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The image shows a page from a literary magazine titled "Hudson Review," specifically the Autumn 1960 issue. The page features a poem by Maxine W. Kumin titled "Eleventh Century Doors." The poem is inspired by doors at the Busch Reisinger Museum in Cambridge, Massachusetts.

The poem describes the intricate details of the eleventh-century doors, which depict scenes from the life of Christ. It mentions various elements such as the cross, a child, a lion, an archaic lion, and a church. The poem reflects on the artistry and the religious symbolism of the doors, culminating in a sense of reverence and awe.

The text is neatly printed, and the page appears to be part of a bound volume, as indicated by the visible binding on the right side. There are also some handwritten annotations at the top of the page, which include the date "Jan 14, '61" and possibly a reference number or note.

The image shows a page from a publication titled "Nudson Review," specifically from Autumn 1960, Volume 389. The article is about "Eleventh Century Doors" from the Busch-Reisinger Museum in Cambridge, Massachusetts.

The page contains a poem by Maxine W. Kumin. The poem reflects on the historical and artistic significance of the doors, which are described as follows:

• Eleven hundred years since Christ's crucifixion, the doors are a significant relic.
• The doors are described in terms of their imagery and scale:
  • The cross is shown multiple times.
  • There are depictions of various saints and scenes, including Eve and three early saints.
  • The doors include various symbols and figures, like a centaur, an eye, and a lion.

The poem then moves into a contemplative tone questioning the authenticity and the deeper meanings behind the symbols and artwork:

• It discusses the forms and the reasons for their depiction, such as a lion's smile and the arches.
• It speculates on the historical and religious context, questioning the interpretation of the figures and symbols.
• The poem ends with an imaginative description of the doors opening and revealing a scene of Christ rising and healing, and then moving into a broader context of praising and worship within a church setting.

The text also mentions the visual journey of reading these doors from top to bottom and left to right, as if one were viewing them in a museum.

The image shows a page from a publication titled "Hudson Review," specifically from the Autumn 1960 issue. The page is numbered 389. The featured article or poem is titled "Eleventh Century Doors" by Maxine W. Kumin. The text appears to be a poetic description or analysis of the doors at the Busch-Reisinger Museum in Cambridge, Massachusetts. The poem reflects on the historical and artistic significance of the doors, which are described as being cast eleven hundred years after the time of Christ. The poem details various scenes and figures depicted on the doors, including representations of Christ, a centaur, and other mythological and religious figures. The text explores themes of stillness, movement, and the intersection of different cultural and artistic influences. The poem also includes a date notation at the top, "June 14, 1961," possibly indicating when the piece was written or revised.

The image shows a page from the "Hudson Review," specifically a poem titled "Eleventh Century Doors" by Maxine W. Kumin, numbered 389 and dated Autumn 1990. The poem is set at the Busch-Reisinger Museum in Cambridge, Mass.

Here's a detailed summary of the poem:

The poem begins by describing an ancient artwork, specifically an eleventh-century depiction of Christ's crucifixion:

• It mentions that the artwork has been around for nearly a thousand years, showing Christ nailed to the cross.
• The cross is constructed from thirty-five bronze squares, with Christ’s unarticulated limbs bent over it.
• The cross is described as small enough for a child to draw, with details such as side wounds, thorns on Christ’s head, six adders, three nails, Eve's three thickened eyelids, and three early Christian saints.

The poem then shifts to describing other figures and elements within the artwork:

• Various forms remain stationary except for one central figure, a centaur.
• The centaur has a man-headed appearance, with pure Greek features among the miracles, and is depicted with a smiling, wide-named, narrow-hipped lion.
• The poem poses questions about the lion's mythical role and the significance of the archaic smile, ultimately suggesting that the truth belongs to Christ.

The final stanza vividly describes the resurrection:

• It reads like a series of dynamic scenes: stone rolling from the cave’s mouth, Christ rising with healed holes and open eyes, and a nimbus around His head.
• The doors swing open, and the homagers enter, sweeping through the threshold.
• The scene includes the right-hand pathway to the full-size Church, a carved and nubiled Virgin, the left-hand path to the damned, and finally, the synagogue with bound eyes and fettered hands.

This poem reflects on religious art, symbolism, and the powerful imagery associated with the Christian narrative of crucifixion and resurrection.

The image shows a page from a publication titled "Hudson Review," Autumn 1960, featuring a poem by Maxine W. Kumin. The poem is titled "Eleventh Century Doors" and is associated with the Busch-Reisinger Museum in Cambridge, Massachusetts.

The poem is written in a formal, structured style and describes the details of eleventh-century cathedral doors. Here is the full text of the poem:

Eleven hundred years since Christ
Put on His nails and swam to God
And I am almost twice again in time
Since these cathedral doors were cast
In thirty-five squares, Sweet Christ,
Thirty-five squares, the cross, the lamb,
The cross is shown four times over,
Stiff as a child might draw and no better
Sidewise, lumpish, out of scale.
Two rows above His thorns, six adders;
Three tempting Eve, thickened esses,
And three endangering early saints.

Nothing moves. The forms are rudiments
And I will not be moved, except
Here in the center by a centaur,
Armless but manheaded; eyeless,
Pure Greek among the miracles
A reasonable critique. And more:
A serpent lion with a splendid tail,
Wrapped round the centaur’s neck, smiling.
Why does the archaic lion smile?
What is the lion, what is the myth
Doing on the Rhine? Let these be mine.
The truth; Christ, let these be mine.

