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The image shows a page from a document, likely a book or an exhibition catalog, describing the preparation and details of an exhibit focused on European stained glass. Here is a detailed summary of the content:

Stained Glass Exhibit

Background:

• New England has a rich collection of European stained glass, particularly from the 15th century.
• Several wealthy families, such as the Wetmores and Higginises, installed stained glass in their estates.
• The Fogg Museum and other local museums have collected outstanding pieces.
• This exhibit is the first time many of these pieces have been assembled together.

Preparation:

• Professor Caviness taught seminars related to the exhibit.
• Students researched the pieces and wrote catalog entries.
• Stained glass replicas were made using old techniques, documented with slides and tapes.
• Students and faculty, including Jane Burgess, Annette Carmichael, and others, contributed to the preparation.

Inspection and Contributions:

• Professor Caviness inspected local pieces, identifying significant contributions.
• Many pieces had not been studied before, leading to new discoveries.
• Institutions like the Fogg Museum and Boston Museum of Fine Arts lent pieces for the exhibit.
• Some pieces were not lent due to concerns about replacement or damage risks.

Conservation and Transport:

• Larry Doherty supervised the transport of the glass using special cradles.
• Mel Greenland, a conservator, consolidated broken pieces and repaired losses.
• The conservation work aimed to preserve the original design without painting.

Installation:

• Temporary walls with custom-made apertures were built to support each panel.
• The exhibit included a lecture and a workshop on stained glass, attracting scholars and the public.

Conclusion:

• The exhibit highlighted the history and conservation of stained glass.
• It featured works from various institutions and scholars, including Norbert S. Baer, Michael Cothren, and Jane Hayward.

The document emphasizes the collaborative effort, meticulous preparation, and scholarly contributions involved in organizing the exhibit.

The document discusses the preparation and significance of an exhibit of European stained glass in New England, particularly focusing on the efforts of Professor Caviness and her students. Key points include the historical context of stained glass collections in wealthy families' estates, the preparation of a catalog by students, and the identification of significant reatributions. The exhibit includes various pieces from different churches and museums, with some pieces being transported and others remaining in their original locations. Conservation efforts, including the repair and glazing of panels, are also detailed. Additionally, a symposium on the history and conservation of stained glass was held, featuring speakers from various universities and institutions. The exhibit is planned to be viewed and studied by scholars to facilitate further research and reatribution.

The image is a page from a document, specifically page 21, which appears to be part of a larger article or report on the preparation and exhibition of European stained glass. Here are some key details extracted from the visible text:

1. Historical Context:

   • New England had a rich tradition of European stained glass by the end of the 19th century, with several wealthy families collecting pieces. The Vanderbilts and Higginses were among them.

2. Exhibition and Preparation:

   • The article discusses a seminar led by Professor Caviness focused on preparing an exhibit of these pieces.
   • Students researched, wrote catalog entries, and made stained glass replicas using various techniques.
   • Several students, including Tufts students, were involved in the installation and publicity for the exhibit.

3. Significant Pieces and Reattributions:

   • Professor Caviness made significant reattributions to several pieces, including identifying a piece from the Church of St. Mary the Virgin in Cambridge, Massachusetts, and a Prodigal Son panel from the Cathedral of the Holy Cross in Boston.
   • The reattribution of the Prodigal Son panel was particularly notable due to its discovery of a blend of old glass and lead, dating back to the 19th century.

4. Ownership and Lending:

   • Many owners were willing to lend pieces, although some were reluctant due to the need for a clear replacement glass window.
   • The Hampton Court pieces from Boston’s Museum of Fine Arts were included, but they were not removed from their concrete mounts for safety reasons.

5. Conservation and Transportation:

   • Conservation efforts included repairing lost fragments and ensuring proper glazing for the pieces.
   • Special cradles were designed for transporting the glass panels.
   • Larry Doherty was mentioned as the superintendent of the Fogg Museum responsible for transporting the pieces.

6. Public Engagement:

   • The conservation efforts and the exhibition were discussed at a symposium, attended by various experts and scholars.
   • Topics included the history and conservation of stained glass, with speakers such as Rowan LeCompte, Michael Green, and others.

