The image is a newspaper clipping from "The Christian Science Monitor," dated Friday, December 5, 1975. It contains two articles under the "arts/entertainment" section.

1. Article on Cookie Molds (Left Side):

   • Title: "To know history, study the art of cookie molds"
   • Author: Deborah Nikel
   • Content: The article discusses the historical and artistic significance of cookie molds. It mentions an exhibition titled "Traditional European Cookie Molds" at Harvard University's Busch-Reisinger Museum, which showcases molds from Germany and the Netherlands. These molds, dating from the 17th to the 19th century, were used to create intricate cookies for religious and community celebrations. The molds feature various motifs, including religious symbols, family crests, and Greco-Roman designs. The article highlights the craftsmanship and the cultural importance of these molds, noting their use in spreading official portraits and symbolic imagery.

2. Article on Edward Albee's Play (Right Side):

   • Title: "Edward Albee's 'All Over' in lucid Hartford Stage version"
   • Author: Thor Eckert Jr.
   • Content: The article reviews a production of Edward Albee's play "All Over" by the Hartford Stage Company. The play is described as a virtuoso drama that explores the complexities of a family awaiting the death of its patriarch. The review praises the production for its insightful portrayal of human relationships and the actors' performances. It mentions the play's lack of fireworks but highlights its emotional depth and the skillful handling of the characters' interactions. The review also notes the strong performances by the cast, including Myra Carter, David O. Petersen, Margaret Thompson, and others. The production is commended for its subtlety and the actors' ability to convey the play's themes effectively.

The layout includes a photograph of an intricate cookie mold featuring a detailed carving, which accompanies the article on cookie molds. The overall design of the page is typical of a newspaper, with clear headlines, author names, and columnar text.

The image shows a page from the Christian Science Monitor newspaper dated Friday, December 5, 1975. The page is divided into two main articles under the section "arts/entertainment."

Left Side - "To know history, study the art of cookie molds"

• By Deborah Nikkel
  • This article discusses the historical significance of cookie molds.
  • It notes that cookie molds from the late Middle Ages and Baroque period were used to commemorate religious and community events.
  • The article mentions the "Traditional European Cookie Molds" at the Busch-Reisinger Museum, Harvard University, which showcases over 70 original molds from Austria, Germany, and the Netherlands.
  • It explains that these molds were used to create cookies with various designs, including religious and royal motifs, often to symbolize important events and occasions.

Right Side - "Edward Albee’s 'All Over' in lucid Hartford Stage version"

• By Thor Eckert Jr.
  • This article reviews the Hartford Stage Company’s production of Edward Albee’s play "All Over."
  • It highlights the play’s themes of family dysfunction, generational conflict, and the complexity of human relationships.
  • The review describes the Hartford Stage’s portrayal, noting the company's skilled handling of the play’s intricate characters and dynamics.
  • It mentions the performances of several actors, including Myra Carter as the matriarch Mistress Weidner, David O. Petersen as Doctor Allger, and Margaret Thomson as Nurse MacDermott, and comments on their ability to convey the play's emotional depth and realism.
  • The reviewer praises the production's ability to maintain the play’s mood and impact, despite the challenges of translating Albee’s complex themes into a regional theater setting.

The article on cookie molds illustrates historical and artistic aspects, while the play review provides an in-depth look at the production's execution and the actors' performances.

arts/entertainment

To know history, study the art of cookie molds

By Deborah Nikkel

"Unhand that cookie, knave. For the visual beauty it gives me far surpasses any gastronomic pleasure you might receive."

There was a time in Europe during the late Middle Ages and baroque period, when those words may have been spoken by an overworked gentlewoman to a mischievous cookie thief.

In those days cookies—and their molds—were literal works of art. Now, for the first time, Americans are being treated to cookie art.

"Traditional European Cookie Molds," through Jan. 17 at the Busch-Reisinger Museum, Harvard University, features more than 70 original wood molds from Austria, Germany, and the Netherlands, as examples of this ancient, but not forgotten, art.

The molds, carved from fruitwood, birch, and oak range in size from the one-inch high crouching hare, to the 18-inch high Nativity scene.

Anneliese Harding explains in her program notes that the resulting picture cookies "were a means of commemorating religious and community holidays and other festive occasions during the year."

Emperors and princes utilized the cookies to spread their idealized official portraits among the people, like the carving of Prince Eugene, the Duke of Savoy, and the double portrait of Louis XIV of France. A fox perches on his arm to symbolize the Prince's clever strategy.

These ornate cookies also served as useful status symbols. Think of inviting guests over for a social occasion, and serving them your family crest emblazoned through the texture!

