Ctrl-C, Ctrl-V. Rinse, repeat.
ARCH.2003.26, Rendition: 791932
The image is a page from the "Harvard Alumni Bulletin," specifically page 455. It contains an article titled "Sculptor's Model."
The article discusses a fifteenth-century sculptor's model of the Madonna and Child, located in the Great Hall of the Fogg Art Museum at Harvard. The model is described as being made of cloth, wood, and stucco. The statue mainly consists of the cloth drapery of the Virgin's robe, which is held in place by glue and plaster from the inside. The frame is made of wood and iron, modeled to give the effect of sculpture in the round. X-ray examination reveals that the statue is hollow.
The article suggests that the model is very similar to the work of Verrocchio, a well-known Renaissance artist who constructed such figures. It is noted that while the actual work is by Verrocchio, it is possible that the figure was made in his workshop. The importance of the model lies in its similarity to the type used by great Renaissance artists.
The article also mentions that Verrocchio, according to Vasari, made such figures for Lorenzo de' Medici in 1478. The Lorenzo figures were made of wax over a wooden core and then cast in plaster, similar to the Fogg Museum figure. The resemblance to Verrocchio's terracotta and marble Madonnas is noted, particularly the similarity of the child figure to the marble relief by Verrocchio in the Bargello.
The article raises a question about the Child's body being of terra-cotta with a stucco surface, while the Virgin's head and hands are of stucco. It is suggested that the Virgin's head and the Christ Child do not belong to the same statue, and even the inconsistency reveals the hand of a former restorer. The X-ray examination shows that the consistency of material is not that of a sculptor's model, which is only a temporary structure.
Additionally, there is a small note at the top left of the page mentioning that a collection of five autograph letters of Mrs. Anne Gillison, wife of Dr. Gillison, with whom Coleridge lodged at Highgate, have been purchased for the Coleridge Collection. The letters are of some length and will be published in a later issue. The Harvard Library has also purchased a book from a Boston bookseller.
The page includes a photograph of a sculpture, presumably the model being discussed in the article.
The image shows a page from the "Harvard Alumni Bulletin." The main article on the page is titled "Sculptor's Model."
Introduction:
The Fogg Art Museum at Harvard is set to display a notable piece of Italian sculpture: a fifteenth-century sculptor's model of the Madonna and Child. The model is made from cloth, wood, and stucco, depicting the Virgin Mary's robe in draped folds, stiffened by glue and plaster, and supported by a wooden and iron frame.
Significance and Attribution:
X-ray examination has confirmed that the statue is an authentic fifteenth-century work, stylistically close to the style of Verrocchio. While definitive attribution to Verrocchio is not possible, the model is an excellent example of the types of models used by Renaissance artists. Verrocchio is known for creating similar figures in wax over a wooden core.
Historical Context:
The article mentions that Verrocchio made three figures of Lorenzo de’ Medici in 1478 to commemorate Lorenzo's escape from the Pazzi conspiracy. The method of constructing these figures involved wax over a wooden core, similar to the Fogg Museum figure.
Consistency and Material:
The article raises a question about the material of the model. While the Madonna and Child's body is made of stucco, the heads are terracotta, which suggests different materials might belong to different statues. However, experts argue that the inconsistency in material doesn't necessarily negate the model's purpose, as such models were often temporary.
The left column of the page includes a brief note about a collection acquisition. Specifically, it mentions that in 1840, a collection of five autograph letters from Mrs. Anne Gillman, with whom Samuel Taylor Coleridge lodged at Highgate, was purchased for the Coleridge collection. These letters relate to Coleridge’s poetry and personal matters. Additionally, the Harvard Library has acquired Coleridge’s book on him from a Boston bookseller.
The image is a page from a Harvard Alumni Bulletin, specifically pages 454-455. It contains two distinct articles.
Article on Letters by Anne Gillman:
Article on Sculptor’s Model:
The page includes a black-and-white photograph of the sculpture described in the second article.
The image is a page from the Harvard Alumni Bulletin. It contains two main articles:
The top part of the page mentions the acquisition of a collection of five autograph letters by Mrs. Anne Gillman, wife of Dr. Gillman, in 1840. These letters were written by Samuel Taylor Coleridge, with whom she lodged at Highgate. The letters pertain to the poet and his husband's book on him. The Harvard Library also purchased a book from a Boston bookseller.
The main article on the page is titled "Sculptor’s Model of the Madonna and Child." It describes a fifteenth-century sculpture model of the Madonna and Child, consisting of cloth, wood, and stucco, displayed in the Great Hall of the Fogg Art Museum. The sculpture primarily consists of a cloth drapery of the Virgin’s robe, stiffened with glue and plaster. The model is supported by a wooden and iron frame and has been examined by X-ray, confirming its authenticity as a fifteenth-century work. Stylistically, it is attributed to Verrocchio, a renowned sculptor of the Renaissance.
