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The image shows a page from the "Harvard Alumni Bulletin," specifically page 455. The page features a black and white photograph of a statue. The statue depicts a seated figure, likely a woman, holding a child on her lap. The figure is draped in what appears to be classical attire. The photograph is centered on the page, with text both above and below it.

The text above the image appears to be the title or a description related to the statue, though it is not entirely clear from the provided image. The text below the photograph provides a detailed description and analysis of the statue. It mentions that the statue might be a work by Verrocchio or another sculptor, and it discusses the possibility that the figure was originally part of a larger work, possibly a throne. The text also references Vasari, an art historian, and discusses the style and significance of the statue as an example of the method of making models or studio figures during the Renaissance.

Overall, the page seems to be an analysis or a study of the statue, providing historical and artistic context.

The image is a page from the Harvard Alumni Bulletin, specifically page number 455, dated January 7th.

The page contains an article discussing a sculpture, presumably of the Virgin and Child. The text on the page provides a detailed analysis of the statue, attributing it to the sculptor Verrocchio.

Key points from the text include:

1. Material and Authenticity: The text argues that the difference in materials does not adequately invalidate the model as a genuine work by Verrocchio or any other sculptor.
2. Structural Features: It mentions a large rectangular hole in the back of the statue supporting the torso of the Virgin, suggesting that the figure was originally attached to a throne. A horizontal line above this hole is noted as possibly indicating the back of the throne.
3. Historical Context: The text discusses the historical context, noting that the statue was likely in a convent and that Vasari's accounts of Verrocchio’s work are cited to support the attribution.
4. Significance of the Study: The main significance of the study is the illustration of the method used by Renaissance sculptors in creating detailed drapery studies, highlighting it as a fine example of such work.

The illustration shows a black-and-white photograph of the sculpture in question, depicting the Virgin Mary holding the infant Jesus. The statue is shown seated on what appears to be a throne-like base.

The image shows a page from the "Harvard Alumni Bulletin," specifically page number 455. The page features a photograph of a statue depicting the Madonna and Child. The photograph is accompanied by text that discusses the statue.

The text argues that the difference in materials is not sufficient reason to dismiss the statue as a genuine work of Verrocchio or another sculptor. It mentions a large rectangular hole in the back of the statue's upright post, which supports the torso of the Virgin. This hole suggests that the Virgin was originally enthroned and attached to the back of the throne through this hole. There is also a horizontal line across the back of the Madonna, which might have been caused by the back of the throne. The text suggests that this theory is plausible.

It further mentions that the statue was once in a convent and that the style of the work, along with Vasari's account of Verrocchio's manufacturing methods, supports the attribution of the statue to Verrocchio or his workshop. Despite this, the text emphasizes that the statue is not solely a work by Verrocchio but rather a type of study in drapery used by sculptors in the method of creating cloth models or studio figures. It concludes that the statue is a beautiful and excellent example of such studies in drapery, seen in the drawings of Renaissance masters. The author of the text is identified by the initials "F. B. R." at the bottom right corner.

The image is a page from the Harvard Alumni Bulletin, specifically page 455, featuring an article related to a statue. The article discusses a statue of the Virgin and Child, likely of Renaissance origin.

The text on the page suggests the following points:

1. The statue is not attributed to Verrocchio, despite its resemblance to his works, due to differences in materials and manufacturing techniques.
2. The statue was originally enthroned, indicated by a large rectangular hole at the back of the post supporting the Virgin's torso and a horizontal line across the back of the statue, suggesting the attachment to a throne.
3. The style of the statue and Vasari's account of Verrocchio's manufacturing of such figures lend credibility to the hypothesis that it could be by Verrocchio.
4. The statue is not considered a work by Verrocchio himself, but rather a product of the method of creating cloth models or studio figures by his followers.
5. The statue stands out as an excellent example of studies in drapery seen in the drawings of the masters of the Renaissance.

The article is signed by an individual with the initials "F.B.R." The page has a date stamp in the upper right corner, which appears to be January 7. The photograph in the center shows the statue of the Virgin Mary holding the infant Jesus.

The image shows a page from the "Harvard Alumni Bulletin." The page number is 455 and it features an article with an accompanying photograph of a sculpture.

Photograph Description:

The photograph depicts a Renaissance-style sculpture of the Virgin Mary holding the infant Jesus. The sculpture is made of a material that appears to be bronze or a similar metal. The Virgin Mary is standing and holding Jesus on her left arm. The background of the sculpture includes vertical fluted columns.

Text Summary:

The text discusses the authenticity and manufacturing methods of a sculpture attributed to Verrocchio or his workshop.

