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This image displays a double-page spread from the Harvard Alumni Bulletin, specifically pages 186 and 187, featuring an article about the history and development of the Fogg Museum at Harvard University.

The layout includes several black-and-white historical photographs alongside detailed text recounting the museum’s origins, key figures, and expansions. The article is divided into sections with bold headings.

On the left page (page 186):

• The article begins with “In the Beginning,” describing the museum’s humble origins in 1895 in a former Blasius estate in Cambridge, which lacked sufficient space for exhibitions.
• A photograph titled “THE OLD FOGG MUSEUM AFTER MR. FORBES HAD RAISED THE ROOF” shows the original building’s exterior, which was modified to add more gallery space.
• The next section, “Paul Sachs,” details the contributions of Paul J. Sachs, who became a major force in the museum’s development, serving as Chairman of the Visiting Committee from 1913 to 1915 and later helping to design the new building.
• Below is a photograph captioned “THE FOGG MUSEUM ON QUINCY STREET AS IT IS TODAY,” showing the museum’s exterior after its expansion — a more substantial, Georgian-style building.

On the right page (page 187):

• The article continues with “Expansion,” discussing the efforts to build a new, larger facility. It notes the involvement of Harvard’s Corporation and the successful fundraising campaign to raise $100,000, which resulted in a new building designed in the Georgian style.
• A photograph shows “THE CENTRAL COURT in the Fogg Museum,” modeled on the façade of a house by San Gallo in Montepulciano, Italy. It’s a sunlit interior courtyard with classical archways and columns.
• The next section, “Museum Center,” highlights the cultural functions of the new museum, including chamber concerts and teas. It also mentions the installation of “The Fogg Museum of Art” sign in 1925 and the creation of the “Amis du Fogg” (Friends of the Fogg Museum) organization.
• Another photograph depicts “THE FINEST COLLECTION OF 19TH CENTURY DRAWINGS IN AMERICA,” showing a gallery interior with framed artworks arranged on the walls, including a large ornate mirror and period furniture, emphasizing the museum’s significant holdings.
• The final section, “Training Museum Directors,” notes the establishment in 1924 of a course in Museum Work and Museum Problems by Professor Sachs, which trained future curators and administrators who went on to serve in major American museums.

The overall tone of the article is celebratory and informative, presenting the Fogg Museum as a vital cultural and educational institution shaped by visionary benefactors and scholars. The accompanying photographs serve to document the museum’s physical evolution and its rich interior collections.

The image shows a page from the "Harvard Alumni Bulletin," specifically pages 186 and 187. The content discusses the history and development of the Fogg Museum, a renowned museum of art housed at Harvard University.

The page includes text with historical details about the Fogg Museum, including its establishment, the role of Paul Sachs, and the expansion efforts by Edward W. Forbes and others. It also mentions the contributions of the "Friends of the Fogg Museum" and the "Friends of Art, Archaeology, and Music at Harvard."

The page features several black-and-white photographs:

1. The top-left image shows the old Fogg Museum after Mr. Forbes had raised the roof.
2. The top-right image depicts the Central Court in the Fogg Museum, which is modeled on a house by San Gallo in Montepulciano, Italy.
3. The bottom-left image shows an aerial view of the Fogg Museum on Quincy Street.
4. The bottom-right image displays a room with framed artwork, titled "The Finest Collection of 19th Century Drawings in America."

The text and images collectively provide a glimpse into the history and significance of the Fogg Museum as an institution dedicated to the study and appreciation of art.

This image is a two-page spread from the "Harvard Alumni Bulletin," pages 186 and 187, discussing the history and features of the Fogg Museum. The pages include both text and photographs.

Left Page (Page 186):

1. Text Sections:

   • "In the Beginning": Describes the initial construction of the Fogg Museum in 1895 and the challenges faced in establishing an art museum in Cambridge.
   • "Paul Sachs": Highlights the contributions of Paul J. Sachs to the museum's development and expansion.

2. Photographs:

   • The top photograph shows the "The Old Fogg Museum after Mr. Forbes had raised the roof." It depicts the exterior of the building with parked cars in front.
   • The bottom photograph shows "The Fogg Museum on Quincy Street as it is today," providing a current view of the museum's exterior.

Right Page (Page 187):

1. Text Sections:

   • "Museum Center": Discusses the formal opening of the new museum in 1927 and the features of the Central Court.
   • "Training Museum Directors": Mentions the establishment of a course in Museum Work and Museum Problems by Professor Sachs in 1921.

2. Photographs:

   • The top photograph shows "The Central Court in the Fogg Museum," which is modeled on the facade of a house by San Gallo in Montepulciano, Italy.
   • The bottom photograph shows "The Finest Collection of 19th Century Drawings in America," displayed in an exhibition gallery.

