magazine on December 13, 1926.
  • Saint James' Church Schoenstein & Co. Organ <br><br> Schoenstein & Co. of San Francisco built the gallery organ over the Madison Avenue entrance. The gallery organ, Opus 156, has two manuals, 15 voices, and 17 ranks and was installed in 2008. According to <a href="http://www.schoenstein.com/history.html">the Schoenstein website, </a> the company is the oldest and largest organ factory in the Western U.S. The family has been building organs for five generations. The firm started in the Black Forest of Germany in the mid-19th century with branches in Odessa, Saint Petersburg, Berlin, and Stuttgart among others. In 1868, Felix F. Schoenstein came to San Francisco representing his father and brothers. By 1877 he established his independent firm. The website lists over 60 churches in the U.S. with Schoenstein organs, with over one-third in California. Among the notable Schoenstein organs is the organ of the Conference center of The Church of Jesus Christ of Latter-day Saints in Salt Lake City, Utah completed in 2003, according to <a href="http://en.wikipedia.org/wiki/Schoenstein_%26_Co.">Wikipedia.</a> Clients of the firm include the Boston Symphony Orchestra, the Eastman School of Music, the Kennedy Center, and the Washington National Cathedral.
  • Saint James' Church Rose Window <br><br> Guthrie Studios of New York designed the rose window positioned above the grand organ. Christ is in the center. <br><br> John Gordon Guthrie (1874–1961), a Scottish immigrant, known professionally as "J. Gordon Guthrie" designed the rose window. Guthrie had first designed windows for Tiffany Studios. He left Tiffany in 1906 and worked for Duffner & Kimberly until 1914. The New York City company produced leaded glass and bronze lamps at approximately the same time as Tiffany. He then worked with Henry Wynd Young (1874–1923) until Young's death in 1923, when Guthrie took over the management of Young's studio. Guthrie began his own firm in 1925, and was active as a stained glass designer until his death on June 23, 1961, according to <a href="http://en.wikipedia.org/wiki/Duffner_and_Kimberly ">Wikipedia.</a>
  • The Saint James' Reredos<br /> <br /> Ralph Adams Cram designed the great reredos above the main altar and was carved in Boston by the firm of Irving and Casson. The polychromed figures depict Christ and many great disciples and followers, including early Christians and historic leaders of the Anglican Church. The risen CHRIST IN GLORY, at the center of the reredos, is surrounded with symbols of the four evangelists. At Christ’s feet are adoring angels and the tree of life, symbolizing the resurrection and eternal life. At the extreme left (facing the image) is Saint James the Great and at the extreme right is Saint Paul. The small figure to the above left of Christ is Irenaeus; above right is Richard Hooker (Anglican priest and an influential theologian who exerted a lasting influence on the development of the Church of England); lower left is Gregory of Nazianzus; and lower right is Clement.
  • Saint James' Church Statues Above Entrance
  • Saint James' Church Reredos<br /> <br /> "The great reredos above the main altar was designed by Ralph Adams Cram and carved in Boston by the firm of Irving and Casson. The polychromed figures depict Christ and many great disciples and followers, including early Christians and historic leaders of the Anglican Church. The risen CHRIST IN GLORY, at the center of the reredos, is surrounded with symbols of the four evangelists. At Christ’s feet are adoring angels and the tree of life, symbolizing the resurrection and eternal life. St. James the Great (the patron saint of the parish) and St. Paul are shown at Christ’s right and left. Twelve scholars of the church are arranged in four columns. The three lower panels below the main altar piece serve as a prologue to the risnen Christ above. The center panel is a dramatic rendition of the Last Supper. In the left panel, Christ calls James and John to follow him, while Zebedee calmly mends to his nets. In the right panel Saul, blinded, travels the road to Damascus on his way to become St. Paul."
  • Saint James' Church<br /> <br /> I don't know anything about this bust statue but liked it against the brilliant blue sky background.
  • Saint James' Church Stained Glass Window 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. 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 <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. 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 <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. 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 Jude, Simon, and Matthew by Henry Wynd Young Studio<br /> <br /> The bell at the bottom right hung from 1811 to 1869 in the steeple of the first Saint James' Church, in Hamilton Square, at what is now the corner of Lexington Avenue and 69th Street.<br /> <br /> Henry Wynd Young worked with John Gordon Guthrie, the artist that designed the rose window above the organ (see third photo in this gallery).
  • Saint James' Church Stained Glass Window of Thomas, Matthew, and James the Less by Charles Connick
  • Saint James' Church Stained Glass Window 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. 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."
  • Saint James' Church Stained Glass Window by Charles Connick <br><br> 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.
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