The primary origins of the motifs, Mrs. Harding explains, are "probably religious or ritualistic in nature. Greco-Roman picture motifs such as the acanthus leaf, animal representations, and heart shapes were blended with the lingering motifs of Germanic mythology, including the billygoat, rider, mermaid, braided ornaments to become part of the medieval pictorial treasury.

The forms were carved in reverse so as to imprint a raised, positive image. A relatively flat carving style was essential otherwise it was difficult to remove the delicately shaped dough from the mold. Yet, the carvers managed to achieve different sculptural levels with an illusion of pictorial depth. The large St. Nicholas, for instance, is about one-and-one-half inches deep.

Alongside some of these splendid carvings are wax models indicating what the molded cookie would look like.

There is tremendous variety: a woman at a spinning wheel; a Viennese dandy; the crest of the Werdmuller family of Zurich; a billygoat rider; a sickle, to name just a few. Some are simple, some are complex. One of the most intricate is a scene of the banquet hall of Louis XIV, carved in 1660-1662, carved in Sweden. And there is a delightful carp.

Spend a fun hour or so poring over these fantastic cookie molds, and on your way out have a cookie, and don't resist the temptation to buy a reproduction mold and bake some yourself.

A regional company 'of highest rank'

Edward Albee's 'All Over' in lucid Hartford Stage version

By Thor Eckert Jr.

Hartford, Connecticut—The Hartford Stage Company is one of several outstanding regional theaters serving up distinctive plays in lucid productions. This excellent company clearly has a set of standards that sets it in the highest rank of regional theaters.

Theater

The current offering, Edward Albee's "All Over," is the play's first East Coast production since a two-week run on Broadway in 1971. The play, set in a luxurious New York apartment, is a drama, but a masterfully constructed series of conversations leading to cracking facades as a man lies dying.

Albee, whose insight, keen control of mood and moment, his feel for the building of a scene and his acute sense of word usage work together for a play of unusual insight and effect. In fact, when the curtain falls, the audience is left with a sense of having been present at an event of some importance.

The play is an ever-present theme, but not in the usual sense of the word. The dying man, for instance, is not the focus of the play. The focus is on the people around him, and how they react to the knowledge of his impending death.

The company's producing director Paul Weidner has assembled an excellent cast. The cast is headed by John C. McLiam, who plays the dying man, and the others include such well-known actors as Anne Pitoniak, Richard Venture, and William LeMassena.

The set, designed by William J. Johnson, is a handsome apartment, complete with a large window overlooking the city. The costumes, by Jane Green, are elegant and appropriate.

"All Over" continues through Dec. 13 at the Hartford Stage, 244 Trumbull St., Hartford. For tickets, call 247-5100.

Edible art

dough from the mold. Yet, the carvers managed to achieve different sculptural levels with an illusion of pictorial depth. The large St. Nicholas, for instance, is about one-and-one-half inches deep.

Alongside some of these splendid carvings are wax models indicating what the molded cookie would look like.

There is tremendous variety: a woman at a spinning wheel; a Viennese dandy; the crest of the Werdmuller family of Zurich; a billygoat rider; a sickle, to name just a few. Some are simple, some are complex. One of the most intricate is a scene of the banquet hall of Louis XIV, carved in 1660-1662, carved in Sweden. And there is a delightful carp.

Spend a fun hour or so poring over these fantastic cookie molds, and on your way out have a cookie, and don't resist the temptation to buy a reproduction mold and bake some yourself.

The image is a page from the December 5, 1975, edition of The Christian Science Monitor, specifically the "arts/entertainment" section. It contains two main articles:

1. "To know history, study the art of cookie molds" by Deborah Nickel:

   • This article discusses the historical significance of cookie molds, particularly from the Middle Ages to the Baroque period in Europe.
   • Cookie molds from these eras were not only utilitarian objects but also works of art, reflecting various cultural and religious themes.
   • The article mentions a collection at Harvard University that features over 70 original wood molds from Austria, Germany, and the Netherlands.
   • These molds often depicted biblical scenes, classical mythology, and other historical themes, serving as a form of commemorating religious and community events.
   • The designs on the molds were intricate and required a high level of craftsmanship, with the primary motifs being religious or nature-inspired.

2. "Edward Albee's 'All Over' in lucid Hartford Stage version" by Ther Eckert, Jr.:

   • This article reviews a production of Edward Albee’s play "All Over" by the Hartford Stage Company.
   • The review praises the company for its high standards and lucid interpretation of Albee’s work.
   • The play revolves around the impending death of a prominent figure and the dynamics among his family and mistress.
   • The director, Paul Weidner, is noted for his sensitive handling of the material, allowing the audience to connect deeply with the themes of the play.
   • The characters are portrayed with nuance, particularly Myra Carter’s performance as the wife, which is described as outstanding.
   • The article highlights the play’s blend of humor and tension, ultimately presenting a poignant reflection on human existence and relationships.

