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The image displays a page from a document detailing the preparation and transportation of European stained glass for an exhibition. Here is a detailed summary:

1. Introduction to Stained Glass in New England:

   • New England has a rich collection of European stained glass.
   • By the end of the 19th century, wealthy families began collecting stained glass panels. The Vanderbilts installed them in the Marble House in Newport, Rhode Island, and the Higginsons in their Back Bay residence in Boston.
   • The Portsmuth Abbey in Rhode Island has the largest private American collection of stained glass by Clement H. Humphrey.

2. Preparation for the Exhibit:

   • Professor Caviness from Tufts University taught a seminar on preparing an exhibit of stained glass.
   • During the fall semester, students researched the pieces, including two from the Museum School and stained glass from Valeric Levine and Nancy Parniston.
   • The students documented their work using slides and tapes, culminating in a catalogue prepared by Professor Caviness with contributions from several students and professionals.

3. Research and Restoration:

   • Many pieces had not been previously studied, and some were in poor condition.
   • One piece from the Fogg Museum was identified as coming from Canterbury Cathedral and another from Boston's Museum of Fine Arts as a forgery.
   • Institutions lending pieces were cooperative, though some pieces initially thought suitable were later excluded.

4. Transportation and Conservation:

   • The glass was transported to the Busch-Reisinger Museum for the exhibit.
   • The conservation process included repairing structural damage, mending broken pieces, and securing leads.
   • Some panels were too damaged for restoration, and their aesthetic losses were addressed with glass matching the original hue.
   • Temporary walls were built in the Carpenter Center to support the glass panels.

5. Public Viewing and Symposium:

   • The exhibition opened on April 29, with a symposium on stained glass featuring speakers from various prestigious institutions.
   • Scholars could study the pieces in context and consider reattributing some works.

The document is signed off by Emmy Dana.

New England is rich in European stained glass. By the end of the 19th century, several wealthy families had begun to collect such panels. The Vanderbilts installed them in the Marble House and Belcourt in Newport, Rhode Island, and the Higginses placed them in their estate in Worcester. The Portsmouth (R.I.) Abbey received the largest private American collection, that of Clarence Hungerford MacKay of New York. Local museums have also collected some outstanding pieces, so southern New England has long had a fine resource which has never before been assembled together in one exhibit.

This year, Professor Caviness taught two seminars related to the preparation of the exhibit. During the fall semester, thirteen students researched the pieces to be included in the exhibition and wrote the catalogue entries. Two students from the Museum School, Valerie Levine and Nancy Purinton, made a stained glass replica, using old techniques, of one of the pieces, which was documented with slides and tapes and will be part of the exhibit. The catalogue was prepared by Professor Caviness in conjunction with Jonathan and Annetta Carmichael, Colleen Fesko, Carol Harward, Mary-Beth Lacey, Catherine Leck, Suzanne Newman, Errat Porat, Allyson Sheckler, Evelyn Staudinger, and Phyllis Thompson, all Tufts students, and Michael Cothren from the Cloisters. This spring, students in her museology course planned the installation and publicity for the exhibit.

In her inspection of local pieces, Professor Caviness made a number of significant retributions. Many pieces had simply not been studied before and some turned out to be more notable, or less so, than had formerly been thought. For example, a piece belonging to the Fogg Museum previously thought to be French has now been identified as coming from Canterbury Cathedral; and a Prodigal Son in Boston's Museum of Fine Arts was discovered to be a forgery - a clever blend of old glass and old leads, probably made during the 19th century.

All those owners who were requested to lend pieces were very willing to do so. These included institutions whose lending of the glass meant that they would be looking at a clear glass replacement instead of a stained glass window for a couple of months. The Gardner Museum has a "no-lending" policy, but its important piece from the Cathedral at Soissons was not part of the exhibit. Two windows listed in the catalogue are not included in the exhibit: the Boston Common Court pieces from Boston's Museum of Fine Arts. The Museum was willing to lend them, but it was later discovered that the glass panels could not be removed from their concrete mounts without serious risk of damage. They are therefore not in the exhibit, but can be seen in their original location.