7. Designing and Exhibition:

   • The design and installation of the exhibit, including the creation of labels and the arrangement of the panels, involved Tufts students.
   • The Chapel was repurposed as a carpentry workshop for the temporary walls supporting the glass panels.

8. Public Symposium:

   • A symposium on stained glass, held on April 29, attracted an audience of 125, covering topics like the history and conservation of stained glass.

This detailed description captures the essence of the preparation and exhibition of a collection of European stained glass, including historical context, conservation efforts, and public engagement activities.

The document discusses an exhibition of European stained glass in New England, featuring pieces from the 19th century collected by wealthy families such as the Vanderbilts and the Higginses, as well as a significant collection at The Cloisters. Professor Caviness and her students from Tufts University prepared the exhibition, researching and writing entries for the catalogue, and planning the installation. The text highlights the discovery of previously unstudied pieces and the challenges of transporting and conserving the glass, with some panels requiring restoration. The exhibition included works from various institutions, with some pieces replaced by photographs due to their fragile state. The shipment was overseen by Larry Doherty, and the conservation work was done by Mel Greenland. The exhibition was accompanied by a symposium on stained glass, and the document lists some of the speakers.

The image shows a page from a document detailing the preparation and conservation efforts for an art exhibition featuring stained glass pieces. Here are the key points summarized:

1. Historical Context:

   • By the end of the 19th century, several wealthy families in New England began collecting stained glass from European sources.
   • The Vanderbilts installed stained glass pieces in their residences in places like the Marble House and Beechwood in Newport, Rhode Island, and others placed them in their estates.
   • Some of these collections have been donated to institutions such as The Metropolitan Museum of Art (The Met), The Portland Museum of Art, and the Chrysler Museum of Art.

2. Exhibition Preparation:

   • Professor Caviness from Tufts University taught two seminars related to the preparation of the exhibit.
   • Thirteen students researched the pieces for inclusion in the exhibition and contributed entries to the catalog.
   • Various experts, including conservators, made stained glass replicas, conducted research, and prepared slides and texts for the exhibit.

3. Conservation Efforts:

   • The conservation process involved repairing broken pieces and securing leads and saddle bars to stabilize the glass panels.
   • Some pieces were fragile and had to be handled carefully to avoid further damage. Lost fragments were matched as closely as possible to the originals, though some aesthetic compromises were necessary.
   • Some panels required repainting or other restoration techniques to restore their original design.

4. Specific Pieces:

   • Two notable stained glass windows, previously part of the Cathedral at Soissons, were included in the exhibit.
   • Due to the risk of damage, some panels were not included in the exhibit but were displayed in their original locations.

5. Logistics:

   • The stained glass pieces were transported to the Busch-Reisinger Museum.
   • Temporary walls were built in the museum’s carpentry shop to support each panel, and custom-made apertures were created for the glass.

6. Collaborators:

   • The project involved scholars, conservators, and students from various institutions, including Tufts University, New York University, The Cloisters, and others.

The document provides a comprehensive overview of the efforts to curate, conserve, and exhibit these historic stained glass pieces.

The document discusses an exhibition of stained glass from New England, curated by Professor Caviness with the help of students. The exhibition features pieces from various locations, including the Fogg Museum, the Cloisters, and private collections. Several panels required conservation, with some pieces being restored by Mel Greenland. The exhibit also includes a replica stained glass window created by students. The document highlights the significance of the pieces, their historical context, and the efforts made to prepare them for display. Additionally, it mentions a symposium on stained glass held in April, attended by experts and scholars.

The image shows a page with typewritten text, likely from a magazine, journal, or informational brochure. The page number at the top indicates it's page 4, and the text seems to continue from page 2. The subject matter pertains to an exhibition of European stained glass primarily from New England collections and the preparation related to this exhibit. It includes details about the seminar led by Professor Caviness, the conservation efforts on the panels of stained glass, the support by various individuals and institutions, and the planned symposium regarding the stained glass. The article is credited to a person named Emmy Dana. The page is set in a serif font, typical of formal documents or academic publications, and reflects an informative and educational tone.

Since the text is extensive, if you need information from a specific part of the text, please let me know, and I will provide further details accordingly.

