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The image is a page from the Harvard Alumni Bulletin, specifically page 927. The article on this page is titled "Sixteenth-Century Books" and discusses an exhibition of sixteenth-century illustrated books at the Fogg Museum during March and April. The books were from the collection of Philip Hofer and were supplemented by a few from Harvard College Library and the Fogg Museum.

Key points from the article include:

1. Comparison with Fifteenth-Century Books: The exhibition followed one on fifteenth-century illustrated books, highlighting differences in engraving and copperplate illustrations. Engravings by artists like Albrecht Dürer and others were more extensively used in the sixteenth century.

2. Woodcut Illustrations: Sixteenth-century designers of woodcut book illustrations were craftsmen rather than artists, leading to more detailed and elaborate illustrations. Notable designers included Dürer, Burgkmair, Baldung, and Holbein.

3. Integration of Woodcuts: Woodcuts became an integral part of the page, often forming decorative borders and initials. The cuts were more intricate and often used to illustrate texts, such as those by Henri II and Geoffrey Tory.

4. Influence of German Illustrations: German book illustrations significantly influenced other countries, with cuts being copied or closely imitated. Examples include Spanish texts printed in Saragossa and German cuts influencing Italian and French works.

5. French Book Illustration: French cuts were noted for their decorative borders and initials, with Geoffrey Tory's work being particularly influential. The article highlights the Aldine edition of Colonna's "Hypnerotomachia" as an example of fine book illustration.

6. Exhibition Details: The exhibition included a large number of cuts from books of the period, hung on the walls above the cases containing the books. The Print Collection of the Fogg Museum and the Harvard College Library provided additional material for the study of early book illustration.

Overall, the article provides a detailed overview of the evolution and characteristics of sixteenth-century book illustrations, highlighting the craftsmanship and artistic influences of the period.

The image is a page from the Harvard Alumni Bulletin, specifically page 927, which discusses the exhibition of sixteenth-century illustrated books at the Fogg Museum in March and April.

The text describes the transition and evolution of book illustration from the fifteenth to the sixteenth century:

1. Sixteenth-Century Books:

   • The exhibition showcased a collection of books from the sixteenth century, primarily sourced from the library of Philip Hofer in New York City and supplemented by Harvard College Library and the Print Department of the Fogg Museum.
   • Engravings on copper were more prevalent in the sixteenth century, especially by artists like Pierre Woertiot, Etienne Delaune, Theodor de Bry, the Carracci family, and William Rogers, who created copper plates for book illustrations.

2. Fifteenth-Century Book Illustrations:

   • The fifteenth century saw woodcut book illustrations designed by craftsmen rather than professional artists, with designs often mimicking manuscripts.
   • Notable artists of the fifteenth century include Jean Goulon, Dürer, Burgkmair, and Holbein. They were involved in illustrating texts, particularly in significant works such as the "Entree Henri II" and "Les Dix Premiers Livres de l'Iliade".

3. Illustrations and Text:

   • Woodcuts in the fifteenth century were versatile, used for various purposes like borders, decorative elements, and as standalone illustrations.
   • There was a closer connection between illustrations and text in the sixteenth century, influenced by the artistic trends of the time.

4. Regional Styles:

   • In Italy, Spain, and the Netherlands, the fifteenth-century traditions continued into the sixteenth century, but with more elaborate cuts. Spanish title-pages, for example, remained fine and heraldic.
   • The influence of German book-illustration on French and other European styles is noted, particularly in the works of Holbein and the use of decorative borders.

5. Holbein's Work:

   • Holbein’s illustrations for the "Danse de la Mort" and "Old Testament" are highlighted for their intricate and artistic woodcuts, reflecting the high standards of the period.

6. Specific Book Examples:

   • The text mentions the Aldus edition of Colonna’s Hypnerotomachia, printed in Venice in 1499, and the French edition from 1546, both showcasing the rich tradition of sixteenth-century book illustration.

Overall, the page highlights the rich and evolving tradition of book illustration, emphasizing the transition from fifteenth-century woodcuts to more refined and diverse sixteenth-century engravings. The exhibition offers a unique opportunity for studying the early stages of book-illustration.

