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The image is a page from the "Harvard Alumni Bulletin," specifically page 611. It discusses the activities and goals of the Germanic Museum at Harvard University. Key points include:

1. Purpose of the Germanic Museum:

   • The museum aims to promote understanding of German culture by bringing German scholars to Harvard and engaging with various aspects of German art and literature.

2. Activities and Events:

   • The museum has hosted several notable German scholars, including Professor Adolph Goldschmiede from the University of Berlin and Professor Friedrich von der Leyen from the University of Cologne.
   • Public lectures and concerts are regular features, with Professor von der Leyen giving a series of lectures on Germanic literature and fine arts, which have been well-attended.
   • Loan exhibitions are a significant part of the museum's activities, allowing students to study original works of art from various localities.

3. Exhibitions:

   • The museum held an exhibition in January 1931 on German etching, engraving, and woodcutting, showcasing works from the fifteenth century to contemporary times.
   • Another exhibition featured drawings by Dutch masters of the seventeenth century, including works by Rembrandt, Ruysdael, and Ostade.
   • Upcoming exhibitions include works by George Kolbe, modern Hungarian painting, works by Alfred Mahlau, and paintings by the Little Dutch Masters of the seventeenth century.

4. Broad Interpretation of "Germanic":

   • The museum interprets "Germanic" broadly, including art from related countries like Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium, as well as certain phases of English, Burgundian, and Norman art.
   • The museum acquires objects from these regions as part of its permanent collection.

5. Reproductions and Originals:

   • The museum initially focused on reproductions to illustrate the development of Germanic art, which is valuable for teaching but lacks the aesthetic appeal of originals.
   • The museum is now acquiring a small collection of original works to stimulate a real appreciation of Germanic art.

6. Donations:

   • The museum has received generous donations, including reproductions of German and Flemish paintings and Merovingian jewelry, which help illustrate various aspects of Germanic art and history.

Overall, the page highlights the museum's efforts to educate and promote German culture through a variety of scholarly activities, exhibitions, and acquisitions.

The image displays a page from the Harvard Alumni Bulletin, specifically page 611. The text discusses the activities and goals of the Germanic Museum at Harvard University.

The main points include:

1. Promotion of German Culture: The museum aims to promote an understanding of German culture and its influence on contemporary artists and culture.

2. Professors and Lectures:

   • Adolph Goldschmidt, from the University of Berlin, conducted courses on German art from 1930 to 1931.
   • Friedrich von der Leyen, a professor at the University of Cologne, gave public lectures on Germanic literature, which included discussions on German fine arts.

3. Exhibitions:

   • The museum holds loan exhibitions featuring original artworks from various regions, including Germany and related countries like Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium.
   • An exhibition in January 1931 focused on German graphic art from the fifteenth century to contemporary artists.
   • Spring exhibitions included drawings by Dutch masters of the seventeenth century, such as Rembrandt, Ruysdael, and Ostade.

4. Collection Development:

   • The museum initially focused on reproducing significant artworks for educational purposes.
   • Currently, it is acquiring original works of art to enhance its collection, particularly to stimulate appreciation of Germanic art.

5. Additional Activities:

   • The museum holds public lectures and concerts as part of its regular program.
   • It has plans to continue and expand its exhibitions and collections, including a collection of original drawings and paintings.

The text emphasizes the broad interpretation of "Germanic" to include related cultures and artistic traditions, aiming to enrich the understanding and appreciation of Germanic art and culture.

HARVARD ALUMNI BULLETIN 611

of this professorship is to bring some great Germanic scholar to Harvard to help pro- mote an understanding of German culture. Naturally this plays an important part in the affairs of the Museum. The first in- cumbent of the chair was Professor Adolph Goldschmidt of the University of Berlin. During the year 1930-1931 he conducted courses in various phases of German art. The students made considerable use of the material at the Germanic Museum for these courses.

Professor Friedrich von der Leyen of the University of Cologne is the Kuno Francke Professor during the current aca- demic year. He has been giving a series of public lectures on Germanic literature as reflected in the fine arts. These lec- tures, in spite of being in German, have been well attended, and both the student body and the general public have evinced much interest in them. Public lectures and concerts are to be a part of the regular program of the Museum.