The text provides historical context and details about the museum's development, funding, and educational contributions, while the photographs illustrate the museum's architecture and collections.

The image depicts an open page of a publication, likely a magazine or bulletin, featuring an article about the Fogg Museum. The page is divided into two columns, with the left column containing text and the right column consisting of photographs and illustrations.

In the left column, the text is organized into several sections, each with a heading. The headings include "In the Beginning," "Expansion," "Museum Center," and "Training Museum Directors." The text provides historical context and details about the development and growth of the Fogg Museum. It mentions the contributions of individuals like Edward M. Gay, Mr. Forbes, and Paul J. Sachs, who played significant roles in the museum's evolution.

The right column contains several photographs and illustrations. At the top, there is an image of the old Fogg Museum after Mr. Forbes raised the roof, showcasing the building's architecture. Below this, there is a photograph of the Central Court in the Fogg Museum, modeled after a house in Vasari, Italy. This image highlights the museum's interior design and layout. Further down, there is a photograph of the Fine Arts Library, which was also part of the museum complex. Lastly, there is an illustration of the Fogg Museum on Quincy Street as it is today, providing a visual representation of the museum's current appearance.

The page also includes a small section titled "Exhibitions," which mentions the finest collection of 17th-century drawings in America, indicating the museum's focus on art and historical artifacts.

Overall, the image provides a comprehensive overview of the Fogg Museum's history, development, and current state, combining textual information with visual elements to engage the reader.

The image shows an open page from the Harvard Alumni Bulletin. The left page contains a black and white photograph of the Fogg Museum on Quincy Street in Cambridge, Massachusetts, with the heading "The Fogg Museum on Quincy Street as It Is Today." The right page features a black and white photograph of the interior of the Fogg Museum, with the heading "The Central Court in the Fogg Museum is modeled on the façade of a house by Sangallo." The text below the photograph discusses the history of the Fogg Museum, its collections, and its role in the study of art and architecture.

The image depicts two pages from the Harvard Alumni Bulletin, specifically pages 186 and 187. The pages are part of a historical account detailing the evolution and development of the Fogg Art Museum at Harvard University.

Left Page (Page 186):

• Title: "THE OLD FOGG MUSEUM AFTER MR. FORBES HAD RAISED THE ROOF"
• Content:
  • The page discusses the early history of the Fogg Art Museum, emphasizing its origins as a center for the study of medieval and Byzantine art.
  • It mentions that the museum was built in 1895, when the current Old University Hall was still under construction. The plan for the museum was to establish an art museum in Cambridge, which was seen as a novel idea at the time.
  • The text highlights the challenges faced in establishing the museum, including the limited space and the need to adapt the building for teaching and displaying art.
  • It references key figures such as Paul Sachs, Edward M. Cary, and Alfred M. Sachs, who played significant roles in the museum's development.
  • The page includes a captioned photograph titled "THE OLD FOGG MUSEUM ON QUINCY STREET AS IT IS TODAY," showing the museum's exterior in its early form.

Right Page (Page 187):

• Title: "THE FINEST COLLECTION OF 17TH CENTURY DRAWINGS IN AMERICA"
• Content:
  • This page continues the narrative about the Fogg Museum, focusing on its expansion and transformation over time.
  • It describes the museum's growth, including the raising of the roof to accommodate more space for collections and exhibitions.
  • The text mentions the contributions of individuals such as Mr. Forbes, who played a pivotal role in the museum's development.
  • It discusses the museum's collections, particularly highlighting its renowned collection of 17th-century drawings, which is described as the finest in America.
  • The page includes several photographs:
    1. "THE OLD FOGG MUSEUM AFTER MR. FORBES HAD RAISED THE ROOF" – A photograph showing the museum's exterior after structural modifications.
    2. "THE FINEST COLLECTION OF 17TH CENTURY DRAWINGS IN AMERICA" – An image showcasing a display of 17th-century drawings, emphasizing the museum's rich collection.
    3. Smaller images and captions provide additional context, such as a model of the Fogg Museum designed by San Galli in Montepulciano, Italy, and a mention of Winston Churchill's visit to the museum.

Visual Elements:

• Photographs:
  • The left page features a photograph of the Fogg Museum's exterior, showing its early architectural style.
  • The right page includes multiple photographs, including one of the museum's interior displaying 17th-century drawings and another showing the museum's exterior after structural changes.
• Text Layout:
  • The text is formatted in a classic, serif font typical of early 20th-century publications.
  • The pages are numbered (186 and 187) and include headings and subheadings to organize the content.
• Design:
  • The pages have a clean, structured layout with a mix of text and images.
  • The images are integrated seamlessly with the text, providing visual context to the historical narrative.