The page also includes an image of an intricately carved cookie mold, showing detailed artistry.

The image is a page from the December 5, 1975, edition of The Christian Science Monitor. The page is divided into two main articles related to arts and entertainment.

1. Left Article: "To know history, study the art of cookie molds" by Deborah Nikkel

   • This article discusses the historical significance of cookie molds, particularly those from the Middle Ages and Baroque periods.
   • It highlights an exhibit at the Busch-Reisinger Museum at Harvard University, featuring over 70 original wood molds from Austria, Germany, and the Netherlands.
   • These molds were used to create intricate designs on cookies, often depicting religious and community holiday themes.
   • The article mentions that the molds were carved from fruitwood and oak, and were used to impress designs into dough.
   • The molds were often reused, with designs ranging from high-relief to shallow carvings, and were sometimes used to commemorate specific events or individuals.

2. Right Article: "Edward Albee's 'All Over' in lucid Hartford Stage version" by Thor Eckert Jr.

   • This article reviews the Hartford Stage Company's production of Edward Albee's play "All Over."
   • The Hartford Stage Company is described as one of Connecticut's leading regional theater companies.
   • The play is noted for its intricate construction and exploration of family dynamics, with a focus on a mother and daughter's relationship.
   • The review praises the production's direction, acting, and set design, highlighting the performances of key actors such as Myra Carter, Anne Shropshire, David Petersen, and Margaret Thomson.
   • The article emphasizes the play's themes of family, love, and the complexities of human relationships, and how Albee's work captures these aspects with nuanced realism.

The page also includes a small image of an old cookie mold and a black-and-white photograph of the play's characters.

The image is a newspaper clipping from "The Christian Science Monitor" dated Friday, December 5, 1975. It contains two articles under the "arts/entertainment" section.

First Article:
Title: "To know history, study the art of cookie molds"
By: Deborah Nikkel
The article discusses the historical and artistic significance of cookie molds. It notes that cookies and their molds were once considered art, particularly during the late Middle Ages and Baroque period. The article mentions the Busch-Reisinger Museum at Harvard University, which has an extensive collection of over 70 original cookie molds from various European countries. The molds, carved from wood, are used to create cookies with intricate designs, often depicting religious and community themes. The author also touches on the origins of these motifs, which include Greco-Roman picture motifs and other cultural influences.

Second Article:
Title: "Edward Albee’s ‘All Over’ in lucid Hartford Stage version"
By: Thor Eckert Jr.
This article reviews a production of Edward Albee's play "All Over," staged by the Hartford Stage Company. The Hartford Stage Company is noted for its high-quality productions. The play, which is a two-week run on Broadway in 1971, is described as a dramatic exploration of human frailty and the consequences of a mistress's actions. The production is praised for its skillful handling of the complex themes and relationships within the play. The review highlights the performances of the cast, particularly Myra Carter, David O. Petersen, Margaret Thomson, and Anne Shropshire, who are noted for their nuanced portrayals.

The article also mentions the production's director, Paul Weidner, and the overall quality of the production, noting that it is a substantial cast and a well-crafted play.

This image shows a newspaper page from "The Christian Science Monitor," dated Friday, December 5, 1975. It is from the arts/entertainment section and features two main articles.

1. The left article is titled "To know history, study the art of cookie molds" by Deborah Nikkel. It discusses the historical and artistic significance of cookie molds, including their use in Europe during the Middle Ages. It mentions how cookie molds were carved from various woods and often featured intricate designs, such as mythical creatures and symbolic motifs. The article elaborates on the cultural importance and craftsmanship behind these molds. There is a photo or illustration near the top, captioned "Edible art," showing a detailed wooden cookie mold featuring a figure and possibly some ornamental designs.

2. The right article is about a theatrical production, titled "Edward Albee’s ‘All Over’ in lucid Hartford Stage version" by Thor Eckert Jr., from Hartford, Connecticut. It highlights the Hartford Stage Company's presentation of Edward Albee’s play "All Over," noting it as an example of high-quality regional theater. The article discusses the themes of the play, the production’s artistic elements, and the company’s reputation. It mentions the emotional depth of the play and praises the company’s director and cast.

At the top right corner, there’s a note indicating "National arts on page 34-35." The page number "24" is visible at the top left. The format of the page is typical of a newspaper arts section, with columns of text and a small image.

This image displays a newspaper clipping titled "arts/entertainment." The page is labeled 24, and the header indicates it is from "The Christian Science Monitor," dated Friday, December 5, 1975.