Another very important activity of the Germanic Museum is the holding of loan exhibitions. These give the students an opportunity to see and study original works of art gathered from widely separated lo- calities and brought together to illustrate some specific school or tendency. The first exhibition, held in January, 1931, pre- sented a review of German etching, en- graving, and woodcutting from earliest times to the present day. A carefully se- lected group of over a hundred prints were on exhibition; they showed a logical de- velopment in German graphic art from the beginnings in the fifteenth century, through the great masters such as Durer and Holbein, to the most recent products of contemporary artists.

In the spring there followed an exhi- bition of drawings by Dutch masters of the seventeenth century. Such eminent painters as Rembrandt, Ruysdael, and Ostade were generously represented.

The exhibition calendar for the current academic year is full and varied. At the present writing the Museum is holding an exhibition of the sculpture and drawings of George Kolbe, who is perhaps the greatest of living German sculptors. This is to be followed by exhibitions of modern Hun- garian painting, the advertising work of the Lübeck artist, Alfred Mahlau, and paintings by the Little Dutch Masters of the seventeenth century.

It will be seen from the program out- lined above that the term “Germanic” is interpreted in a very broad sense. The Museum attempts to promote an interest, not only in German art, but also in the artistic production of such related coun- tries as Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium. Even certain phases of English, Burgundian, and Norman art come under the category of Germanic.

A similarly broad interpretation is used in the acquisition of objects as part of the permanent collection of the Museum. The original purpose of the institution was to illustrate the development of Germanic art by means of reproductions. This policy is being followed and is proving of great value for teaching purposes. A collection of some 75 reproductions of German and Flemish paintings has been purchased to illustrate a few of the masterpieces of north European painting. The acquisition of a group of reproductions of Merovingian jewelry gives the student an opportunity to study the production of Germanic lands in the early Middle Ages.

In spite of the teaching value of these reproductions, the fundamental aesthetic appeal is lacking. The student may be able to see stylistic tendencies and de- velopments, but the spark of beauty, which is the fundamental reason for the study of art, cannot be reproduced. In order to stimulate a real appreciation of Germanic art, one must deal with originals. Therefore, an important part of the new policy of the Germanic Museum is to acquire a small but representative collection of original works of art.

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The image is a page from the Harvard Alumni Bulletin, specifically page 611, discussing various activities and developments related to the Germanic Museum at Harvard University.

Key Points:

1. Germanic Professorship:

   • The purpose of this professorship is to bring a prominent Germanic scholar to Harvard to promote a deeper understanding of German culture.

2. Role of the Germanic Museum:

   • The Germanic Museum plays an important part in the affairs of the Museum, with the first incumbent being Professor Adolph Goldschmidt from the University of Berlin.
   • During 1930-1931, courses on various phases of German art were conducted, and students extensively used the Museum's resources.

3. Lectures and Public Engagement:

   • Professor Friedrich von der Leyen from the University of Cologne and Professor Kuno Francke delivered public lectures on Germanic literature and fine arts, which were well-attended and sparked interest among the general public.

4. Loan Exhibitions:

   • The Museum holds significant loan exhibitions, allowing students to study original works of art.
   • An exhibition in January 1931 showcased a review of German etching, engraving, and woodcutting, presenting a historical development from early times to the present.
   • A spring exhibition featured drawings by Dutch masters of the seventeenth century, including Rembrandt, Ruysdael, and Ostade.

5. Future Exhibitions:

   • The upcoming exhibitions include modern Hungarian painting, the work of the Luebeck artist Alfred Mahlau, and paintings by the Little Dutch Masters and seventeenth-century artists.

6. Broad Interpretation of "Germanic":

   • The term "Germanic" is interpreted broadly to include artistic production from related countries such as Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium, as well as phases of English, Burgundian, and Norman art.

