Pioneer Endicott Apartments in downtown St. Paul is not just a place to live; it’s a living piece of history. Among its many unique features, the stained glass arcade stands out as a truly breathtaking architectural marvel. Originally designed by the renowned architect Cass Gilbert for the Endicott Building, this L-shaped arcade is a stunning display of artistry and craftsmanship that residents and visitors alike can appreciate. Spanning from 350 Robert Street North to 141 East 4th Street, the arcade is crowned by an extraordinary stained glass arch composed of 420 individual windows. These windows, alternating between two complementary designs, create a mesmerizing visual experience. Recently, a significant restoration project was undertaken to preserve this historical treasure for future generations, and we had the opportunity to visit Stonehouse Stained Glass in Avon, Minnesota, the studio entrusted with this delicate task.
Stonehouse Stained Glass, owned and operated by Marty Stone, has been a leader in stained glass artistry and restoration since 1993. Marty Stone’s passion for his craft is immediately evident upon meeting him. With four decades of experience, his enthusiasm for stained glass restoration, design, and repair has only intensified.
Upon our visit, it was immediately clear that his 40 years in the business has done nothing but sharpen Stone’s appreciation and excitement for stained glass restoration, design, and repair.
The restoration of the Pioneer Endicott Apartments’ stained glass arcade is a project of immense detail and dedication. Each of the 420 windows is composed of approximately 100 individual pieces of glass. The meticulous process requires around 15 hours of labor per window. Remarkably, aside from occasional minor repairs, this extensive restoration marks the first full refurbishment of the arcade’s stained glass in its 135-year history since the Endicott Building was originally constructed.
During our visit to Stonehouse Stained Glass, Marty Stone was working alongside his skilled team, Rob Pueringer Jr. and Annie Thelen. He also acknowledged the contributions of Charles Blommel and Paul Jensen to the project. Each artisan has their own dedicated workbench, showcasing the various stages of the restoration process. While each person employs slightly different techniques, Stone emphasized that through repetition and collaboration, they are continuously refining their efficiency. “That’s how it works. You develop a system, and it works quite well,” he explained.
The restoration process for each window is comprehensive. It involves soaking, cleaning, disassembling, repairing, and re-leading each piece. Interestingly, the materials used today are remarkably similar to those employed over a century ago, with only subtle improvements for enhanced durability. Stone’s expertise also extends to identifying structural improvements, such as adjusting the window mounting to prevent future sagging or bending, ensuring the longevity of the arcade for Pioneer Endicott Apartments.
While many aspects of the restoration are standard practice for Stonehouse Stained Glass, the team encountered a greater need for outright repairs than initially anticipated. Broken glass pieces necessitate precise replacement, with some fragments being as small as a fingernail. The team also discovered minor inconsistencies, imperceptible from ground level but noticeable upon close inspection. Addressing these issues requires sourcing replacement glass that perfectly matches the original, a crucial and challenging aspect of the restoration.
Replacing broken pieces and standardizing inconsistencies involves sourcing glass that matches the original glass.
The Endicott Building, now Pioneer Endicott Apartments, was constructed in 1889, a time when opalescent glass was a relatively innovative material. Marty Stone explained that both Tiffany and La Farge, prominent stained glass artists of the era, patented opalescent glass around the 1880s. Opalescent glass, characterized by its multicolored and dense nature, contrasts with clear cathedral glass. The stained glass arcade at Pioneer Endicott Apartments features both types of glass. Stone highlighted the difficulty in sourcing perfectly matching glass for the restoration. Pointing to some larger pieces intended for the project, he noted, “Now, you can’t get some of that smoky, classic glass. That’s a 30-year-old match,” underscoring the challenge of finding historically accurate materials.
A tour of Stonehouse Stained Glass studio is akin to stepping into a living history museum. The space is filled with various church windows, design sketches, and project remnants, offering a glimpse into Stone’s career and passion. Towards the back of the studio lies his extensive library of stained glass – a vast collection of sheets in diverse colors and textures, meticulously organized by style, designer, and color. It becomes abundantly clear that Marty Stone’s dedication to his craft is driven by artistry and a deep passion for preserving historical beauty, rather than solely by commercial interests. This dedication is invaluable to projects like the restoration of the stained glass arcade at Pioneer Endicott Apartments, ensuring that this architectural treasure continues to inspire for generations to come.
