Time Travel Tuesday: Printing and Publishing in Cambridge

Part 1: Henry Oscar Houghton, the Riverside Press, and book publishing in Cambridge

 

Welcome back to Time Travel Tuesday, a series focusing on Cambridge history illustrated with objects in our collections. In this episode, we’ll be discussing the history of printing and publishing in Cambridge. Let’s dig in!


The story of the printing industry in Cambridge begins in the earliest days of the Massachusetts Bay Colony. While printing in England was tightly controlled, New Englanders largely escaped the oversight of the English companies – at least in the beginning. Early printed volumes were primarily religious texts. The Bay Psalm Book contained the versions of the Psalms sung by the colonists. First and second editions of the Psalms were printed in Massachusetts, but later editions were printed back in England, due in part to a tightening of control over the Colonies by the English.

In addition to religious texts, early Massachusetts printers published almanacs, programs, and law texts. Later, especially the period leading up to and during the American Revolution, pamphlets were popular. As printing technology grew more sophisticated, so too did the materials that came off those presses. By the turn of the 19th century, an unprecedented number of people in the newly-formed United States had access to printed materials.

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Title page: Chronicles of the First Planters of Massachusetts Bay, from 1623-1636. Published by Charles C. Little and James Brown, Boston. Printed in Boston by Freeman and Bolles, 1846.

Henry Oscar Houghton

Born in Vermont in 1823, Henry Houghton got his start in publishing as an apprentice typesetter in a print shop. In a letter dated November 16, 1848, he wrote to his parents:

I have recently had and offer to go into business here which seems to me very favorable. Mr. Freeman, of the firm Freeman & Bolles, who are among the best printers in the city, if not the very best, has offered to sell me one half of the office… Messrs. Little & Brown, who are the most extensive publishers of law books in New England, if not in the United States, propose to make a contract with us to do all their printing that we can do… They are building a large office in Cambridge, the rent of which is to be about half Freeman & Bolles are now paying in the city.

This was a somewhat risky venture. Houghton required notes of credit to raise the funds to buy his half of the firm, with a down payment of $100 and yearly payments of $250 thereafter. Little and Brown purchased the old alms house along the river and converted it to a printing plant, adding a steam power plant and a store room.

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Exterior of the Riverside Press building, ca. 1893. Photographer unknown. In the Riverside Press collection, Cambridge Historical Commission.

Printing operations at the Riverside building began in 1852 and Houghton quickly gained a reputation as a “printer of discrimination.” The Press continued to grow through the Civil War with little negative effect from the conflict, as Houghton and Company already had an extensive client list. In 1867, Houghton purchased the building from Little and Brown and undertook extensive additions, doubling the size of the plant.

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Title page: Harvard Graduates Whom I Have Known by Andrew Preston Peabody, 1890. Published by Houghton, Mifflin and Company. Printed at the Riverside Press, Cambridge.

As printing technology continued to advance, the printing industry continued to grow. Offset printing, a process by which the image to be printed is transferred to a rubber blanket before printing on the final surface, was first developed for printing on tin in 1875 and adapted for printing on paper in 1904. Paper making technology also advanced throughout the Industrial Revolution, with machines like the cylinder making the process faster and cheaper.

The Riverside Press was by no means the only printing company in operation in Cambridge during this period. Other printing companies of the late 19th century represented in our collections include: John Ford & Son…

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Title page: A Brief History of the First Baptist Church in Cambridge with the Declaration of Faith, the Church Covenant, and List of Members, printed by John Ford & Son, 1870.

 

Thurston, Miles, and Pritchett…

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Title page: A History of the Cemetery of Mount Auburn by Jacob Bigelow. Published by James Munroe and Company, Boston, 1860.
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Verso of title page including copyright information: A History of the Cemetery of Mount Auburn by Jacob Bigelow. Printed by Thurston, Miles, and Pritchett, Cambridge.

…and publisher Moses King.

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Title page: King’s Hand-book of Boston, Profusely Illustrated. Fifth edition published by Moses King, Cambridge, 1883.
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Front cover: King’s Hand-Book of Boston.

Publishing is still a major industry in Cambridge. Though Houghton Mifflin eventually moved across the river to Boston, several printing and publishing companies are headquartered in Cambridge, including MIT Press, Harvard University Press, and Barefoot Press, a publisher of books for children.

Join us next month for part 2, a look at newspapers in Cambridge!


Sources:

Amory, Hugh. First Impressions: Printing in Cambridge 1639-1989. Cambridge, Mass.:  Harvard University, 1989.