In late March, the works were transported to the Busch-Reisinger Museum. Overseeing the removal and shipment of the glass was Larry Doherty, Superintendent of the Fogg Museum, who designed special cradles to transport the pieces. Designing cases for fragile items is nothing new to Larry; for example, two years ago he supervised the packing and transport of some of the Botanical Museum's Glass Flowers to New York City.

Several panels were in urgent need of conservation, which was undertaken prior to the exhibition by Mel Greenland, a New York conservator who specializes in stained glass. His work is best described as "consolidation" of the panels - mending broken pieces and securing leads and saddle bars. Because lost fragments can weaken the structure and spoil the aesthetic effect, those pieces were repaired with glass matched as closely as possible to the original hue. This process does not, however, involve painting in or "restoring" the lost design.

The conservation benefits will in some cases also extend to the reinstallation of the glass after the exhibition closes. Those which are in churches will be reinstalled with proper protective glazing outside and venting to the inside, a measure which will help extend the life of the panels.

During the last two weeks before the opening, the Chapel resembled a carpentry shop. Temporary walls were built with custom-made apertures to support each panel of glass. Tufts students produced the labels, which were an interesting exercise in themselves: as the exhibit relies on backlight, the labels had to be well lit and are white-on-black negatives.

As the pieces are viewed and studied, scholars will be more able to place other works in their proper context and quite possibly reattribute works to other artists or workshops and other churches. A symposium on stained glass, open to the interested public, was held on April 29 and attracted an audience of 125. Topics dealt with the history and conservation of stained glass. Symposium speakers were: Rowan LeCompte, a stained glass artist; Norbert S. Baer, Institute of Fine Arts, New York University; Michael Cothren, The Cloisters; Virginia Raguin, College of the Holy Cross; Meredith P. Lillich, Syracuse University; Mary-Beth Lacey, Tufts University; and Jane Hayward, The Cloisters.

• Emmy Dana

The image is a page from a document detailing the preparation and exhibition of a collection of European stained glass panels in New England. Here is a detailed summary:

1. Collection Background:

   • The page discusses a collection of European stained glass, notably from the 19th century, gathered by wealthy families like the Vanderbilts and Higginsons.
   • The Portsmouth (R.I.) Abbey and other local museums have significant resources for such pieces.

2. Exhibition Preparation:

   • Professor Caviness taught seminars related to the preparation of this exhibit.
   • Thirteen students researched and wrote catalogue entries for the exhibit.
   • Two students from the Museum School, Valerie Levine and Nancy Purinton, documented the pieces using old techniques with slides and tapes.

3. Catalogue Entries:

   • The catalogue was prepared with input from several experts including Suzanne Newman, Errat Porat, and others.
   • The entries were prepared by Professor Caviness in conjunction with notable conservators and historians.

4. Significant Reattributions:

   • Professor Caviness made significant reattributions, identifying pieces as coming from notable places like Canterbury Cathedral and the Boston Museum of Fine Arts.
   • Examples include a panel from Canterbury Cathedral and a piece from the Prodigal Son.

5. Owners and Lending:

   • Owners were requested to lend pieces; some were willing to do so, while others were looking for replacements.
   • Notable institutions like the Gardner Museum and Boston’s Museum of Fine Arts were involved, with some windows not being part of the exhibit due to the risk of damage.

6. Conservation and Installation:

   • Conservation work was undertaken by Mel Greenland, who specialized in stained glass. This included consolidating and securing the panels.
   • Panels were transported carefully, with Larry Doherty designing cradles for fragile items.
   • Temporary walls were built to support the glass panels during the exhibit.

7. Exhibition and Symposium:

   • The exhibit was planned to be open to the public for viewing and study.
   • A symposium on the history and conservation of stained glass was held, featuring speakers from various institutions.