7. Museum Collection Policy:

   • The Museum’s original intent was to illustrate Germanic art through reproductions, a policy still followed for teaching purposes.
   • A collection of reproductions of German and Flemish paintings has been acquired to show masterpieces of North European painting.
   • Recently, the Museum has begun acquiring original works of art to provide students with a direct appreciation of Germanic art.

8. Recent Acquisitions:

   • With the help of generous donations, the Museum has started to build a modest but representative collection of original works of art.

Additional Note:

The right column of the page lists various announcements and obituaries related to Harvard alumni, including:

• Eulogies and death notices for alumni.
• Upcoming events and meetings.
• A section on "Marks His Work Always With Scripts," highlighting a specific individual's work.

This detailed summary captures the essence of the content presented on the page from the Harvard Alumni Bulletin.

The image is a page from the Harvard Alumni Bulletin, specifically page 611. It discusses the activities and initiatives of the Germanic Museum at Harvard, aimed at promoting an understanding of German culture through various academic and artistic means.

Key points from the text include:

1. Professorship and Courses:

   • The museum aims to bring a renowned German scholar to Harvard to teach and promote German culture.
   • Professor Adolph Goldschmidt from the University of Berlin conducted courses on German art from 1930 to 1931, utilizing the resources of the Germanic Museum.

2. Public Lectures and Activities:

   • Professor Friedrich von der Leyen from the University of Cologne delivered public lectures on Germanic literature, which were well-attended and appreciated.
   • The museum hosts exhibitions and concerts as part of its regular program.

3. Loan Exhibitions:

   • The museum organizes loan exhibitions featuring original works of art from various localities, focusing on specific schools or tendencies. The first exhibition in January 1931 showcased German graphic art from the fifteenth century to contemporary times, including works by Durer and Holbein.

4. Drawings Exhibition:

   • An exhibition of seventeenth-century Dutch masters' drawings was held in the spring, featuring artists like Rembrandt, Ruysdael, and Ostade.

5. Exhibition Calendar:

   • The museum's current exhibition calendar includes an exhibition of George Kolbe's sculpture and drawings, followed by exhibitions of modern Hungarian painting, the Lubek artist Alfred Mahlau, and paintings by the Little Dutch Masters of the seventeenth century.

6. Interpretation of "Germanic":

   • The museum's use of the term "Germanic" encompasses a broad range of countries and artistic productions, including Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, Belgium, and even some phases of English, Burgundian, and Norman art.

7. Collection and Teaching:

   • The museum's collection includes reproductions of German and Flemish paintings, aiming to illustrate the development of Germanic art and provide teaching material.
   • The acquisition of original works of art, such as a group of Merovingian jewelry, is intended to stimulate a deeper appreciation of Germanic art.

8. Generosity and Support:

   • The museum's initiatives are supported by the generosity of friends, who have already contributed to the acquisition of original works of art.

The page emphasizes the museum's broad interpretation of Germanic culture and its commitment to enhancing both academic and public understanding through exhibitions, lectures, and educational collections.

The image is a page from the Harvard Alumni Bulletin, specifically page 611. The content discusses the activities and goals of the Harvard Germanic Museum. Here's a detailed summary:

1. Purpose and Scholarship:

   • The museum aims to promote understanding of German culture and has a professorship dedicated to this goal.
   • The first incumbent of this chair was Professor Adolph Goldschmidt from the University of Berlin, who taught courses in various phases of German art from 1930 to 1931.

2. Lectures and Public Engagement:

   • Professor Friedrich von der Leyen from the University of Cologne gave lectures on Germanic literature, which were well-attended by both students and the general public.
   • These lectures and concerts are part of the museum's regular program.

3. Loan Exhibitions:

   • The museum holds loan exhibitions, which provide students with the opportunity to study original works of art from various regions.
   • An early exhibition in January 1931 showcased German graphic art from the fifteenth century to contemporary artists, including works by Durer and Holbein.

4. Artistic Scope:

   • The term "Germanic" is interpreted broadly, encompassing art from Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, Belgium, and even certain phases of English, Burgundian, and Norman art.
   • The museum's collection aims to illustrate the development of Germanic art and includes reproductions of artworks for educational purposes.