Ballou, Ellen B. The Building of the House: Houghton Mifflin’s Formative Years. Boston: Houghton Mifflin Company, 1970.

Cambridge Historical Commission. Survey of Architectural History in Cambridge Report Three: Cambridgeport. Cambridge, Mass.: Cambridge Historical Commission, 1971.

Scudder, Horace Elisha. Henry Oscar Houghton: a Biographical Outline. Cambridge: Riverside Press, 1897.

Time Travel Tuesday: Spooky Stories From Cambridge History

Welcome back to Time Travel Tuesday, a series focusing on Cambridge history illustrated with objects in our collections. In this episode, we’ll be discussing a few of the more peculiar legends of Cambridge. Are these terrible tales pure fiction or are they based in historical fact? Read on to find out!


Settled in 1630, Cambridge has had nearly 400 years to accumulate ghosts, some of whom continue to haunt the residents of Cambridge to this very day. And some gruesome chapters in Cambridge history, while they did not result in any reported ghost sightings, are enough to give even the most dauntless among us the heebie-jeebies.

Gallows Lot

In the early days of what would become the City of Cambridge, the smaller population included its fair share of criminals, and the criteria for capital punishment was not quite so stringent as it is today. It is unsurprising then that Cambridge had its own plot of land dedicated to executions. In the early 18th century, Cambridge Common was much more expansive. It was described by Lucius R. Paige in 1877:

Until 1720, the ‘Common’ extended to Linnaean Street, and including also a few acres, lying in a nearly square form, at the northwesterly corner of Linnaen Street and North Avenue [now Massachusetts Avenue]. This extreme point of the Common was set apart as a ‘Place of Execution,’ or ‘Gallows Lot,’ as it was more familiarly called.

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Detail of Sanborn Atlas map of Ward 5, Cambridge, 1873. Shows the location of Gallows Lot on the property of J. C. Wellington. Though  not yet in existed, Stone Court has been penciled in at the upper right of the property, beneath Dan’ W. Shaw’s property.

While the majority of executions carried out on this lot were by hanging, at least one execution by burning at the stake occurred there, that of an enslaved woman named Phillis, convicted of murdering her master, Captain Codman, with an enslaved man named Mark. The Boston Evening Post reported on the event on September 22, 1755:

…the fellow was hanged, and the woman burned at a stake about ten yards distant from the gallows. They both confessed themselves guilty of the crime for which they suffered, acknowledging the justice of their sentence and died very penitent.

Phillis was one of only a few people executed in that manner in Massachusetts history.

Christ Church

Several documented ghosts have taken up residence in Cambridge. Christ Church, founded in 1759, is home to the spirit of a British soldier who was buried under the church after he was thrown from a wagon and died.

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Reproduction of drawing, possibly a plate in a book, though the page is loose in our survey files. Unfortunately, no further bibliographic information is present.

The congregation of the Church was split between Patriots and Loyalists and dispersed during the Revolution. Said the Rector of the Church at the time, Rev. Winwood Sarjeant, “[p]erhaps no church in the country was more completely broken up. Of all the persons who took part in its concerns, including the sixty-eight original subscribers for the building… and twenty original purchasers of pews, not a name appears on the records after the Revolution but those of John Pigeon, Esq., and Judge Joseph Lee,” a Patriot and a Loyalist, respectively. The church building, badly damaged during the war,

…was left for many years in a melancholy and desecrated condition, the doors shattered and all the windows broken out, exposed to rain and storms and every sort of depredation, its beauty gone, its statuary defiled, the wind howling through its deserted aisles and about its stained and decaying walls….

No services were held again until 1790.

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Christ Church from Old Burying Ground. Dated November 20, 1892. Original in the Henry Rand Collection, Southwest Harbor Public Library, Southwest Harbor, Maine.

First Baptist Church

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Carte de Visite depicting the original First Baptist Church building. Not dated. CHC Postcards and Stereographs Collection.

In the early days of the Massachusetts Colony, a young woman named Ann Hopkins waited for her lover to return from the French Indian War. He did not make it home. His rival brought the news of his untimely death to Ann, but she caught a glimpse of the ribbon she had given her lover as a token before he left for war. The truth of her lover’s death was brought shockingly into relief: the rival had murdered her lover and disguised the killing as a casualty of the war in the hope that Ann would instead choose him. Distraught and heartbroken, Ann scorned the company of men and grew old alone on the outskirts of town. When strange and supernatural events began to plague the town, Ann was accused of witchcraft, arrested, and burned at the stake. It is said that her final words as she succumbed to the flames was a curse. “The curse of fire shall be on this spot forever!”