Key points include:

1. Materials and Authenticity: The difference in materials is not considered a sufficient reason to reject the model as a genuine work by Verrocchio or another sculptor.
2. Rectangular Hole: There is a large rectangular hole in the back of the upright post supporting the torso of the Virgin. This hole suggests that the Virgin was originally enthroned, and the figure was attached to the back of the throne.
3. Horizontal Line: A horizontal line running across the back of the throne, along with the rectangular hollow, adds weight to the theory that the sculpture was altered.
4. Historical Context: Initially, the statue was believed to be enthroned in a convent, and Vasari's account of its manufacture seemed to support Verrocchio's authorship. However, the method of manufacture, specifically the use of quarterento sculpting for clothing, suggests that the work might not be by Verrocchio himself but a product of his workshop.
5. Artistic Merit: Despite the questions about its attribution, the sculpture is noted for its own merits, being beautiful and excellent, and is considered a prime example of Renaissance drapery studies.

The author of the text is identified by the initials "F. B. R." at the end of the article.

The image is a page from the Harvard Alumni Bulletin, specifically page 455. The page features an article about a sculpture, with an accompanying black-and-white photograph of the sculpture in question. The sculpture depicts a seated figure, likely the Virgin Mary, holding a child, presumably Jesus. The article discusses the sculpture in detail.

Key points from the article:

1. The sculpture is identified as a work by Verrocchio or another sculptor.
2. There is a notable rectangular hole in the back of the sculpture, which supports the theory that the figure was originally enthroned.
3. The article suggests that the figure was attached to the back of a throne, with a horizontal line running across the back of the Madonna.
4. The statue's style, the manner of drapery, and Vasari's account of similar figures by Verrocchio are discussed.
5. The article notes that the statue is an excellent example of studies in drapery, similar to those seen in Renaissance drawings.

The text is printed in two columns below the photograph, and the page appears to be part of a bound publication, as indicated by the hole punches along the left edge. The page number "455" is printed at the top, and the date "Jan. 7" is handwritten at the top right corner.

This image depicts a page from the Harvard Alumni Bulletin, labeled with the number 455. The page includes a black and white photograph of a statue, which shows a seated figure holding a small child. The statue appears to be classical or Renaissance in style, possibly religious in nature. Below the photograph, there are several paragraphs of text discussing the statue, including details about its materials, structural features, and historical context. The text examines attributes that may identify the statue's origins and significance, touching on the work of Verrocchio and other sculptors of the Renaissance era.

The image shows a page from the "Harvard Alumni Bulletin" with the page number 455 in the top-right corner. On the page is a photograph of a sculpture depicting a robed figure carrying a child. Below and to the left of the photograph is text that appears to discuss the sculpture, mentioning details such as a "large rectangular hole in the back of the upper portion" and references to the history and context of the work, which includes mentions of the "Virgin" being "enthroned" and connections to the work of "Verrocchio." There also appears to be more text beneath the photograph that is likely continuing the discussion of the sculpture's significance and attributes. The image also shows the three-hole punch margin on the left side, indicating that the paper is part of a binder or collected documents. There's a hand-written annotation in the bottom-right corner that may be initials or a brief comment.

The image depicts a page from the Harvard Alumni Bulletin, specifically page 455, dated January 7. The page features a black-and-white illustration of a classical sculpture, prominently displayed in the center. The sculpture portrays a seated female figure holding a child, likely representing the Virgin Mary and the Christ Child, given the context of the accompanying text. The figure is depicted in a serene, contemplative pose, with the child seated on the figure's lap. The sculpture is rendered in a detailed, realistic style, showcasing the drapery of the garments and the anatomy of both figures.

Below the illustration, there is a block of text that discusses the sculpture. The text appears to be an analysis or commentary, likely from an art historical or scholarly perspective. It references the materials, construction, and historical context of the sculpture, suggesting it may be a study or critique of the work. The text mentions details such as a rectangular hole in the back of the sculpture, which is interpreted as evidence of the figure being originally enthroned, and discusses the style and attribution of the work, possibly linking it to the Renaissance period and artists like Verrocchio.

The page also includes a header at the top that reads "HARVARD ALUMNI BULLETIN" and the page number "455" in the upper right corner. The overall layout suggests this is part of a publication aimed at alumni or academic readers, with a focus on art history or cultural studies. The illustration and accompanying text work together to provide a visual and analytical examination of the sculpture.

The image is a page from a book or magazine, featuring a black-and-white photograph of a statue of a woman holding a baby on her lap. The statue is seated on a throne, and the background is blurred, suggesting a sense of depth and space. The photograph is accompanied by a caption that reads "HARVARD ALUMNI BULLETIN 455." The text below the photograph discusses the statue's significance and the debate over its attribution to the sculptor Verrocchio. The page also includes a small, circular hole in the upper left corner, possibly a hole punch or a tear in the paper. The image has a vintage or historical feel, suggesting that it may be from an older publication.