8. Exhibit Opening:

   • The Chapel at Tufts University served as a temporary display space, with Tufts students creating labels and supporting structures.

9. Final Notes:

   • The document concludes with an attribution to Emmy Dana.

This detailed account highlights the meticulous preparation, conservation efforts, and scholarly contributions involved in assembling and presenting this significant collection of historical stained glass.

The document discusses an exhibit on European stained glass, highlighting the historical significance and notable collections in New England. Key points include the establishment of the exhibit by Professor Caviness, with students researching and documenting the pieces, and the involvement of local museums and private collections. The exhibit features notable pieces from various institutions, some of which were reattributed or identified for the first time. Conservation efforts were undertaken by Mel Greenland to repair and consolidate the panels. The exhibit also included a symposium on the history and conservation of stained glass, with scholars and artists discussing related works. The document concludes with details about the transportation and reinstallation of the glass panels in their respective churches.

The document discusses an exhibition of European stained glass panels, highlighting their historical significance and the efforts involved in preparing the exhibit. Wealthy families like the Vanderbilts, Higginsses, and the Abbeys of Worcester and Portsmouth have collections of these panels. The exhibit includes pieces from various museums and private collections, with some panels requiring conservation work by Mel Greenland, a New York conservator specializing in stained glass. The preparation involved research by students, cataloguing, and reattribution of pieces. Some panels were discovered to be from unexpected locations, such as Canterbury Cathedral and Boston's Museum of Fine Arts. The exhibit also includes a symposium on the history and conservation of stained glass, featuring notable speakers. The panels are displayed with custom-made supports and labels, and some are reinstalled in their original churches after the exhibition.

The document discusses an exhibition of European stained glass, highlighting the rich collections in New England. By the end of the 19th century, several wealthy families had begun collecting stained glass panels, which were installed in various locations such as the Marble House and Berwind in Newport, Rhode Island. The Portsmouth (R.I.) Abbey received a significant private collection from Clarence Hungerford Mackay.

Professor Caviness taught two seminars related to the exhibition, involving students in researching and cataloging the pieces. Notable students like Valerie Levine and Nancy Hayward created a slide replica of an old stained glass piece. The catalog was prepared by Professor Caviness with contributions from various individuals and institutions.

The document also mentions the discovery and attribution of several stained glass pieces, including a piece from Canterbury Cathedral and a Prodigal Son from Boston's Museum of Fine Arts. Institutions like the Gardner Museum and Hampton Court lent pieces for the exhibit, with some pieces being reattributed or discovered to be forgeries.

Conservation efforts were led by Mel Greenland, who consolidated and repaired broken pieces. The exhibition's installation involved building temporary walls and ensuring proper lighting. A symposium on stained glass history and conservation was held, featuring speakers like Rowan LeCompte and Norbert S. Baer.

The works were transported to the Busch-Reisinger Museum, overseen by Larry Doherty, who designed special cradles for transport. The exhibition aims to educate scholars and the public about the proper context and conservation of stained glass.

The image displays a page from what appears to be a publication or book. The page contains several paragraphs of text organized under different sections with headings.

The page header indicates that this is a continuation from page 2, signifying it's part of a longer article or section. The text discusses a variety of topics, primarily related to stained glass, exhibition preparations, conservation efforts, educational seminars, and the logistics involved with transporting and exhibiting these works. Specific details mention New England's rich collection of European stained glass, the involvement of various people in the packing and shipping of glass to New York City, and the practical and aesthetic challenges faced during glass restoration.

There's also mention of seminars taught by Professor Caviness related to the stained glass exhibit, indicating an academic setting. Furthermore, the text includes details about the planning, installation, and publicity of an exhibit, indicating that the piece might come from a museum or university newsletter or catalog detailing the exhibit's curation process. The names of individuals and institutions are included, indicating their particular roles and contributions to the exhibit.

The bottom of the page includes a credit for someone named Emmy Dana, possibly the author of the article.