HARVARD ALUMNI BULLETIN 927

SIXTEENTH-CENTURY BOOKS

The exhibition of sixteenth-century illustrated books at the Fogg Museum during March and April was probably the first exhibition of books of this period ever held in America. They were chiefly from the library of Philip Hofer, '21, of New York City, supplemented by a few from the Harvard College Library and from the Print Department of the Fogg Museum. Following immediately after the exhibition of fifteenth-century illustrated books, it was especially interesting by comparison.

Engravings on copper, which were used in the Monte Santo di Dio of 1477 and Dante of 1481 (copies of both these books belong to the University) found little favor in the sixteenth century, but were used more extensively in the seventeenth when such engravers as Pierre Woeriot, Etienne Delacau, Theodor de Bry, the Carracci, and William Rogers engraved copper plates to be used as illustrations in printed books.

In the fifteenth century the designers of woodcut book-illustrations cut their own blocks. They were not artists but simple craftsmen, and the woodcut line was little more than an outline to be filled in with color in imitation of miniatures in manuscripts, the forerunners of printed books. In the next century some of the greatest artists of the time drew on the wood blocks the designs which were cut by professional woodcutters. Dürer, Burgkmair, Baldung, and Holbein designed some of their greatest woodcuts to illustrate the printed text. As distinguished an artist as Jean Goujon felt no hesitation in collaborating in the illustrations of exceptional books, especially those concerned with the festivals of sovereigns, as the "Entree Henri II", printed in Paris in 1549, which contains a splendid equestrian portrait among other illustrations.

In the sixteenth century the woodcut formed an integral part of the page. The cuts were so general in character that the blocks were used almost indiscriminately, one block serving to illustrate many scenes.

In the sixteenth century there was a much closer connection between illustration and text.

In Italy, Spain, and the Netherlands the fifteenth-century traditions continued into the sixteenth. The cutting became more elaborate, but does not show the same change from the preceding century that one sees in German book-illustration, which was influenced so greatly by the outstanding artists of the time. Spanish title-pages are still very fine. Many are heraldic, as in "Aureum opus regium", printed in Valencia in 1515.

As decoration, as well as illustration, the French cuts are perhaps the best in the sixteenth century. Decorative borders frequently adorn the page, and cuts and text unite to form a complete whole than in other countries, due perhaps to the influence of Geoffrey Tory. Such a page as that from "Les six premiers livres de Tite-Live", printed in Paris in 1544, shows French book-illustration at its very best. A very animated battle-scene, drawn in simplest outline, is surrounded by a very gracefully designed border, and accompanied by a beautifully proportioned initial, making a very fine and decorative page.

Among the most important book-illustrations printed in France were Holbein's cuts for the Dance of Death and Old Testament, first published in Lyons. The tiny cuts are complete little pictures, the marvel of the woodcutter's art, as well as that of the designer who understood so perfectly the possibilities, yet limitations, of the medium through which his designs were to be interpreted.

Many of the works which were in demand in the fifteenth century continued to be popular in the sixteenth. Often an entirely new set of illustrations was made to conform to the new taste in book-illustration, but sometimes the old blocks continued to be used, as in the "Sacra rappresentazioni", of which Harvard University is fortunate to possess a large number. Sometimes fifteenth-century cuts were

The Aldus edition of Colonna's Hypnerotomachia, printed in Venice in 1499, was the basis of the illustrations in the French edition of the same work, printed in Paris in 1546. The latter were free translations rather than copies of the first edition.

The exhibition of books is supplemented by a large number of cuts from books of the period which are hung on the wall above the cases containing the books. In the Print Collection of the Fogg Museum there are some 2,000 such cuts, which, together with the printed books in the Harvard College Library, furnish a remarkable opportunity for the study of early book-illustration.

The image is a page from the "Harvard Alumni Bulletin" dated sometime in 1967. The main article on this page is titled "Sixteenth-Century Books" and discusses an exhibition of sixteenth-century illustrated books held at the Fogg Museum during March and April.

