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This image displays a single page from a printed publication, likely a magazine or newspaper, featuring an article about a museum exhibition. The page is laid flat, slightly creased, with its right edge appearing torn or uneven.

The article is titled “Master bronzes from the classical world” in a large, bold serif font, with a subtitle “at St. Louis and Los Angeles” underneath. The author’s name, MILDRED HOUSEN, is printed in the upper right corner.

The main body of the article begins with the text, “EVEN in our Protean Age, the permanence of bronze exerts an irresistible appeal…”, discussing the enduring allure of bronze sculpture and the unique, comprehensive exhibition of ancient bronzes organized by the Fogg Art Museum at Harvard University. An orange circle has been drawn around the first paragraph of the article, highlighting its introductory sentences.

Below the text, there are two framed black-and-white photographs of bronze artifacts, side-by-side:

1. Left Photograph: Shows a small, stylized bronze figurine of a Standing man, dated to the Middle to Late Minoan period (c. 1600–1500 B.C.). The figure stands with its right arm raised in a characteristic Minoan gesture of adoration, its body slightly bent backward. Its height is noted as 0.043 m. The photo credit is given to Ray Trahan.

2. Right Photograph: Depicts a Water bird statue, likely from Thessaly or Macedonia, dating to the late 8th century B.C. The bird has a long neck and beak with a small human figure seated on its back. It is approximately 0.068 m tall. The photo credit is O. E. Nelson.

Captions beneath the photographs provide detailed descriptions of each object, including their period, dimensions, provenance, and scholarly interpretation (e.g., the bird is possibly a votive offering from the “Geometric” period).

The page number 125 is printed at the bottom right corner. A small portion of another printed page is visible at the very top edge of the image, with some reversed text that includes “THE CON...”. The overall tone of the article is academic and informative, aimed at an audience interested in classical antiquities and museum exhibitions.

The image appears to be an article or a page from a publication titled "Master bronzes from the classical world at St. Louis and Los Angeles" by Mildred Housen. It discusses a collection of ancient bronze artifacts, focusing on miniature sculptures from the Mediterranean region. The text highlights the permanence and appeal of bronze as a material, and it mentions the Fogg Art Museum at Harvard University as the origin of the exhibition, which features 316 bronze artworks. The exhibition is described as the most comprehensive of its kind, starting in Cambridge, Massachusetts, and touring to St. Louis and Los Angeles.

The page includes two black-and-white photographs of ancient bronze objects:

1. On the left, a standing figure labeled as "Middle Minoan III–Late Minoan I, c. 1600–1500 B.C.," with additional details about the figure and its origin.
2. On the right, a bird-shaped object labeled as "Water bird. Thessalian or Macedonian, late 8th century B.C."

The text provides historical context, mentioning the use of the "lost wax" method for bronze casting and the significance of these artifacts in the history of art. The publication page also shows signs of wear and tear, including creases, a fold, and a piece of tape at the top left corner.

This image is a page from a publication titled "Master bronzes from the classical world at St. Louis and Los Angeles" by Mildred Housen. The page appears to be from a magazine or journal, possibly "The Connoisseur," as indicated by the visible text on a small folded piece of paper at the top left corner.

The main text discusses an exhibition of master bronzes from the classical world, organized by the Fogg Art Museum, Harvard University. The exhibition started in Cambridge, Massachusetts, and was scheduled to travel to the City Art Museum of Saint Louis and the Los Angeles County Museum of Art. The text mentions the use of the "lost wax" method in creating these bronzes and provides details about the chronological scope of the exhibition, which covers 2,300 years.

There are two black-and-white photographs on the page:

1. On the left, there is an image of a standing man, described as a Middle Minoan III–Late Minoan I figure from around 1600-1500 B.C. The figure is in a standard Minoan gesture of adoration, with its body bent slightly backward and its right fist raised to its forehead.
2. On the right, there is an image of a water bird, described as Thessalian or Macedonian from the late 8th century B.C. The bird is a small votive offering, produced during the 'Geometric' period in Greece.

The page is slightly worn, with some creases and a small tear on the left side. There is also a handwritten note circled in orange on the left side of the text, with the number "89" written on it. The page number "125" is visible at the bottom right corner.

The image shows a page of a magazine or a book with the title "Master bronzes from the classical world at St. Louis and Los Angeles" written in bold black text. There are two images of bronze sculptures below the title. The text on the page is written in a smaller font, and there is a page number at the bottom. The page appears to be torn at the top, and there is a piece of paper stuck on the top left corner.

The image shows a page from a magazine or book featuring an article about a traveling exhibition of master bronzes from the classical world. The article discusses the exhibition, which was organized by the Fogg Art Museum at Harvard University and traveled to the City Art Museum of Saint Louis and the Los Angeles County Museum of Art. The exhibition featured a collection of bronze sculptures and artifacts from ancient Greece and Rome, spanning a period of 3,000 years. The article highlights the unique features of the bronze sculptures, including their intricate craftsmanship and the use of the lost-wax casting method. The image also includes a photograph of a bronze sculpture of a standing man, which is described as a votive offering from the Geometric period in Greece.

The image shows an open book or magazine page titled "Master bronzes from the classical world at St. Louis and Los Angeles" by Mildred Housen. The page is part of an article or catalog discussing ancient bronze artifacts from the classical world, exhibited at the Art Museum of St. Louis and the Los Angeles County Museum of Art.

