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Saint Joseph's Yorkville Catholic Church Saint Joseph’s Church Yorkville is a Catholic church on 87th Street near 6th Avenue in Manhattan. The church was started in the 1800s to serve the growing German population in the area on the Upper East Side known as Yorkville. Between 1820 and 1880 thousands of German and Irish immigrants arrived in New York City to escape civil unrest, persecution, and repeated failure of the potato crop, according to the Saint Joseph website. Many of the Germans settled in a section of New York east of the Bowery extending from Houston Street to 12th Street, what became known as Little Germany. At one church, Fathers tended to 10,000 German Catholics who came to Mass every Sunday. To respond to the needs, the priests built an orphan asylum uptown in Yorkville where the open fields, woodlands, and clean air provided a proper environment for orphan children. The parish church had its beginnings at the chapel of Saint Joseph’s Asylum, located on 89th Street and York Avenue. After the Civil War, many German families sought more pleasant neighborhoods and many moved to Yorkville, which was located between 59th and 96 Streets on what is now the Upper East Side. The growing numbers overwhelmed the primary church at the time, Saint Lawrence O’Toole (now Saint Ignatius Loyola). As a result, a delegation went to the Jesuit Fathers at Saint Lawrence to request a German-speaking priest to start their own parish. This request was approved and in 1874, the first Saint Joseph’s Church was dedicated. For the next 20 years, the church was the center for German and Irish families in Yorkville. A school was opened in 1880 to accommodate 500 children. Saint Joseph’s was known as the uptown church for German-speaking Catholics as many moved to the area to have their children attend the school. To accommodate the growing church members, plans were made for a new church on East 87th Street. In 1895, the present church was dedicated. The church was designed by William Schickel & Company and included a Müller & Abel organ. Schickel’s firm designed Saint Ignatius Loyola church on Park Avenue and 86th Street. Eighty years ago, there were 12 German Catholic churches in Manhattan, 9 in Brooklyn, 5 in the Bronx, and one each in Queens and on Staten Island. Today, only St. Matthias in Ridgewood, Queens still offers a weekly Mass in German due to the declining German population. At Saint Joseph’s, one Mass is celebrated in German each month, according to a New York Times article. The article focused on the changing demographics of the area in light of German-born Pope Benedict’s visit to the church in 2008. It also mentions that after World War II, Mayor Robert F. Wagner and other mayors worshiped at Saint Joseph’s.
Saint Antonio Statue in San Antonio, Texas In 1691, a group of Spanish explorers and missionaries came upon the river and Native American settlement on June 13, the feast day of St. Anthony of Padua from Lisbon, Portugal, and named the place and river "San Antonio" in his honor.
St. Anthony of Padua.
St. Anthony of Padua.
Saint John the Divine Armed Forces Bay Stained Glass Window by Ernest Lakeman The lancets show scenes from famous battles.
Saint John the Divine American History Bay Stained Glass Window by Ernest Lakeman The lancets depict figures and events of significance in American history.
Saint John the Divine Armed Forces Bay Stained Glass Window by Ernest Lakeman The lancets show scenes from famous battles.
Saint John the Divine Medical Bay Stained Glass Window by Reynolds, Francise, and Rhonstock (1936) From material from the church: "The rosette shows the triumphant Christ on a foliated cross, with angels on either side. The lancets depict the healing miracles of Christ along with the history of medicine." I couldn't find much information on Reynolds, Francise, and Rhonstock except that Joseph G. Reynolds worked with Connick before founding the firm in 1923.
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. 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.
Saint John the Divine American History Bay Stained Glass Window by Ernest Lakeman

The lancets depict figures and events of significance in American history.
Saint John the Divine American History Bay Stained Glass Window by Ernest Lakeman The lancets depict figures and events of significance in American history.
Saint John the Divine American History Bay Stained Glass Window by Ernest Lakeman

The lancets depict figures and events of significance in American history.
See photo in original gallery.
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