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Rome is history's eternal litmus aper. Dipped in the perceptions f an era or an individual, it changes color-republican white, imperial purple, Christian gold-indicating the nature of those perceptions and their changes from one century to the next. Comparing Giovanni Battista Piranesi's etchings and Herschel Levit's photographs of Rome, exhibited together in the MFA, is a fascinating study in perceptive, historical or otherwise When the 18th century Italian looks at these imperial Roman monuments he sees a totally different structure than the 20th century New Yorker does. One wonders which has changed more; Rome...

Author: By Eleni Constantine, | Title: The Eternal City Exposed in Time | 2/12/1976 | See Source »

...publish the Vatican's multi-volume history of its wartime activities.The latest in the series, Volume IX, The Holy See and the Victims of the War, continues the effort to shed light on the actions of Pius, under whom the anti-Fascist Paul VI, then Msgr. Giovanni Battista Montini, long served. Far more than its predecessors, however, Volume IX reveals the pressures on Pius and documents scores of Vatican attempts in 1943 to help Jews in Rumania, Bulgaria, Yugoslavia, Poland and Italy...

Author: /time Magazine | Title: Religion: Behind the Silence | 2/9/1976 | See Source »

Rosellini's Age of the Medici: Leon Battista Alberti: Humanism, with a Harold Lloyd short, Sunday...

Author: NO WRITER ATTRIBUTED | Title: Harvard | 11/20/1975 | See Source »

...Battista's apres-nous-le-deluge decade-long gangbang of imperialism provides the backdrop to the one point in his career where Michael seems on the verge of respectability. In partnership with Hyman Roth (Lee Strasberg), he is about to transfer a large part of his wealth into more-or-less legitimate Cuban hotels and casinos. Along with executives of companies like United Fruit and "U.T.T." he goes to Havana to be honored by El President (whom U.T.T. presents with a solid gold telephone). But Michael's plans fall apart--Roth is really plotting his assassination, and in a weird...

Author: By Paul K. Rowe, | Title: The Revenger's Tragedy | 2/14/1975 | See Source »

Despite his tiffs with Maria Callas (he fired her in 1959, re-engaged her in 1965 for two Toscas), Bing regards her Met debut in 1956 in Norma as "the most exciting of all such in my time at the Metropolitan." Bing also recalls Callas' husband and manager Battista Meneghini, who insisted on being paid in cash before the curtain rose every night. Callas' fee then was $1,000. "Toward the end," recalled Bing, "I had him paid in five-dollar bills, to make a wad uncomfortably large for him to carry...

Author: /time Magazine | Title: Music: Bing Remembers | 10/23/1972 | See Source »

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