Word: antwerp
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Dates: during 1970-1979
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...resisting change, reluctant to move away from dealing in nods and trust and credit. On a sunny spring day, small groups of Hasidim, shaded by their wide-brimmed hats, stand on the sidewalk in front of the delis, speaking Yiddish, holding diamonds up for study and striking deals. Antwerp must have had similar scenes in 1608, when there were 104 Jewish diamond cutters in the city. On 47th Street, the old ways are still the best. They always have been in the diamond business...
...stones on the market are down, in part because mining in Angola has not recovered from a civil war that ended in 1976. More important, speculators round the world have concluded that diamonds are a good hedge against inflation, currency weakness and political uncertainty. In the diamond centers of Antwerp, New York City, Bombay and especially Tel Aviv, industry middlemen have been paying price premiums up to 100% to buy and hoard uncut stones. Banks have been buying diamonds for customers' portfolios, instead of stocks. "Some people have bought kilos' worth of diamonds," says Antwerp Diamond Cutter Sylvain...
...Museum of Fine Arts presents the second in its series of harpsichord lectures on Tuesday. The subject will be Virginals by Johannes Ruckers, Antwerp 1620. John Gibbons, harpsichordist to the Musical Instruments Collection of the MFA, is the lecturer. Call 267-9300, ext. 340, for more information...
...proper heir to Titian's role as "prince of painters and painter of princes." (By a slightly eerie coincidence, Rubens was conceived in the provincial Westphalian town of Siegen in 1576-the year Titian died in Venice.) He was born poor and in exile from Antwerp; he would die with immense wealth, with kings demanding daily bulletins on his health. By modern standards, of course, Rubens' public was quite small. The number of people who had heard of Rubens' work when he was alive would probably not make up a week's attendance at the Metropolitan...
...antique marble he could lay eyes on. His vast correspondence shows that he had read and memorized work by almost every known Latin writer, from Cicero to Plautus. He recommended "a complete absorption in statues," but "one must avoid the effect of stone." Rubens' large altarpiece, still in Antwerp Cathedral, of the Descent from the Cross, 1611-14, demonstrates exactly what he meant. The figure of Christ, the pale, dead God sliding down the cross into the arms of the living, is a visual quotation from Michelangelo-the kind of thing artists had been doing for 70 years...