 

Many years later, on that very plot of land, where Magazine Street meets Massachusetts Avenue, the First Baptist Church of Cambridge was founded. The church building was completed in December of 1817 and for nearly 50 years housed the congregation until in the early morning hours of January 22, 1866, the church burned to the ground. A new building was erected, completed in December of 1867, exactly 50 years since the first building was completed. This building burned in 1881. The Boston Globe reported on the ruins in March 27, 1881:

Strange sounds are heard at night by persons who pass the ruined building—low moans and cries of intense agony, that rise to weird shrieks and die away in long-drawn sighs.

These unearthly sounds increase in frequency as the work of clearing away the ruin progresses, and old residents remember that the same sounds were heard after the burning of the old church some sixteen years ago, beginning as soon as the work of rebuilding started, and increasing until the cornerstone was laid, when they ceased altogether.

Even stranger,

[a]s the stone was being lowered into place a spark of fire was struck out in some unaccountable way and communicated to the documents placed under the stone, but the block was quickly lowered to put the flames out. When the stone was raised the other day there was nothing under it but a little heap of ashes, and it is a curious coincidence that the same thing was noticed when the cornerstone of the old church was raised.

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The second First Baptist Church building under construction in 1866. CHC Survey Files

Could this have been the work of the ghost of Ann Hopkins? The author of this article hears the story from an old man, who heard the story from his grandfather, who heard the story from the generations before him. However, despite the few instances of executions by burning that occurred in the early days of the Massachusetts Colony, no accused witches were burned at the stake. This of course casts doubt on the rest of the story and the author of the Globe article expresses his own skepticism. “Do you think the ghost of Ann Hopkins stretched these telegraph wires overhead that are making all this weird moaning?” he asks the old man who related the tale of Ann Hopkins to him.      “[A]nd the old man arose and gazed upon me reproachfully.”


Sources:
Declaration of Faith and List of Members of the First Baptist Church, Cambridge. Cambridge: John Ford & Son, 1870. (CHC Research Library)
Lee, Wan. “A Haunted Church Site in Cambridge. An Old Man’s Story of the “Curse of Fire.” Strange Sounds by Night and Still Stranger Explanations,” Boston Globe (Boston, MA), March 27, 1881.
Paige, Lucius R., History of Cambridge, Massachusetts. 1630-1877. With a Genealogical Register. Boston: H. O. Houghton and Company, 1877. (CHC Research Library)
Postcards and Stereographs Collection. Cambridge Historical Commission, Cambridge, Massachusetts.
Survey Files. Cambridge Historical Commission, Cambridge, Massachusetts.

 

 

Time Travel Tuesday: Stereographs

Welcome to the inaugural episode of Time Travel Tuesday! This series will focus on aspects of history illustrated by objects in our collections. In today’s post, we’ll be talking about stereographs.

Have you ever watched a movie in 3D or spent hours staring at a Magic Eye image hoping to see whatever was hidden in all the abstract colors? 3D imaging is somewhat of a novelty, even today, but the impulse to create two dimensional images that look 3D has been around a lot longer than you might think. In the early decades of the 19th century, inventors began devising ways to create the illusion of a three dimensional view, even before advances in photographic technology made it possible to quickly and inexpensively create direct representations of the world.

Early 3D photographs (and drawings) were called stereographs or stereograms. Stereoscopy, the technique used to create stereographs, works because our eyes see at slightly different angles from each other. When your eyes work together, in stereo, you perceive a three dimensional view of your surroundings. Close one eye and the world flattens. By placing a slightly different image to be viewed by each eye independent of the other, your mind is tricked into seeing a three dimensional scene.

The first stereoscope was invented by a man called Sir Charles Wheatstone in 1838. Wheatstone’s original apparatus employed a system of mirrors to reflect two slightly different images to the eyes. Six years later, David Brewster improved on Wheatstone’s design, doing away with the mirrors and instead using prisms in a closed case. Stereoscopy became all the rage in Victorian England. Even Queen Victoria was bitten by the stereo bug. The Great Exhibition of 1851 brought the stereoscope to an international audience and around 1860 Cambridge native Oliver Wendell Holmes invented his own version of the stereoscope.

The Holmes Stereopticon, also known as the American stereoscope, was incredibly popular. In the years following its invention, which Holmes declined to patent, thousands upon thousands of stereoscopic images, also known as stereographs, were produced for viewing through a stereoscope. They were cheap and readily available, making them a truly democratic amusement.

The CHC has a number of stereographs as part of the Postcards and Stereographs Collection, depicting historical monuments, notable residences, churches, Harvard University, and landscape views.

