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NOTES respondence, July 9, 1984. Although it is unsigned side a stunning window by Cottier. and its original location is unknown, the window de­ 27. When John Wanamaker ofPhiladelphia had his I. "Costly Tints in ," Boston Herald [date un­ scended in Cottier's family. Its yellow silver-stain department store, the Grand Depot, rebuilt in 1885, known], Doc. 20:7, Corning Museum of Glass Li­ quarries of conventionalized plants also appear on he had two stained-glass windows installed, one de­ brary, N.Y. another Cottier window made in memory of Watts picting Robert Morris, the other depicting Stephen 2. For example, Alfred Godwin and Company, Sherman II for .Saint John's Episcopal in Girard, both notable Philadelphia bankers; see Her­ J. and G. H. Gibson, Gillinder and Sons, and R. S. Canandaigua, N.Y. It is probable that that window, bert Adams Gibbons, John Wanamaker (New York, Groves and Steil are but four stained-glass signed Cottier I New York and depicting I926), p. 235. I am grateful to William R. Leach, active in Philadelphia in the 188os. A surviving figural panels after John Everett Millais's Parables of New York Institute for the Humanities, New York Groves and Steil catalogue illustrates many patterns Our Lord (one of Millais's illustrations originally University, for bringing this to my attention. published in the magazine Good Words [r863] and that clearly demonstrate reliance on contemporary 28. Charles Locke Eastlake, quoted in "Painted then issued in volume form by the Dalzell Brothers English ; see R. S. Groves and Steil, Glass in Household Decoration," Crockery and Glass [r864]), was ordered by William Watts Sherman in Catalogue of Art Stained Glass: Groups, Figures, Orna­ Journal 10 (Oct. 2, I879), p. 19. memory of his father. I am grateful to Helen Zakin mental, Geometric, and Plain Windows for Churches and 29. Riordan, "Use of Stained Glass," p. r 30. Dwellings (Philadelphia, I888), microfilm in the for bringing the Canandaigua window to my atten­ Corning Museum of Glass Library, N.Y., original at tion. Cottier may have been introduced to W. Watts 30. "Stained Glass in ," Crockery and Glass Eleutherian Mills Historical Library, Wilmington, Sherman through H. H. Richardson, who designed Journal I6 (Nov. 23, I882), p. 18. Del. In Cincinnati William Coulter and Sons were W Watts Sherman's Newport in I874-75. 3 I. Donald G. Mitchell, "Industrial and Architec­ advertising by I886; see "Stained Glass Art Works," John La Farge supplied a six-panel window (see FIG. tural Designs; Interior Decorations; Artistic Hard­ Art Amateur 8 (Aug. I 886), p. I 56. Berry and Com­ 6.5) for the entrance of the house in about 1877. ware; Mosaics; Inlaid-Work in and Metal; pany and Glenny Brothers and Sutter were two of I 5. Donnelly, Glasgow Stained Glass, p. r r. Stained Glass," in "General Report of the Judges of the leading firms in Saint Louis who offered to exe­ 16. "The Metropolis Today" [unknown source], Group 27," in U.S. Centennial Commission, Inter­ cute ornamental glass; see "St. Louis Trade Reports," p. 283, photocopy in the scholarship files, Depart­ national Exhibition, 1876: Reports and Awards, 9 vols. Crockery and Glass Journal r I (May 20, I88o), p. I2. ment of American Decorative Arts, The Metropoli­ (Washington, D.C., I88o), val. 7, p. 651. For stained glass in Chicago in the I 87os and I 88os, tan Museum of Art, New York. 32. Booth, Hints on Church and Domestic Windows, see Sharon S. Darling, Chicago and Glass 17. Clarence Cook, "Recent Church Decoration," p. 19. (Chicago, I979), pp. I01-I9. For stained glass in Scribner's Monthly 15 (Feb. 1878), p. 571. In a March 33. Mary Gay Humphreys, "Colored Glass for Denver, Col., see Carolyn C. Stark, "Stained Glass I878 letter to Stanford White, Augustus Saint-Gau­ Decoration," Art Amateur 5 (June I88r), in the Denver Area" (M.A. thesis, University of dens wrote: "I don't think, or at least I don't see, p. I5 .. Denver, I970). what La Farge would have done without him [Cot­ 34· Ibid. 3. "America's Stained-Glass Interest," American tier] in the mixing of colors, direction of men, &c. 35. Ibid., p. 14. Architect and News I5 (May 17, I884), &c., and all the practical part"; see Homer Saint­ p. 235· Gaudens, ed., The Reminiscences of Augustus Saint­ 36. Ibid., p. I5. 4· Roger Riordan, "The Use of Stained Glass," Gaudens, 2 vols. (New York, 19I3), vol. I, p. 257. 37· Ibid. Art Amateur 12 (May I885), p. 130. 18. The windows depict the following subjects: 38. ": Green Memorial Alcove," Art 5. International Exhibition of I 862, The Illustrated The Sower and the Reaper, The Five Wise Virgins, Interchange I (Nov. 13, I878), p. 39. There is no such Catalogue of the Industrial Department, British Division The Angel Troubling the Pool, and Storm on the window in the New York Society Library today. The Class 34, 4 vols. (London, I862), vol. 2, p. 67. Lake; see Edgar D. Romig, The Story of Trinity present location of the Cottier window is unknown. 