Key Points from the Article:

1. Exhibition Details:

   • The exhibition featured sixteenth-century illustrated books, likely the first of its kind in America.
   • It included works from the library of Philip Hofer, the Department of Printing and Graphic Arts at Harvard College Library, and the Print Department of the Fogg Museum.

2. Engravings and Illustrations:

   • Engravings on copper, which became popular in the late 15th century, were used more extensively in the 16th century.
   • Notable engravers from this period include Pierre Woeriot, Etienne Delaune, Theodor de Bry, the Carracci, and William Rogers.

3. Woodcut Illustrations:

   • In the 16th century, woodcut book illustrations were designed by professional artists.
   • These illustrations were more detailed and often filled with color, mimicking miniatures in manuscripts.
   • Artists like Dürer, Burgkmair, Baldung, and Holbein designed woodcuts that were integral to the books, sometimes even illustrating the text directly.

4. Decorative Borders:

   • The sixteenth-century books often featured decorative borders, which became more elaborate over time.
   • Some notable examples include works by Spanish and French artists, such as those in the “Heures à l'usage de Rome” and “Les six premiers livres de Thucydide.”

5. German Influence:

   • German book illustration of the middle sixteenth century is noted for its high quality.
   • The "Dance of Death" and "Old Testament" illustrations from Lyon are examples of the intricate and detailed work from this period.

6. Reuse of Illustrations:

   • Some sixteenth-century illustrations were copied or adapted for later editions.
   • For instance, cuts used in a Spanish text from 1520 were German in origin, demonstrating cross-cultural influences.

7. Notable Works and Collections:

   • The Aldus edition of Colonna’s "Hypnerotomachia" printed in Venice in 1499, which served as the basis for later French and Parisian editions, was mentioned.
   • The exhibition was supplemented by a large number of additional cuts from books in the Harvard College Library’s collection, providing a comprehensive study of early book illustration.

This article provides a detailed account of the evolution, techniques, and significance of illustrated books from the sixteenth century.

The image is a page from the Harvard Alumni Bulletin, specifically page 927, discussing the exhibition of sixteenth-century illustrated books at the Fogg Museum. The article highlights the historical context and significance of these books, noting that this was the first exhibition of its kind in America.

Key points include:

1. Exhibition Details:

   • The exhibition took place from March to April.
   • It was curated by Philip Hofer, with contributions from the Harvard College Library and the Print Department of the Fogg Museum.

2. Engravings and Woodcuts:

   • Engravings on copper became popular in the sixteenth century, replacing woodcuts which were common in the fifteenth century.
   • Notable figures such as Pierre Woeriot, Etienne Delaune, Theodor de Bry, the Carracci, and William Rogers used copper plates for illustrations.

3. Illustrations and Text:

   • There was a closer connection between illustrations and text in the sixteenth century.
   • In Italy, Spain, and the Netherlands, fifteenth-century traditions continued, but the style became more elaborate.
   • French cuts were highly regarded for their decorative borders and overall design, often used to form complete pages.

4. Specific Examples:

   • The book "Les dix premiers livres de l'Iliade," printed in Paris in 1545, shows a high level of French book-illustration.
   • Holbein's illustrations for the Dance of Death and Old Testament prints from Lyons are mentioned for their intricate designs.
   • Some works from the fifteenth century continued to be popular, like the "Sacra Rappresentazioni," which Harvard University owns a large number of.

5. Printing and Translation:

   • The Aldus edition of Colonna's Hypnerotomachia, printed in Venice in 1499, was a significant work.
   • The exhibition featured books with a large number of cuts, including the Fogg Museum's Print Collection, which has over 2,000 such cuts.

6. Cuts and Illustrations:

   • Many cuts were copied more or less closely for sixteenth-century editions.
   • German woodcuts influenced Spanish texts like Livy's "Las quatorze décadas," printed in Saragossa in 1520.

This page provides a comprehensive overview of the evolution and significance of book illustrations during the sixteenth century, emphasizing the advancements and artistic developments in printing techniques and design.