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Washington’s Headquarters (Prof. Longfellow’s Residence), Cambridge. Not dated. Produced by American Stereoscopic Views.
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The Washington Elm. “Under this tree Washington first took command of the American Army. July 3rd 1775.” Not dated. Produced by A.E. Alden, Boston.

 

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Vicinity of Boston. Park and Garden Series. Not Dated. Produced by C. Seaver, Jr. Photographer. Labeled on reverse “Residence near Mt. Auburn.” This is the only color stereograph in our collection. See below for more information.

Updated: It was recently pointed out to us by an eagle-eyed commenter that the above image is, in fact, a house formerly in Roxbury. This house appears in a painting of Roxbury in the Museum of Fine Arts, Boston, below: 

Stereographs were mass produced as souvenirs. People visiting Cambridge could purchase these cards and bring them home with them to relive their trip. This is evidenced by the frequent inclusion of historical information on the back of the cards.

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Elmwood, Birthplace of James Russell Lowell, Cambridge Mass. Not dated. Produced by Underwood & Underwood Publishers.

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[Reverse] Elmwood, Birthplace of James Russell Lowell, Cambridge Mass. Not dated. Produced by Underwood & Underwood Publishers.
Especially interesting in this example is the inclusion of multiple languages at the bottom of the card. Visitors who spoke French, German, Spanish, Swedish, or Russian could read for themselves what was depicted in the stereograph.

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Reverse of a stereograph card of Hollis Hall dormitories. Several cards with this historical description pasted to the back are present in our collection, and indication of just how common these types of cards were.

Other cards included a list of other available stereograph images. This card depicting a scene in Mount Auburn Cemetery is an example.

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While difficult to make out, the design to either side included the description “Rural Cemeteries, United States.”  Based on information on the reverse, we know this is Mount Auburn Cemetery. Not dated. Publisher not specified.
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Reverse of above. Someone, perhaps the original owner of this card, underlined “12. Lawn and Chapel” under Mount Auburn, Cambridge, indicating the subject of the photograph.

Unfortunately, many cards do not include any information at all to identify them. However, occasionally the original purchaser chose to identify the subject themselves, perhaps to help them remember their visit.

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Memorial Hall, Harvard University. No identifying information is present on the front of this card.
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Reverse of above. “Memorial Hall” “Harvard” Cambridge Mass. June 1874. A. F. F.

Interest in stereoscopy has continued to the present day. Tutorials on creating your own stereoscopic images are available online. So if you live in Cambridge and want to experience a little bit of time travel for yourself, give it a try and show us what you come up with!

Sources:

Victoria and Albert Museum

American Antiquarian Society

 

 

CHC Research Library Catalog Progress

In addition to our archival collections, the CHC is home to a research library containing over 1000 volumes pertaining to Cambridge history, architecture, and residents. While plenty of these books are widely held in other libraries, many are rare volumes not found elsewhere. To increase the usability and accessibility of our collection, both for CHC staff and outside researchers, archives assistant Emily has spent the last several months creating a library catalog. This catalog will eventually be available online through an open source online catalog platform called TinyCat, so stay tuned for the announcement and read on to learn about Emily’s progress.

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Part of the CHC Research Library collection.

This project started with a spreadsheet.

Several years ago, a previous CHC archivist started adding books to this spreadsheet. She included fields for the basic bibliographic data needed to identify a book: title, author, publisher, date of publication, etc. However, she left the CHC before this spreadsheet was complete. I took over the project in February, checking the list against the volumes on the shelves of the library, correcting or adding information as necessary, and adding volumes that had been added to the shelves in the period after the previous archivist left and before I started.

The spreadsheet has evolved since then. I added and removed fields, changed classification systems, added call numbers, removed call numbers, added subject headings, removed subject headings, changed collection headings, and color coded EVERYTHING. It’s a work in progress.

Currently, I am almost finished assigning call numbers to every volume on our shelves. (Many more will be added later, but one step at a time.) When this step is finished, it will be time for the Great Reorganization, an all-hands-on-deck event when we will be removing everything from the stacks and reordering the collection by call number. We will be making flags to place in each volume (all 1,000+!) so users can find what they’re looking for. And every volume will be added to our online catalog, available for anyone to use, from anywhere in the world. As an archivist committed to making all information as freely accessible as possible, I am really excited for this thing to go live.

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Our front-facing online catalog. I’ve added a few volumes already to test it out. The book covers scroll by as a sort of slide show of the collection. It’s pretty neat.