Reading downward, square by square
The stone rolls from the cold cave’s mouth.
Christ rises, the holes healed, the eyes
Raised, and a nimbus around His head.
Almost, the doors swing out and open,
Almost, the homagers sweep in
Over the scoop-worn threshold
Under the archway formed on the right
By the full-size Church, naked and nubile,
A giantess of grace, offering praises,
And on the left by the form-draped damned,
Eyes bound, hands lettered, the Synagogue.

The page is dated November 14, 1961, in the top left corner, indicating when the publication was reviewed or noted.

The image shows a page from the Hudson Review, specifically from the Autumn 1960 issue (Volume 13, Number 4). The page features a poem titled "Eleventh Century Doors" by Maxine Kumin.

The poem reflects on the eleventh-century cathedral doors at the Busch-Reisinger Museum in Cambridge, Massachusetts. The doors are described in detail, with references to the images and scenes carved into them:

• The doors are said to be over a thousand years old, depicting Christ's crucifixion and various biblical scenes.
• The cross is shown repeatedly, and the details of the scenes, including the figures of Eve and saints, are noted.
• The poem observes the stillness of the forms and the specific details of the carvings, such as the eyes of a centaur and a lion.
• There is a contemplation on the nature of the myth and the truth represented by the art, with a focus on the religious symbolism and the scenes of Christ's resurrection.
• The poem concludes with a vivid description of the doors opening, allowing Christ to rise and heal, and the entrance of homagers into a church and a synagogue, each with their own specific attributes and representations.

The poem is both descriptive and reflective, drawing the reader into a deeper understanding of the historical and spiritual significance of the cathedral doors.

This image features a printed page with a poem titled "Eleventh Century Doors" by Maxine W. Kumin. The poem is published in the "Hudson Review," and there is a handwritten note at the top left corner indicating the date "Jan 14, 1961." The poem makes reference to historical religious imagery and motifs, reflecting on the passage of time since the casting of cathedral doors with biblical scenes. The Busch Reisinger Museum in Cambridge, Massachusetts, is mentioned in the subtitle, possibly as the location of the doors which inspired the poem. The page is slightly discolored around the edges, typical of paper aging, and is bound in a book with a green cover or binding shown on the left edge.

The image shows a page from a book or an album with a clipped poem titled "Eleventh Century Doors" by Maxine W. Kumin, originally published in the Hudson Review, Autumn 1960, as indicated by handwriting at the top of the poem. There is also a handwritten date above the clipping, "June 14, 1961."

The poem is about ancient cathedral doors cast in bronze and describes various biblical and mythological imagery, reflecting on Christian iconography and its meaning. The text mentions Christ’s crucifixion, the figures of saints, a centaur, a lion, and contrasts between the Church and the Synagogue.

The poem is credited as being from the Busch Reisinger Museum in Cambridge, Massachusetts. The page itself is off-white, and the clipped poem is pasted onto it, with some slight wear visible around the edges of the clipping. The book or album page is bound in green fabric.

The image shows a page from a book or publication titled "Eleventh Century Doors", dated 1960, and attributed to Maxine W. Kumin. The page is part of a collection or review titled "Hudson Review", as indicated at the top of the page. The text is a poetic or descriptive piece that vividly evokes imagery related to ancient doors, likely referencing historical or religious art.

Key Elements in the Image:

1. Title and Context:

   • The title, "Eleventh Century Doors", suggests the subject matter is related to doors from the 11th century, possibly referencing religious or historical artifacts.
   • The subtitle or attribution, "Busch Reisinger Museum, Cambridge, Mass.", indicates that the piece is connected to an exhibit or collection at the Busch Reisinger Museum, which is known for its focus on European art.

2. Poetic Description:

   • The text is written in a lyrical, descriptive style, using vivid imagery and metaphor to convey the characteristics and symbolism of the doors.
   • The description includes references to religious themes, such as Christ, the cross, Eve, and saints, indicating a possible religious or spiritual context.
   • Phrases like "Put on His nails and swam to God", "Unarticulated limbs bent to Sweet Christ", and "Three tempting Eve, thickened eases" suggest a blend of religious imagery and artistic interpretation.

3. Visual Imagery:

   • The text describes the doors as having "thirty-five bronze squares", with details such as a cross, a child, thorns, adders, and figures like Eve.
   • The doors are depicted as "stone doors from the cold cave's mouth", with references to Christ's resurrection, healing, and the movement of the doors themselves.
   • The description also contrasts the grandeur of the Church ("a grantee of grace") with the "form-draped damned" on the left, suggesting a juxtaposition of salvation and damnation.

4. Handwritten Notes:

   • At the top of the page, there is a handwritten note that reads "June 14, 1961", indicating when the page was possibly reviewed, annotated, or referenced.
   • The name "Hudson Review" is also handwritten, likely confirming the source or context of the publication.

5. Layout and Design:

   • The page has a clean, formal layout typical of literary or academic publications.
   • The text is centered and formatted in a structured manner, with clear headings and body text.

Overall Impression:

The image captures a page from a literary or art-critical review that combines poetic description with historical and religious references. It reflects a deep engagement with the subject matter—likely an artwork or artifact—while also providing a personal or scholarly annotation, as evidenced by the handwritten date and title. The content suggests a rich interplay between art, history, and spirituality.

The image appears to be a page from a book or magazine. The page contains a poem titled "Eleventh Century Doors" written by Maxine W. Kumin. The poem describes the bronze doors of the Busch-Reisinger Museum in Cambridge, Massachusetts. The poem is written in a free verse style and uses vivid imagery to describe the details of the bronze doors. The poem is accompanied by a small illustration of the bronze doors. The page also includes the date "June 14, 1961" and the name of the publication, "Hudson Review."