The image displays a page from the Harvard Alumni Bulletin, specifically page 927, titled "Sixteenth-Century Books." The text discusses the exhibition of sixteenth-century illustrated books held at the Fogg Museum in March and April, marking the first such exhibition in America. The books were primarily sourced from the library of Philip Hofer of New York City, supplemented by a few from Harvard College Library and the Print Department of the Fogg Museum.

Key points from the text include:

1. Engravings and Woodcut Illustrations:

   • Engravings on copper, popularized in the sixteenth century, were used by artists like Pierre Woeriot, Etienne Delaune, Theodor de Bry, the Carracci, and William Rogers.
   • In the fifteenth century, woodcut illustrations were more common, often serving as text illustrations and decorative elements.

2. Artistic Techniques and Styles:

   • Fifteenth-century woodcuts were created by woodcutters, who were not considered artists but craftsmen.
   • The sixteenth century saw a closer connection between illustrations and text, with French cuts often being the best examples of decorative borders and text integration.
   • Artists like Holbein and Dürer designed woodcuts for books, illustrating a shift towards more artistic involvement in book illustration.

3. Influence and Popularity:

   • The text mentions that many illustrations from the fifteenth century remained popular into the sixteenth century.
   • Some books, such as those by Livy and Colonna, had their illustrations copied or adapted for new editions, indicating the continued relevance of earlier designs.

4. Exhibition Details:

   • The exhibition included a large number of woodcuts from various books of the period.
   • The Fogg Museum's Print Collection and Harvard College Library were rich sources for these illustrations, offering a significant collection for studying early book-illustration.

The page highlights the rich history and evolution of book illustration during the sixteenth century, showcasing how artistic techniques and styles evolved and were preserved across different editions and countries.

This image shows a page from the "Harvard Alumni Bulletin." The top of the page is labeled with the bulletin's title and the page number "927." Most of the page is occupied by an article discussing a topic titled "Sixteenth-Century Books."

The article informs about an exhibition held at the Fogg Museum during March and April, which featured illustrated books from the sixteenth century. The exhibition highlighted engravings on copper, woodcuts used in German book-illustrations, and various examples of illustrated printed books, mainly from different European countries such as Italy, Spain, and the Netherlands. It elaborates on techniques, artists, and the aesthetic evolution of book illustration during the sixteenth century, including artists like Holbein and the significance of woodcuts in book art.

In the margins and below the article, there are annotations made in pencil. These include "Mar. 6" written in the upper left corner and "L.H. Dudley" written at the bottom of the page. The page has three punched holes along the left side, indicating it may have been filed in a binder. The background of the page is a light color, likely beige.

This image displays a printed page from what appears to be an old publication. The header indicates that it is from the "HARVARD ALUMNI BULLETIN." One can see the text is in a two-column format with a considerable amount of text discussing books, specifically related to the exhibition of sixteenth-century illustrated books at the Fogg Museum during March and April of the stated year.

There's a discussion about the library of Philippe Hofer, engravings on copper, works by prominent artists such as Piero Viti, Etienne Delaune, and Theodore de Bry, among others. The article continues to talk about the history of book illustration and woodcuts used at the time, mentioning locations such as Italy, Spain, and the Netherlands in the context of sixteenth-century traditions.

The right-hand column also touches on specific examples like "Aureum opus regalium" and the printer Jean de Tournes. Some text is obscured in the top right section by what seems to be a paper clip or similar object casting a shadow. At the bottom of the page, there is a handwritten mark that appears to read "Mar. 6", potentially indicating the date of publication or archiving.

The sepia-toned paper and the style of the text suggest that this is a document from several decades ago, though the exact date is not visible in the image provided.

The image shows a page from the "Harvard Alumni Bulletin" titled "Sixteenth-Century Books." The page is numbered 927 and contains a detailed article discussing the exhibition of sixteenth-century illustrated books at the Fogg Museum during March and April. The article highlights that these books are some of the earliest period illustrated books held in America, primarily from the library of Philip Hofer and supplemented by the Harvard College Library and the Fogg Museum's Print Department.