*An Ode to Online Catalogs and the Library of Congress Classification System PDFs*

Many of the call numbers I’ve assigned to each volume were found in other online catalogs. The Library of Congress holds millions of volumes and must employ hordes of catalogers, so they are the definitive source for LC classification standards. WorldCat is a “global catalog of library collections” through which one can search the online catalogs of universities, public libraries, and archival collections all around the world. These sources were invaluable to me in this process. However, some of our materials are so rare they can’t be found in any other catalog. Many others were arranged in a way that didn’t make sense for our collection. For these items, I created call numbers from scratch using the Library of Congress classification schedules, basically guides to the LC Classification System, available as PDFs, that include almost any possible classification.

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In the search results page, you can see the call numbers for the volumes I’ve already added. F74.C1 is the basic classification for anything about the history of Cambridge.

Are you as excited about all of this as I am? Do you want to know more about the Library of Congress Classification System and why it is vastly superior to the Dewey Decimal System? Let us know in the comments!

William Lawrence Galvin Collection Architectural Drawings

In today’s post, our archives assistant Emily shares some of her favorite drawings from an enormous architectural collection in our archives. While this collection is still undergoing conservation work, much of it is available for research.


William Lawrence Galvin was an architect prominent in Cambridge during the mid-twentieth century. A native of Roxbury, his family moved to Cambridge so Galvin could prepare for Harvard. He graduated with a BA in Fine Arts in 1925 and a master’s degree in architecture in 1931. Galvin’s interest in architecture began during his undergraduate education. He opened a real estate office while still at Harvard and launched his own architecture firm following his graduation from the Harvard School of Architecture. Over his 50 year career, Galvin deeply impacted the landscape of Cambridge, contributing several well-known buildings to the city, including the Cambridge Federal Savings and Loan building which is no longer standing.

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Cambridge Federal Savings and Loan Ass’n front elevation, n.d. Negative photostat. William Lawrence Galvin Collection, CHC.

Over the last 6 months, I have worked extensively with this collection, reprocessing and cataloging Galvin’s architectural drawings. Many of the buildings he designed were never built, including his proposal for a high-density apartment building at 680 Huron Avenue overlooking the Fresh Pond golf course.

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Apartments Overlooking Fresh Pond… Proposed apartment building at 680 Huron Ave, n.d. William Lawrence Galvin Collection, CHC.

My favorite drawings, however, are student work. As part of his degree program, Galvin created several large scale drawings of buildings, like this “Bank for a Small City” which includes a cross section, front elevation, and floor plan.

 

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Bank for a Small City, n.d. Ink and watercolor on heavy paper. William Lawrence Galvin Collection, CHC.

This front elevation was submitted to the Boston Society Competition.

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Boston Society Competition, n.d. Ink and watercolor on heavy paper. William Lawrence Galvin Collection, CHC.

Another front elevation is labeled “Municipal Employment Bureau” as part of the design of the building.

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Municipal Employment Bureau, n.d. Ink and watercolor on paper. William Lawrence Galvin Collection, CHC.

Galvin’s thesis project was a design for a Cambridge Memorial Auditorium to be built in Cambridge Common. Several drawings exist of his design, which he later revised to submit to the mayor Cambridge.

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Cambridge Memorial Theatre, ca. 1931. Ink on paper. William Lawrence Galvin Collection, CHC.
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Cambridge Memorial Theatre, ca. 1931. Photostat. William Lawrence Galvin Collection, CHC.
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Cambridge Memorial Theatre, ca. 1931. Photostat. William Lawrence Galvin Collection, CHC.
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Cambridge Memorial Auditorium, Expanded for Mayor Russell, n.d. Original drawing. William Lawrence Galvin Collection, CHC.

This unlabeled front elevation, probably of an apartment building, is a beautiful example of Galvin’s student work.

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Unlabeled front elevation, n.d. Watercolor on paper. William Lawrence Galvin Collection, CHC.

My favorite of Galvin’s student works is this “Byzantine Church.” The detail is exquisite, especially the inclusion of frescoes in the dome of the church.

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A Byzantine Church of the First Golden Age, n.d. Watercolor on paper. William Lawrence Galvin Collection, CHC.

Many of the drawings in this collection show evidence of damage due to the poor conditions they were found in. Galvin stored his drawings in rolls, and after his death in 1983 they were left untouched. The collection was donated by property developers Martin Hill and Lauren Harder who acquired the building from Galvin’s daughters in 2011. Several of the damaged drawings were in such poor condition that they couldn’t be restored, however efforts were made to restore many other drawings.

Processing and cataloging the collection has been a long process, and there is still more to be done. For more information, see the finding aid for this collection.