The overall content seems aimed at informing readers about the process and importance of historical preservation, specifically in the context of stained glass artwork. The image shows only text and no visual elements, like photographs or illustrations.

The image shows a page from a publication with text discussing the history and conservation of European stained glass, particularly in New England. It mentions how wealthy families collected stained glass panels by the end of the 19th century, with notable collections in Newport, Rhode Island, Worcester, and New York. The article details the efforts of Professor Caviness and students who researched and prepared an exhibit, including making a stained glass replica. It highlights the reattribution of some pieces and collaboration with institutions for loans of stained glass for the exhibition.

The text also covers the preservation work undertaken by Mel Greenland, a conservator specializing in stained glass, describing the "consolidation" of panels by mending and securing broken pieces without repainting lost designs. It explains steps taken for reinstallation with protective glazing after the exhibit to prolong the panels' lifespan.

Further, it mentions the preparation of custom supports and labels by Tufts students for displaying the glass and the context in which scholars can reattribute works based on the exhibited pieces. The text concludes with information about a symposium on stained glass held on April 29, with listed speakers from various institutions.

The page is numbered 4 and is part of a continued article from page 2, signed at the end by Emmy Dana.

The image depicts a page from a printed document, likely a book, article, or report. The page is numbered "4" and appears to be a continuation from a previous page, as indicated by the text at the top: "(continued from page 2)." The content is written in a formal, descriptive style, discussing the history, collection, and restoration of European stained glass pieces in New England during the 19th century.

Key Elements in the Image:

1. Text Content:

   • The text describes the rich tradition of European stained glass in New England during the 19th century, highlighting the efforts of wealthy families who collected such pieces.
   • It mentions specific locations where stained glass was installed, such as the Marble House and Belcourt in Newport, Rhode Island, and the Portsmouth Abbey in Portsmouth, Rhode Island.
   • The text discusses the collection of stained glass by Clarence Hungerford Mackay and other notable collectors, emphasizing the historical and artistic value of these pieces.
   • It details a project led by Professor Caviness, who taught a seminar related to the preparation of an exhibition. Students researched, catalogued, and documented pieces for the exhibition, using old techniques like rubbings.
   • The document also describes the conservation efforts undertaken by Mel Greenland, a New York-based conservator specializing in stained glass. It explains the process of consolidating leads and repairing broken pieces to restore the original design.
   • The text mentions the transportation of the glass pieces to the Busch-Reisinger Museum, overseen by Larry Doherty, Superintendent of the Fogg Museum, who designed special crates for safe transport.
   • It also describes the temporary setup of the Chapel before the exhibition, where custom-made apertures were built to support the glass panels. Tufts students produced labels for the exhibit, which were white-on-black negatives for better visibility.

2. Layout and Formatting:

   • The page is formatted in a standard book layout, with justified text and clear paragraph breaks.
   • The text is organized into two main columns, typical of printed books or reports.
   • The font is serif, suggesting a formal or academic context.

3. Visual Elements:

   • There are no images, illustrations, or photographs visible on the page. The content is purely textual.
   • The page has a clean, professional appearance, with no visible stains, tears, or markings.

4. Author and Signature:

   • At the bottom of the page, there is a signature line that reads:
     "— Emmy Dana"
     This suggests that the text may have been written or edited by someone named Emmy Dana.

Overall Impression:

The page is part of a detailed account or report discussing the history, collection, and restoration of stained glass in New England. It provides insights into the efforts of collectors, conservators, and students in preserving and exhibiting these valuable artworks. The formal tone and structured layout indicate that this is likely from an academic or museum publication.

The image is a page from a magazine or book, featuring an article about the preparation and exhibition of European stained glass. The text is divided into paragraphs and includes details about the history, conservation, and display of stained glass pieces from New England. It mentions the involvement of conservators, students, and various institutions in the process. The page also includes a quote from Emmy Dana, likely the author of the article.