Overall Context:

The pages provide a detailed historical account of the Fogg Art Museum's early years, its architectural evolution, and its growing collection, particularly its renowned 17th-century drawings. The inclusion of photographs enhances the narrative, offering a visual representation of the museum's development and significance. The content reflects the museum's importance as a cultural and educational institution at Harvard University.

The image is a scanned two-page spread from a periodical called "Harvard Alumni Bulletin." The pages appear to be from an older publication given the typography and layout characteristic of mid-20th-century print design. There are multiple articles or sections with text, photographs, and captions.

On the left page, there are three black-and-white photographs. The top photo is captioned "The old Fogg Museum after Mr. Fogg had raised the roof." It shows a historical building. The middle photo is labeled "The Fogg Museum on Quincy Street as it is today." It shows a relatively contemporary view of the museum building. The bottom photo doesn’t have a visible caption in the image. The text on the left page continues onto the right page, discussing various topics related to the Harvard Alumni community, such as building projects and exhibitions.

The right page features a black-and-white photo with the caption "The finest collection of 19th-century drawings in America." Beneath the photo, the text outlines various collections, exhibitions, and events. It mentions a "Museum Center," and there is discussion about architecture and art.

The document serves as a historical reference, providing insights into the museum's development and exhibitions, as well as the broader Harvard alumni community and their interests at the time of publication.

This image is a scanned page from a publication, specifically the Harvard Alumni Bulletin. The two pages provide text and images discussing the history, architecture, and significance of the Fogg Museum at Harvard University.

1. Text Content: The pages contain explanations and descriptions about the Fogg Museum's construction and evolution, its collections, and its role in education and art preservation. The narrative covers the museum's architecture, funding, notable individuals involved, and its academic contributions.

2. Visual Elements:

   • Multiple Photographs: Several photographs are arranged across the pages:
     • An exterior view of the Fogg Museum after renovations, with added roof structure ("The Old Fogg Museum After Mr. Forbes Had Raised the Roof").
     • An image of the museum's current view at the time ("The Fogg Museum on Quincy Street as it is Today").
     • The museum's central courtyard modeled after Italian architecture ("The Central Court in the Fogg Museum").
     • A photograph emphasizing the museum's collection of 19th-century drawings.
   • The images are black and white and are accompanied by captions providing further context.

3. Design and Layout:

   • The layout is structured in columns, typical of magazine or bulletin style.
   • Headers divide sections, with bolded titles like "In the Beginning," "Paul Sachs," and "Museum Center" organizing the content.
   • The smaller font and extensive written detail indicate that it is meant for informative reading rather than visual emphasis.

4. Focus: The overall theme revolves around highlighting the Fogg Museum's historical, cultural, architectural, and academic importance.

The page is scholarly and showcases the museum’s role as a center for study and appreciation of art and artifacts.

This is a scanned two-page spread from the Harvard Alumni Bulletin (pages 186–187) about the Fogg Museum (Harvard’s art museum).

• The layout includes several black-and-white photographs with captions and dense columns of text.
• Left page: two images
  • Top: an exterior view captioned something like “The Old Fogg Museum after Mr. Forbes had raised the roof” (historic view).
  • Bottom: a street view captioned “The Fogg Museum on Quincy Street as it is today.”
• Right page: two images
  • Top: an interior courtyard/arcaded gallery showing the central court of the museum.
  • Bottom: a small interior shot of a room with a desk and framed artworks on the walls.
• The captions discuss the museum’s architecture, the central court, and the collection (notably 19th-century drawings), describing the evolution and features of the building and its exhibitions.
• The overall tone is promotional and historical, focusing on the building’s transformation and the museum’s holdings. The pages have a yellowed, aged newspaper/magazine look, and there’s a binder hole visible at the bottom.

The image shows a two-page spread from the Harvard Alumni Bulletin.

• The left page (page 186) contains text and two black-and-white photos related to the Fogg Museum. The top photo shows the old Fogg Museum building after the roof was raised, with a clear view of the roof and trees around it. The bottom photo shows the Fogg Museum on Quincy Street as it appears in the present day of the publication, displaying a more modern brick building with several windows and some trees around it.

• The right page (page 187) also contains text and two black-and-white photos related to the Fogg Museum. The top photo shows the central court of the Fogg Museum, which features an open courtyard design with arches along the upper and lower levels. The bottom photo depicts a room with the finest collection of 19th-century drawings in America, showing framed artwork hung on the walls and classic-style chairs and a table set below.

The text discusses the history, expansion, and activities of the Fogg Museum, including contributions by Edward M. Cary, Mr. Forbes, and others in improving and maintaining the museum. The museum's role as a center for medieval and Byzantine culture study, as well as its function as a museum and library, are emphasized. The content also includes information about the museum center's architecture and the importance of the drawings collection displayed.