Description of the Image

The image shows an open book displaying a page from a text discussing the conservation, preparation, and exhibition of stained glass panels. The page is numbered 4, and it appears to be part of a larger document, as indicated by the text at the top: "continued from page 2." The content is written in a formal, academic style, likely from an art history or museum studies context.

Key Elements on the Page:

1. Text Content:

   • The text discusses the history and conservation of stained glass panels, particularly those from New England in the 19th century.
   • It mentions wealthy families in New England who collected stained glass, including panels from the Vandeveer estate in Worcester and the Higginson House in Claremont, New Hampshire.
   • The text highlights the work of Larry Doherty, a specialist in designing special crates for transporting fragile stained glass pieces. It notes that the shipment of glass was supervised by Doherty, who designed crates for fragile items.
   • The text describes the urgent need for conservation of several panels, which were undertaken prior to an exhibition by Mel Greenleaf, a New York conservator specializing in stained glass.
   • It explains the process of conservation, including the repair of broken pieces, securing leads and saddle bars, and the use of glue to match the original hue. The text emphasizes that "restoring" the lost design involves painting in or processing the design, not simply replicating it.
   • The conservation benefits are noted to extend to the reinstatement of glazing outside and venting inside, with protective measures to extend the life of the glass.

2. Exhibition Preparation:

   • The text details the involvement of Professor Caviness in teaching seminars related to the preparation of the exhibit. Thirteen students researched pieces for the exhibit, including works from the Museum School, Valerie Levine, and Nancy Purinton.
   • A documented glass replica using old techniques was prepared by Professor Caviness, with slides and tapes prepared for the exhibit.
   • The text mentions students from various institutions, such as Colleague with Janice Burgess, Annette Carnichael, Colleen Fesco, Carol Harward, Mary-Beth Lacey, Allyson Lemiski, Suzanne Newinger, Effat Porat, Charles Sheckler, Evelyn Staundman, and Phyllis Thompson. These students participated in a course on museumology during the spring.
   • Professor Caviness inspected local pieces, identifying significant contributions, including a piece believed to belong to the Fogg Museum and a "clever fine old glass discovered as a forgery" — a piece of fine Arts was identified as coming from the Museum of Fine Arts, likely made during the 19th century.

3. Exhibit Logistics:

   • The text describes the installation of the exhibit, including the construction of temporary walls to support each panel of glass. Custom-made apertures were built, and labels were created by Tufts students.
   • The labels were designed as white-on-black negatives, reflecting an interesting exercise in label design.
   • The exhibit also included other works on stained glass, with plans for a symposium on April 29 to attract an audience of 125. Topics included conservation of stained glass, New York University speakers, and works by various artists and institutions.

4. Visual Layout:

   • The page is formatted with justified text, typical of academic or professional publications.
   • The text is dense and includes several proper nouns, indicating references to individuals, institutions, and locations.
   • There is a faint watermark or logo in the top right corner of the page, which appears to be part of the book's design or binding.

Overall Context:

The page provides a detailed account of the efforts involved in preparing an exhibit of stained glass panels, including conservation, research, student involvement, and logistical planning. It reflects a collaborative and interdisciplinary approach, involving conservators, professors, students, and institutions. The text underscores the importance of preserving historical artifacts and the educational value of such exhibits.

This page is likely part of a larger publication, possibly a catalog, report, or academic paper, detailing the process and outcomes of a museum exhibition focused on stained glass.

The image is a page from a book or magazine, containing text that appears to be an article about a stained glass exhibition. The article discusses the preparation and installation of the exhibit, the involvement of students in the process, and the significance of the pieces on display. The article also mentions the conservation efforts made to preserve the stained glass panels and the benefits of proper protective glazing.

The image shows a page from a book with text written in black ink on a white background. The page has a number "4" in the top left corner, indicating that it is the fourth page of the book. The text appears to be a description of an exhibit of stained glass windows. The exhibit features panels from various churches and museums in New England, including the Fogg Museum, Marble House, and the Higginses' estate in Worcester. The exhibit also includes panels that were previously thought to be French but have since been identified as coming from Canterbury Fine Arts and the Museum of Fine Arts in Boston. The text describes the process of preparing the exhibit, including the installation of temporary walls and the production of custom-made apertures to support the panels. The exhibit is open to the public and features a symposium on the history and conservation of stained glass.