Key Elements of the Image:

1. Text Content:

   • The article begins with a discussion of the enduring appeal of bronze throughout history, referencing its significance from the Protan Age to the Renaissance and beyond.
   • It highlights the exhibition organized by the Fogg Art Museum, Harvard University, which features over 316 master bronzes from the classical world. The exhibition is described as the most comprehensive assembly of such artifacts ever assembled.
   • The text mentions the use of the "lost wax" method for creating bronze sculptures and emphasizes the technical skill involved in the process.
   • The article notes that the exhibition includes works from 79 museums and private collectors across Europe, the United States, Canada, and nine European countries, showcasing a vast and heterogeneous array of objects.

2. Illustrations:

   • Left Illustration: Depicts a small bronze figure of a standing man, identified as a Middle Minoan III-Late Minoan I artifact dating from approximately 1500–1450 B.C. The figure is described as a votive piece, with the body slightly bent backward and the right fist raised to the forehead. The figure is noted to be a provincial version of the standard Minoan gesture of adoration.
   • Right Illustration: Shows a bronze bird, identified as a "Water bird, Thessalian or Macedonian, late 8th century B.C." The bird is described as humorous due to its small size and is noted to have a hollow body, which is unusual for this early period in Greek art. The bird is believed to have been suspended from trees, and the transverse suspension loop behind its neck is visible.

3. Page Layout:

   • The page is formatted with a clear title at the top, followed by the main body of text.
   • Below the text, there are two labeled illustrations with captions providing detailed descriptions of each artifact.
   • The page number "125" is visible at the bottom right corner.

4. Visual Style:

   • The illustrations are black-and-white photographs of the bronze artifacts, providing a clear view of their details.
   • The text is typed in a formal, academic style, consistent with museum catalogs or scholarly publications.

Overall Impression:

The image portrays a scholarly and educational piece, likely from a museum catalog or art publication, focusing on the exhibition of classical bronzes. The combination of detailed textual descriptions and visual representations aims to inform readers about the historical, cultural, and artistic significance of these ancient artifacts. The page emphasizes the technical mastery of ancient artisans and the enduring legacy of bronze as a medium for artistic expression.

This is a layout from an article titled “Master bronzes from the classical world at St. Louis and Los Angeles,” written by Mildred Housen. The article provides details about an exhibition of classical bronze sculptures. The page is visually divided into sections with text at the top and images toward the bottom.

• Article content: The text describes the historical appeal of bronze artifacts, their artistic and cultural significance, and details about the exhibition of ancient bronze pieces. There’s a mention of Greek and Roman influences and the "lost wax" casting technique as highlights of the exhibition.

• Design and layout: The text is printed in blocks, with a portion circled to highlight a specific part of the content. Two black-and-white photographs of bronze sculptures are featured below the text.

  1. Left Photo: The figure of a standing man from Middle Minoan III to Late Minoan I (1600–1500 B.C.), a small upright figure shown in a gesture of adoration. The description suggests it has provincial artistic qualities.
  2. Right Photo: A water bird figure, likely Thessalian or Macedonian from the late 8th century B.C. It’s described as hollow cast and unusually produced for its time.

• Condition of the page: The page has creases and demonstrates wear, with a partially visible folded section overlapping the top left corner. The visible page number in the lower right is "125."

This layout appears to focus on promoting appreciation for ancient bronze artistry and its historical context.

The image shows a page from a book or magazine titled "Master bronzes from the classical world" with the subtitle "at St. Louis and Los Angeles" and the author named Mildred Housen. The page contains a detailed article about the permanence and history of bronze art, mentioning exhibitions at the Fogg Art Museum and the City Art Museum of St. Louis and Los Angeles County Museum of Art.

There are two black-and-white photographs of bronze sculptures in the middle of the page:

1. On the left, there is a standing man figure from the Middle Minoan III to Late Minoan I period (c. 1600-1500 B.C.). The figure has its right fist raised to its forehead and is described as a votive figure in a standard Minoan gesture of adoration.
2. On the right, there is a water bird sculpture from the Thessalian or Macedonian late 8th century B.C. The bird has a hollow body and is a votive offering from the Geometric period in Greece.

Each sculpture has a description below the photograph with details about its origin, size, and lending museums. The page number "125" is at the bottom right corner.

This image appears to be a torn-out page from a publication, possibly a magazine or a journal, about historical artifacts. The title at the top of the page reads "Master bronzes from the classical world at St. Louis and Los Angeles," and the article is written by Mildred Housen. The text discusses an exhibition of ancient bronzes and highlights the endurance of bronze as a material throughout ages, mentioning the part it plays in collectors' desires to own pieces that perpetuate their image for posterity.

There are two black-and-white photographs of bronze artifacts on the page. The photo on the left is labeled "1. LgR. Standing man. Middle Minoan II–Late Minoan I, c. 1900-1580 B.C." This figure is described as slightly smaller than standard Minoan stature and has a summary treatment of human forms suggesting that its right wrist may have held a tray.

The photo on the right shows a "2. Arar. Water bird. Thessalian or Macedonian, late 8th century B.C." which is noted for its suspension loop just behind the bird's neck and is suggested to have been used similarly to the Greek lekythoi (perfume bottles with suspension loops). This bird figure may have a hollow cast body, which was unusual at this early period in Greek art.

Additionally, there are some torn edges and a fold mark visible, emphasizing the physical state of the paper. There's also an object, possibly a paper or a ticket stub, with printed text and numbers, partially visible at the top-left corner, but the details are not fully discernible.

A vintage magazine-style page about classical bronzes.

• Title reads: “Master bronzes from the classical world at St. Louis and Los Angeles” by Mildred Housen.
• The page features two black-and-white photos of ancient bronzes: a slender standing figure on the left and a large, swan- or goose-shaped vessel on the right.
• There is a decorative orange flourish drawn over the text column, and the page shows creases and folds.
• A small clipped paper piece is taped to the top-left corner.
• The page appears aged, laid on a light gray background, with the page number 125 at the bottom.