- Feb 5, 2002
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Artists discuss the colorful catechism behind their creations that reflect faith and history.
Clockwise from left: The work of Beyer Studios and Conrad Schmitt Studios includes vibrant windows highlighting Our Lady of Knock for St. Mary of Sorrows Church in Fairfax, Virginia; Mother Teresa at the chapel at Christendom College; the Blessed Mother at St. Stanislaus in Milwaukee; the baptism of Jesus (seen from the outside) at St. Nicholas Church in Virginia Beach, Virginia; and St. Joseph and Jesus in the workshop at Our Lady of Good Help Shrine in Champion, Wisconsin. (photo: Courtesy photos / Beyer Studios and Conrad Schmitt Studios)
“In general, the faithful in the United States have rediscovered the rich tradition of stained glass. When they compare it to the last 50 years, they find many of our churches wanting,” Duncan Stroik, award-winning architect, author and professor of architecture at the University of Notre Dame, told the Register. “It is consistent with their preferences in architecture and liturgy.”
“Modern has been out — anything that smacks of the ’50, ’60s, ’70s. No one seems interested in reviving any of that,” agreed Joseph Beyer, artist and president of the Beyer Stained Glass Studio (BeyerStudio.com) in Philadelphia. “The Munich school windows retain popularity because they are so beautiful and mesh so well with the traditional church design that has completely taken over the last couple of decades. I used to have churches very modern above the Mason-Dixon line. All that has changed in the last 20 years. I have no plans for any churches not in the basilica style — many cruciform shape.”
Continued below.
Windows Into the Heavenly Realm: The New Renaissance of Stained Glass
Clockwise from left: The work of Beyer Studios and Conrad Schmitt Studios includes vibrant windows highlighting Our Lady of Knock for St. Mary of Sorrows Church in Fairfax, Virginia; Mother Teresa at the chapel at Christendom College; the Blessed Mother at St. Stanislaus in Milwaukee; the baptism of Jesus (seen from the outside) at St. Nicholas Church in Virginia Beach, Virginia; and St. Joseph and Jesus in the workshop at Our Lady of Good Help Shrine in Champion, Wisconsin. (photo: Courtesy photos / Beyer Studios and Conrad Schmitt Studios)
“In general, the faithful in the United States have rediscovered the rich tradition of stained glass. When they compare it to the last 50 years, they find many of our churches wanting,” Duncan Stroik, award-winning architect, author and professor of architecture at the University of Notre Dame, told the Register. “It is consistent with their preferences in architecture and liturgy.”
“Modern has been out — anything that smacks of the ’50, ’60s, ’70s. No one seems interested in reviving any of that,” agreed Joseph Beyer, artist and president of the Beyer Stained Glass Studio (BeyerStudio.com) in Philadelphia. “The Munich school windows retain popularity because they are so beautiful and mesh so well with the traditional church design that has completely taken over the last couple of decades. I used to have churches very modern above the Mason-Dixon line. All that has changed in the last 20 years. I have no plans for any churches not in the basilica style — many cruciform shape.”
Continued below.
Windows Into the Heavenly Realm: The New Renaissance of Stained Glass