6. Will H. Low, "Old Glass in New Windows," Church in the City of Boston, rev. ed. (Boston, I964), 39. John Matthews, The Matthews Catalogue ofDec­ Scribner's Magazine 4 (Dec. r888), p. 675. p. 48. orative Glass and Transparent Signs, as Executed by the Tilghman Sand-Blast and Other Patented Processes (New 7. In New York City William Gibson started one 19. Booth's stained glass has been virtually ig­ York, I886), Corning Museum of Glass Library, of the earliest stained-glass firms in I 8 3 3. The busi­ nored. A brief mention of his American shop is made N.Y. ness was carried on by his sons under the name Wil­ in Martin Harrison, Victorian Stained Glass (London, liam Gibson's Sons. The firm of J. and R. Lamb, 1980), p. 57· One window is illustrated in James L. 40. The most popular process, cailed "diaphanie," established in I857, also in New York, was one, Sturm, Stained Grass from Medieval Times to the Pres­ was developed in France. The transfer, a kind of though their earliest surviving windows date from ent: Treasures to Be Seen in New York (New York, chromolithograph in transparent colors that could be the opalescent period and were made by the next 1982), p. 95, figs. 96, 97. The window, The Heavenly applied to any kind of window, fire screen, or lamp­ generation of the family. Hosts (about 1884), is at Grace Church, Broadway shade, was laid over glass whose surface had been and East Tenth Street, New York. prepared with a special varnish. After the varnish had 8. By far the most prolific of the Continental hardened, incorporating the pattern, another coat of firms working in America was that of Franz Meyer 20. Christopher Dresser, Principles ofDecorative De­ varnish was applied. of Munich. The firm, which continues today, has sign (1873; reprint London, I973), pp. I53-54· produced innumerable windows for American 2I. Ibid. 41. Charles Moller and Company, Stained Glass by churches over a long period of time. See Jane Hay­ 22. Charles Booth, Hints on Church and Domestic the Improved Process of Diaphanie, for Church, Hall, ward, "Stained Glass Windows in America" (paper Windows, Plain and Decorated (Orange, N.J., I876), Conservatory, Staircase, and Other Windows, Which May Be Easily Performed at a Small Cost, to Which Is presented at the annual conference of the Association p. 14· Added Brief Instructions for Transparency Painting (New for Preservation Technology, Banff, Alberta, Can., 23. [Charles Booth et al.],Modern Surface Oct. 22-24, I982). York, I88I), unpaged [p. 3], Corning Museum of (New York, 1877); Art-Worker: A Journal of Design Glass Library, N.Y. 9. For more information on Morris's stained Devoted to Art-b1.dustry I (Jan. I878), pl. r; (Feb. glass, see A. Charles Sewter, The Stained Glass of 1878), pl. 8; (June 1878), pl. 39; (Aug. I878), pl. 55· 42. "Notes and Clippings" [Centennial notes], American Architect and Building News I (May I3, William Morris and His Circle, 2 vols. (New Haven, 24. For a detailed discussion of the design and con­ I876), p. I6o. I974). For additional information on Morris's win­ struction of the lefferson Market Courthouse, see dows in America, see Marilyn Ibach, Morris and Francis R. Ko~sky, The Architecture of Frederick 43. The Centennial National Bank in Philadelphia Company Stained Glass in North America (New York, Clarke Withers and the Progress of the Gothic Revival in was also ornamented with "brilliant glass tiles, spar­ I983); and Catherine Hall Lipke, "The Stained Glass America after 1850 (Middletown, Conn., 1980), pp. kling with gold and color"; see "The Centennial Windows of Morris and Company in the United I09-16. National Bank Building," American Architect and States of America" (M.A. thesis, State University of 25. The attribution to Booth of the program of Building News I (Dec. 23, I876), p. 4I4. See also New York, Binghamton, 1973). windows at Calvary Church, 60 Gramercy Park, Philadelphia Museum of Art, The Architecture of ro. Sewter, Stained Glass of William Morris, val. 2, New York, is based on their close stylistic similarity Frank Furness, by James F. O'Gorman (exhib. cat., pl. 478, pp. 225-26. to thirteen windows at Grace Church, New York, 1973), pp. 43-44· I I. Pearl (Saugerties-on-Hudson, N.Y.), I875, which are documented to Booth and date from 44. "Notes and Clippings" [Centennial notes], p. 96, cited in Lipke, "Stained Glass Windows of I 884-86. Although as yet no evidence has turned up p. I6o. Morris and Company," p. I6. relating to the Calvary Church windows, the vestry 45. Humphreys, "Colored Glass," p. I 5. voted a large sum of money ($u,ooo) in 1878 for I2. Michael Donnelly, Glasgow Stained Glass: A refurbishing the church, which may have included 46. Ibid., p. 14. Preliminary (Glasgow, I981), p. 8. the installation of new stained-glass windows. I am 47· See H. Barbara Weinberg, "The Early Stained 13. Ibid., pp. !O-IL grateful to the Reverend Stephen Garmey of Cal­ Glass Work of John La Farge (r835-19I0)," Stained 14. Michael Donnelly, The People's Palace, Glas­ vary Church for providing me with this information. Glass 67 (Summer I972), pp. 7-10. gow, has suggested that the design of the window is 26. This comparison can be made at Calvary 48. For an extensive analysis of La Farge's decora­ Cottier's own and that the subject is Spring; see cor- Church, where Booth windows can be seen along- tive work for Trinity Church, Boston, see H. Bar-

r 96 In Pursuit cif Beauty