On the left side, there is an article titled "To know history, study the art of cookie molds" by Deborah Nikkel. It discusses the historical background and artistic nature of cookie molds. The article explains how they were considered works of art in the past and mentions a series of lectures by Anneliese Harding explaining how antique cookie molds from European cultures like Austria, Germany, and the Netherlands reflect their respective societies. There's an old illustration of a man working with a cookie mold accompanying the article.

On the right side of the image, there's a review of the play "Edward Albee’s 'All Over' in lucid Hartford Stage version" by Thor Eckert Jr. It describes the Hartford Stage Company's production of Edward Albee's "All Over" as a lucid version of the original Broadway production. The review praises the play, remarks on its profound exploration of human relationships at the end of life, and provides an analysis of the play's themes, performances, and direction.

The font, layout, and typesetting of the newspaper are typical of the period with densely packed columns, straightforward typefaces, and a limited use of images.

The image is a scanned page from The Christian Science Monitor, dated Friday, December 5, 1975, under the section titled "arts/entertainment." The page is divided into two main articles, each accompanied by a photograph and descriptive text.

Left Article: "To know history, study the art of cookie molds"

• Title: "To know history, study the art of cookie molds"

• Author: Deborah Nickel

• Content: The article discusses the historical significance of cookie molds as artistic and cultural artifacts. It explains how cookie molds were used in Europe during the Middle Ages and Baroque periods to create decorative, symbolic, and religious designs. The article highlights examples from various cultures, such as:

  • Traditional European Cookie Molds: From the 17th century, including those from Austria, Germany, and the Netherlands.
  • Harvard University Molds: Features more than 70 original wood molds from Austria, Germany, and the Netherlands.
  • Examples of Designs: Includes images of molds depicting religious symbols, community holidays, and festive occasions. The article also mentions how emperors and princes used cookies to spread their idealized official portraits among the people.
  • Cultural Significance: The molds were used to symbolize religious beliefs, commemorate holidays, and even serve as culinary tools for entertaining guests.

• Photograph: On the right side of the article, there is a black-and-white photograph of a cookie mold. The mold features an intricate design, possibly depicting a figure or a symbolic motif. The caption below the image reads "Edible art."

Right Article: "A regional company of highest rank: Edward Albee’s ‘All Over’ in lucid Hartford Stage version"

• Title: "A regional company of highest rank: Edward Albee’s ‘All Over’ in lucid Hartford Stage version"

• Author: Thor Eckert Jr.

• Content: This article reviews a stage production of Edward Albee’s play “All Over” by the Hartford Stage Company in Hartford, Connecticut. Key points include:

  • The Play: Described as Albee’s current offering, it is noted as his first East Coast production since a two-week run on Broadway in 1971. The play is characterized as a masterful construction of series of confrontations leading to cracking facades as a family awaits the death of the patriarch.
  • Themes: The play explores themes of respect, decency, and the struggles of the characters, particularly the mistress, who is deeply in love with the patriarch. The article emphasizes the play’s exploration of human existence, loneliness, and the complexities of familial relationships.
  • Performance: The Hartford Stage Company is praised for its high rank among regional theaters. The production is noted for its lucid interpretation, with director Paul Weidner responsible for the suspense of interaction and collision. The article highlights the emotional depth of the performances, particularly the roles of Mrs. Albee, Mistress Anne Carter Sharp, and other key characters.
  • Critical Reception: The article suggests that the play is particularly good, with strong performances and emotional resonance.

• Photograph: There is no visible photograph accompanying this article in the provided image.

Layout and Design:

• The page is formatted with a clean, newspaper-style layout. The headline is prominently displayed at the top, followed by subheadings and body text.
• The left article includes a photograph of a cookie mold, which serves as a visual representation of the article's theme.
• The right article focuses on a theater review and does not include an accompanying image in this scan.

Overall Context:

The page reflects a blend of cultural and artistic commentary, covering both historical culinary art and contemporary theater. It showcases the Christian Science Monitor's focus on arts and entertainment, providing readers with insights into both historical artifacts and modern theatrical productions.

The image is a page from a newspaper, dated Friday, December 5, 1975, and it features an article from the "arts/entertainment" section. The headline of the article is "Edward Albee's 'All Over' in lucid Hartford Stage version," indicating that the article is about a play by Edward Albee titled "All Over," which is being performed by the Hartford Stage Company. The article includes a photograph of a cookie mold, suggesting that the article may also touch on the history of cookie molds, as indicated by the caption "Edible art." The article is written by Thor Eckert Jr. and discusses the play's production, the Hartford Stage Company's reputation, and the cast and crew involved in the production. The article also includes a review of the play, mentioning the play's mood, the characters, and the overall impact of the production.