5. Exhibition Highlights:

   • The museum's exhibition calendar includes an upcoming exhibition of sculptures and drawings by George Kolbe, a prominent German sculptor.
   • The museum plans to follow this with exhibitions of modern Hungarian paintings, advertising art by the Lucbeck artist Alfred Mahlau, and paintings by the Little Dutch Masters of the seventeenth century.

6. Collection Policy:

   • The museum aims to acquire a small but representative collection of original works of art to enhance the educational value of their reproductions.
   • The collection of reproductions, including 75 German and Flemish paintings and Merovingian jewelry, aims to provide a comprehensive study of Germanic art.

7. Fundraising:

   • Friends of the museum have contributed to the acquisition of original works, with a modest collection already established.

8. Miscellaneous:

   • The page also includes a brief mention of a "Cordial Welcome to Members of the Class of 1903" and a section titled "Death of Members," which lists names and mentions the death of a few individuals, including "E. Cordier" and "L. M. H. T. M."

The overall goal of the Germanic Museum is to promote interest and understanding in Germanic art and culture through educational programs, exhibitions, and acquisitions.

This image shows a scanned page of text from the "Harvard Alumni Bulletin" with the header clearly indicating its source. The page number at the top right is "611," meaning it is from within a larger document or publication.

The text on the page is discussing aspects of the Germanic Museum at Harvard, detailing the activities of the museum, including public lectures, concerts, and exhibitions. It mentions the teaching value of the museum's collection and the importance of original artworks for study purposes. The article also refers to various art pieces and contributors, and indicates the time frame as likely being in the early to mid-20th century, given the reference to the year 1930-1931. There's a reference to Professor Adolph Goldschmidt of the University of Berlin from that time.

The text contains a mixture of historical and educational content, giving an insight into the museum’s efforts to promote an understanding of German culture and art.

Please note that the text is partially cut off on the right side, indicating that this is only a portion of the full page. Some words are incomplete due to the cut-off, and this affects the readability of those sections.

The provided image is a page from the Harvard Alumni Bulletin. The page is filled with text discussing various activities and events related to the Germanic Museum at Harvard. Highlights include:

1. The role of the professorship in advancing the understanding and appreciation of German culture.
2. Courses conducted by Professor Adolph Goldschmidt covering various German art topics.
3. Public lectures and courses by Professor Friedrich von der Leyen on Germanic literature and its relationship with fine arts.
4. Loan exhibitions providing students opportunities to study original works of art, which included exhibitions on German etching, engraving, and woodcutting.
5. An exhibition in January 1931 showcasing a logical development in German graphic art from the fifteenth century to contemporary artists.
6. An exhibition in spring featuring drawings by Dutch masters of the seventeenth century.
7. The museum's policy of acquiring objects for the permanent collection to illustrate developments in Germanic art through reproductions.
8. The importance of gaining a fundamental appreciation of the aesthetics of original artworks in teaching Germanic art.
9. The acquisition of a small but representative collection of original works through the generosity of friends of the museum.

Overall, the page outlines the academic, cultural, and artistic endeavors of the Germanic Museum at Harvard University, emphasizing the importance of original works, exhibitions, and lectures in promoting the understanding of Germanic art and culture.

This image shows a page from a publication called the "Harvard Alumni Bulletin," specifically page 611. The text discusses the role and activities of the Germanic Museum, focusing on its efforts to promote German culture through education, exhibitions, and loan displays. It mentions professors who have contributed to the museum's academic programs, including Adolph Goldschmidt from the University of Berlin and Friedrich von der Leyen from the University of Cologne.

The page details the importance of loan exhibitions for students to study original works of Germanic art, including a review exhibition in January 1931 that featured German etching, engraving, and woodcutting spanning from the fifteenth century to contemporary works. It also highlights an exhibition showcasing drawings by Dutch masters from the seventeenth century such as Rembrandt, Ruysdael, and Ostade.

Additionally, the text notes the museum's broader interpretation of "Germanic" art to include related countries such as Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium, as well as some English, Burgundian, and Norman art. The museum's goal is to foster appreciation of Germanic art by acquiring a collection of original works and high-quality reproductions for educational purposes.

