Willet Hauser Architectural Glass, Inc is a North American stained glass firm that specializes in the design, fabrication, and restoration of leaded stained glass and faceted glass windows with locations in Winona, Minnesota and Philadelphia, Pennsylvania.
 The studio, one of the oldest in North America, was formed through the merger of two American stained glass studios: the Willet Stained Glass Studios of Philadelphia, Pennsylvania, and the Hauser Art Glass Company, Inc., located in Winona, Minnesota.
 The two united in 1977 and together are one of the largest stained glass studios in North America.
 In 2005 the company changed its name to Willet Hauser Architectural Glass, Inc., to more accurately reflect the long-term direction of the studio.
 On January 9, 2014, the Arizona-based national stained glass studio Associated Crafts® acquired Willet Hauser Architectural Glass, Inc..
 To date, Willet Hauser has created and/or restored windows in over 15,000 buildings located throughout the world.
The Fairford stained glass windows (circa 1500) in St. Mary's Church, Fairford, Gloucestershire, England, are of national historical and architectural importance as they are the most complete surviving set of pre-Reformation mediaeval stained glass windows in the country, comprising 28 windows displaying biblical scenes, erected by the wealthy wool merchant John Tame (c.1430–1500) and now attributed to the Flemish glazier Barnard Flower (d.1517), glazier to King Henry VII (1485–1509), and believed to have been made at Westminster.
The Black Tom explosion on July 30, 1916, in Jersey City, New Jersey, was an act of sabotage by German agents to destroy American-made munitions that were to be supplied to the Allies in World War I.
 This incident, which happened prior to American entry into the war, is also notable for causing damage to the Statue of Liberty.
A revival of the art and craft of stained glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811-12.
 The revival led to stained glass windows becoming such a common and popular form of coloured pictorial representation that many thousands of people, most of whom would never commission or purchase a painting, contributed to the commission and purchase of stained glass windows for their parish church.
Charles Clutterbuck (1806–1861) was a stained glass artist of Stratford, East London.
 He was originally a painter of miniatures and exhibited eight paintings at the Royal Academy.
 He began stained glass work in the 1840s.
 Examples of his work can be seen in many Churches in the South East of England.
 He has stained glass windows in two Buckinghamshire churches - two windows in St Mary's, Oakley and one in St Peter and Paul, Worminghall - as well as windows at Ely Cathedral and St Anne's Church, Limehouse.
 His son, Charles Edmund Clutterbuck, Jr (1839–1883) carried on the business until 1882.
Gabriel Loire (April 21, 1904 – December 25, 1996) was a French stained glass artist of the twentieth century whose extensive works, portraying various persons or historical scenes, appear in many venues around the world.
 He founded the Loire Studio in Chartres, France which continues to produce stained glass windows.
 Loire was a leader in the modern use of "slab glass" (French: "dalle de verre"), which is much thicker and stronger than the stained glass technique of the Middle Ages.
 The figures in his windows are mostly Impressionistic in style.
Caroline Charlotte Townshend (1878–1944) was a British stained glass artist of the Arts and Crafts Movement.
 She trained at Slade School of Fine Art and Central School of Arts and Crafts before becoming a pupil of Christopher Whall.
 She designed and made many stained glass windows, particularly for churches and cathedrals and set up the stained glass firm of Townshend and Howson in 1920 with her student and apprentice, Joan Howson.
 They used a dual signature for their completed works.
Richard Joseph King (1907–17 March 1974) was an Irish stained glass artist and illustrator.
 He was born in Castlebar, County Mayo, Ireland, where his father was a sergeant in the Royal Irish Constabulary.
 In 1926 he became a student at the Dublin Metropolitan School of Art and he entered the stained glass studio of Harry Clarke in 1928.
 Clarke died in early 1931, of tuberculosis while trying to recuperate in Switzerland.
 King completed the ongoing work on the windows of St. Mel’s Cathedral in Longford, and managed the studio from 1935 to 1940.
 He then worked independently from his own studio in Dalkey.
 Among his works are the stained glass windows of St. Jude's Shrine, Faversham, St. Anthony's church in Athlone, and three windows in the James Jeffrey Roche Room in the Boston College’s Bapst Library.
The term “autonomous” as applied to stained glass refers to works which are designed independent of architecture.
 Autonomous works are not designed to glaze windows.
 The term “stained glass” commonly precedes “window” and is thus linked to architecture both linguistically and conceptually.
 The autonomous work is more like a painting than a stained glass window, and is a non-traditional use of the medium.
 One critic somewhat pejoratively calls non-architectural stained glass “uncommissioned panels.”
 Another traditionalist claims: “Stained glass can never be really satisfactory when considered as a bibelot to be hung up in the window or when sold in galleries like paintings for room decoration.”
St. Patrick's Parish and Buildings is a historic church on Grand Street, Ocean and Bramhall Avenues in Jersey City, Hudson County, New Jersey, United States.
 The stained glass windows in the church were destroyed in the Black Tom explosion of 1916.

Question: The stained glass windows in St. Patrick's Parish and Buildings were destroyed in what explosion that was an act of sabotage by German agents?
Answer: Black Tom explosion