The article discusses the historical context, noting that Verrocchio made similar figures for Lorenzo dei Medici in 1478. It mentions that the child figure in the sculpture resembles one by Verrocchio, found in the Bargello. The inconsistency of materials in the statue is noted, with the Virgin's head and Christ Child's body being made of different materials, possibly indicating it was a temporary model.
The text also mentions a story by Fallini about how he recovered the figure of the Child from a convent where it had been hidden for years.
The page includes a black-and-white image of the sculpture model.
The image is a page from the Harvard Alumni Bulletin, featuring a section on an article about a sculpture and historical artifacts.
Top Left Section:
Main Text (Sculptor’s Model):
Image:
The combination of text and visual elements in this page provides a detailed look at both the historical significance and the artistic aspects of the sculpture.
The image displays a page from a publication, specifically the "Harvard Alumni Bulletin," as indicated by the header. The page is numbered 454 and 455. The content on the page includes an article titled "Sculptor's Model" and begins with a reference to the Fogg Art Museum, which houses a fifteenth-century sculptor's model of the Madonna and Child. The article discusses the materials used in the sculpture, including cloth, wood, and stucco, and highlights the significance of the piece, suggesting it may be an authentic work by Verrocchio, although this cannot be definitively proven. The text also mentions that similar figures were created by Verrocchio for Lorenzo de' Medici and compares the Fogg Museum figure to other works by Verrocchio, noting stylistic similarities. The article further explores the possibility that the head and hands of the Madonna are not original to the body, indicating potential restoration or forgery. The author references Fallini's account of finding the figure of the Child, which had been hidden in an urn, and discusses the inconsistencies in the materials used, suggesting that the variations are typical for a sculptor's model.
The image is a photograph of a two-page spread from a publication, specifically pages 454 and 455 of the "HARVARD ALUMNI BULLETIN". The left side of the image presents the end of an article discussing a collection of autograph letters and related items purchased for the Harvard College Library, with the right side beginning a new article titled "Sculptor’s Model".
The article on the right side discusses a sculpture in the Great Hall of the Fogg Art Museum, described as a fifteenth-century sculptor's model of the Madonna and Child, made of cloth, wood, and stucco. The text elaborates on the style and construction of the sculpture and its historic and artistic significance.
Centered between the articles, there is a black and white photograph of a person wearing a buttoned-up coat or shirt with a round collar, standing beside what appears to be a sculpture or a model, possibly related to the aforementioned sculptor's model discussed in the article on the right side.
The pages exhibit signs of age, with the left margin punch holes indicating they were likely bound in a volume. The pages and photograph have retained some coloration changes due to age, suggesting this document has historical value.
The image depicts a page from the Harvard Alumni Bulletin. The page features an article titled "Sculptor's Model" which discusses Italian sculpture. Accompanying the text is a photograph of a sculptor's model, showing a detailed and intricately draped figure, likely representing religious or historical themes, placed within the context of fifteenth-century artistry. The page includes information about the provenance and stylistic analysis of the sculpture, emphasizing its significance and historical context within Renaissance art.
The image shows a page from the "Harvard Alumni Bulletin" magazine numbered 454 and 455. The page features an article titled "Sculptor's Model." The article discusses a fifteenth-century sculptor's model of the Madonna and Child, which is displayed in the Great Hall of the Fogg Art Museum. The sculpture is primarily made of cloth drapery stiffened by glue and plaster, supported by a wood and iron frame to create the effect of sculpture in the round. The piece is stylistically very close to works by the Renaissance sculptor Verrocchio.
The article explains that three such figures were made by Verrocchio, relating to Lorenzo de' Medici's escape from the Pazzi conspiracy in 1478. The figures are made of wax over a wooden core, which was common in the quattrocento style. The Madonna's head and hands are stucco, while the Child's body is terra-cotta, leading to discussion about the consistency of materials used.
There is a black-and-white photograph of the sculptor's model, showing a standing figure of the Madonna holding the Child. The sculpture is shown with the draped cloth falling in folds around them.
The page has some damage along the edges and the top, and the text continues across the two pages with the photo inset mostly on the left side of page 455.
The image shows a page from a publication titled "Harvard Alumni Bulletin," specifically from issues numbered 454 and 455. The page contains a mix of text and an illustration.
The image represents a scholarly discussion of an important piece of Renaissance sculpture, combining textual analysis with a visual representation of the artifact. It highlights the historical and artistic value of the model, situating it within the broader context of fifteenth-century Italian sculpture and the work of masters like Verrocchio.