The page is neatly printed on off-white paper, with some slight discoloration and a small hole on the left margin. The right side of the image shows part of adjacent pages or documents that are not fully visible or readable.

Description of the Image

The image shows a page from the "Harvard Alumni Bulletin," specifically page 611. The page is formatted as a printed text document, featuring a clean, classic layout typical of academic or institutional publications from the early to mid-20th century. The text is typed in a serif font, and the page is divided into two columns.

Content Overview:

The text discusses the activities and initiatives of the Germanic Museum at Harvard University. The content is focused on the museum's educational and cultural contributions, including lectures, exhibitions, and the acquisition of art and artifacts.

Key Points in the Text:

1. Professor Adolf Goldschmidt:

   • Goldschmidt, a professor from the University of Berlin, was the first incumbent of the chair of Germanic art at Harvard.
   • During the academic years 1930–1931, he conducted courses on various phases of German art.
   • Students utilized materials from the Germanic Museum for these courses.

2. Professor Friedrich von der Leyen:

   • He is from the University of Cologne and is currently teaching at the Kuno-Francke Professor of Germanic Literature at Harvard.
   • He delivered a series of public lectures on Germanic literature, which were well-attended by both students and the general public, despite being conducted in German.

3. Loan Exhibitions:

   • The Germanic Museum organizes loan exhibitions, allowing students to study original works of art from various localities.
   • The first exhibition, held in January 1931, featured a review of German etching, engraving, and woodcutting from the earliest times to the present day. Over a hundred carefully selected prints were displayed, illustrating the development of German graphic art from its beginnings to contemporary artists like Dürer and Holbein.

4. Exhibition of Dutch Masters:

   • In the spring, an exhibition of drawings by Dutch masters of the 17th century was held. Notable artists such as Rembrandt, Ruysdael, and Ostade were represented.

5. Current Exhibition:

   • At the time of writing, the museum is holding an exhibition of the sculpture and drawings of George Kolbe, described as perhaps the greatest living German sculptor.
   • The exhibition also includes modern Hungarian painting, the advertising work of the Luebeck artist Alfred Mahlon, and paintings by the Little Dutch Masters of the 17th century.

6. Interpretation of "Germanic":

   • The term "Germanic" is interpreted broadly to include artistic production from countries such as Austria, Switzerland, Norway, Sweden, Denmark, Hungary, Holland, and Belgium. Even certain phases of English, Burgundian, and Norman art are included under this category.

7. Acquisition of Objects:

   • The museum has acquired a collection of reproductions to illustrate the development of Germanic art. This includes 75 reproductions of German and Flemish paintings, as well as masterpieces of north European painting.
   • A group of reproductions of Morovian jewelry has also been acquired, allowing students to study the production of Germanic lands in the early Middle Ages.

8. Teaching Value of Reproductions:

   • While reproductions lack the aesthetic appeal of original artworks, they are valuable for teaching purposes. They help students understand stylistic tendencies and developments in Germanic art.
   • However, the museum emphasizes the importance of studying original artworks to fully appreciate the spark of beauty and the fundamental reasons for the study of art.

9. New Policy:

   • The museum has adopted a new policy to acquire a small but representative collection of original works of art, thanks to the generosity of friends of the museum.

Layout and Design:

• The page is structured with clear headings and paragraphs, making it easy to follow.
• The left margin features a vertical line, and there is a small handwritten note or annotation in the top right corner, possibly a reference or comment.
• The right column contains additional text that appears to be part of a different article or section, with headings such as "E CORD TO MA DEATH OF MA GE SETT" and "S MARK HIS W", suggesting it may be from another part of the bulletin.

Overall Impression:

The page reflects the academic and cultural focus of the Harvard Alumni Bulletin, highlighting the Germanic Museum's role in promoting the study and appreciation of Germanic art and culture. The text emphasizes educational initiatives, public engagement, and the museum's evolving collection policies. The formal tone and structured layout are consistent with the publication's purpose of informing alumni and the academic community about institutional activities.