It describes the significance of engravings on copper and woodcut book-illustrations used during that century, mentioning notable artists such as Pierre Woeiriot, Etienne Delaune, Theodor de Bry, the Carracci, and William Rogers. The text discusses the design and production of woodcut illustrations, their use of multiple colors, and their importance in the decoration and illustration of books in different regions, including Italy, Spain, the Netherlands, and France.

There is also discussion about how the illustrations reflected the connection between text and image and the evolution of book illustrations, including references to specific works like the "Aureum opus regalium" printed in Valencia in 1515 and the "Les dix premiers livres de l'Iliade" printed in Paris in 1545.

Additional notes mention the influence of German cuts on Spanish text illustrations, the Aldus edition of Colonna’s Hypnerotomachia printed in Venice in 1499, and the Print Collection of the Fogg Museum, which contains a significant number of cuts and printed books for studying early book illustration.

The article is formatted in columns, with some sections highlighted in light peach color. There are two punched holes on the right side of the page, suggesting it was part of a binder or file. At the bottom right of the page, there is a handwritten note with the name "L. H. Dudley." At the top left is a small handwritten note "Mar. 6."

The image shows a page from a publication titled "Harvard Alumni Bulletin," specifically from issue number 927. The page is dated March 6, as indicated by the handwritten notation at the top left corner. The content of the page focuses on sixteenth-century books, discussing the evolution and characteristics of book illustration during that period.

Key Details from the Page:

Title and Context:

• The heading at the top reads: "SIXTEENTH-CENTURY BOOKS."
• The text is part of an article or essay discussing the history of book illustration in the sixteenth century, particularly in relation to the exhibition of illustrated books held at the Fogg Museum during March and April of a certain year (likely the year the bulletin was published).

Main Content:

1. Exhibition Overview:

   • The exhibition featured illustrated books from the fifteenth and sixteenth centuries, primarily from the library of Philip Hofer, supplemented by items from the Harvard College Library and the Print Department of the Fogg Museum.
   • The exhibition highlighted the transition from fifteenth-century traditions to more elaborate sixteenth-century illustrations.

2. Comparison of Fifteenth and Sixteenth-Century Books:

   • Fifteenth Century:
     • Engravings on copper were commonly used.
     • Examples include copies of Dante's Monte Santo di Dio (1477) and the Dante of 1481, which were found to be little favored in the fifteenth century.
     • Woodcut illustrations were introduced, with designers creating their own woodblocks. These were not just outlines but included color and were used to mimic miniatures in manuscripts.
     • Notable woodcut artists of the time included Jean Goujon, Dürer, Burgkmair, Baldung, and Holbein.
   • Sixteenth Century:
     • Woodcuts became integral to book design, often used to illustrate many scenes.
     • The text discusses the evolution of woodcut techniques, including the influence of German printers and the development of more detailed and artistic designs.
     • The article mentions specific examples, such as the En tree Henri II printed in Paris in 1549, which contains a splendid equestrian portrait.

3. Illustrative Techniques:

   • The text elaborates on the transition from simple outlines to more complex and detailed illustrations.
   • It highlights the role of woodcutters and their collaboration with artists, particularly in the creation of illustrations for books, including those concerned with festivals of sovereigns.
   • The article also discusses the influence of German printers on the development of woodcut illustrations, noting that many sixteenth-century editions were based on earlier fifteenth-century cuts.

4. Exhibition Details:

   • The exhibition included over 2,000 such cuts, which were hung on the wall above the cases containing the books.
   • The Print Collection of the Fogg Museum, together with the printed books in the Harvard College Library, provided a rich opportunity for studying early book illustration.

Visual Elements:

• The page is printed on aged, slightly yellowed paper, giving it a vintage appearance.
• The text is formatted in a classic, serif font typical of early 20th-century publications.
• There are no visible images or illustrations on the page itself; the content is purely textual.

Summary:

The page is an informative excerpt from a bulletin discussing the evolution of book illustration in the sixteenth century, focusing on the transition from fifteenth-century engraving techniques to the widespread use of woodcuts. It highlights the exhibition of illustrated books at the Fogg Museum and provides insights into the artistic and technical developments of the period, including the contributions of notable artists and printers. The content is scholarly and aimed at readers interested in the history of printing and book illustration.