Flanagan became the first editor to introduce articles that touched on stained glass as an art form as well as reporting the numerous business concerns of the trade. A typical early magazine was approximately one-half advertisement and one-half copy. There would often be a picture of a rather mundane window furnished by a member. The magazine would often contain articles about member studios and short pieces about the glass industry. Following an Association meeting, complete minutes down to motion for adjournment were included.
A great deal of column space was devoted to promoting tariffs on low price European imports, but with few results except during World War I, when France and Germany were completely shut off. However, the primary concern was the members who engaged in unreasonable competition. When the economy would tighten, prices would drop and in many cases windows were being made for less than cost. The magazine crusaded against the practice with a monthly litany of what composed overhead and costs that the art-and-craft oriented members never considered. Evidently, all was of little avail as horror stories of improper pricing were often included in the magazine.
The next editor was Sydney L. Brown, 1928-1931. He continued the same format as the previous editor for Volume. 23, #6 to Volume 26, #9. One interesting addition was the serialization of John A. Knowle's book, The History of the York School of Glass Painting. It ran sporadically from 1929 until 1950.
When Brown retired in 1931, the Association tried a bold experiment with the appointment of Howard B. Burton, an architect, as Executive Director and Field Secretary of the Association as well as editor of the magazine, which was renamed Stained Glass. The format changed; the size increased and a notable addition in his first issue was a complete list of the members of the SGAA with street addresses. The experiment ended abruptly in September 1931 with Volume. 26, #9. The Association was teetering on the brink of economic oblivion in the midst of the depression.
Association President Charles J. Connick, by far the leading luminary in American stained glass, led the rescue of the magazine. He appointed a team of part time editors, Harry Lorin Binsse, Maurice Lavanoux (secretary of the Liturgical Art Society) and his own chief associate, Orin E. Skinner. Starting with Volume. 26, #10 they carried on the format begun by Mr. Burton until Orin Skinner became sole editor with Volume. 28, #4.
The magazine became a quarterly with the spring issue, 1933 and has remained one until today. Skinner promptly reduced the size to 5 _ x 8 _ inches and embellished the neutral gray covers with color plates left over from Connick's great book, Adventures in Light and Color. The Association and the magazine surely would have disappeared during the depression had it not been for Connick and Skinner constantly pumping life into it.
By 1948, the Second World War was over and Stephen Bridges, a fine stained glass artist with a wonderful command of the English language, took over from Volume 43, #3 through Volume 46, #2.
In 1951-1958, the work of editorship shifted to still another quiet unassuming craftsman located in San Francisco. Norbert Graves maintained the general Skinner format with Volume 46, #3 to Volume 53, #3.
A notable change, reminiscent of 1931, was instituted in 1958 when John G. Lloyd was hired as Editor and Executive Secretary of the Association. Although interested in art and photography, he had little knowledge of stained glass. He grew rapidly in the job and in 1963 wrote the fine book Stained Glass in America, the first book to really explore the industry in this country. He changed the format back to a larger size 7 _ X 10 _ and gradually began to use color after 1959. He also introduced the use of the SGAA seal on the back of the magazine.
Lloyd's tenure ended in 1970 with Volume. 65, #2 and William S. Clark, who was editor of Your Church Magazine, took over until he died in 1972 and was replaced by former editor Maurice Lavanoux. He published Volume. 67, #4 through Volume 69, #4.
In 1975, the Association hired Dr. Norman Temme, a Lutheran Pastor with wide experience in public relations. His nine-year tenure witnessed some of the most dramatic changes in the publication. Working with Richard Brauer of the Valparaiso University Art Department, he doubled the content size of the magazine and introduced a number of new features, including four-color reproductions, which was made possible by Ken Urschel, General Secretary, who had originally recommended Dr. Temme for the job of editor. The magazine went from being a trade journal to a fine display magazine that was read internationally as the definitive publication about stained glass. Also, the magazine began to be indexed, increasing its use as an archived publication. Dr. Temme's last issue, Volume 79, #2, was actually put together by transitional editor Kenneth vonRoenn, Jr., a talented young glass designer.
Then came a dramatic year under the inspired artistic direction of noted glass painter and author Richard Millard with Volume 79, #3 - Volume 80, #4.
Richard L. Hoover, a former glass craftsmen from Kansas City, replaced Millard in 1986 from Volume 81, #1 to Volume 90, #3. Under Mr. Hoover's direction, Stained Glass as the official magazine of the Association became one of the most important documents of the information about the art and craft of stained glass on a worldwide basis. He enhanced the high artistic standards instituted in the Temme regime and continued in the Millard regime.