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...siege of Troy and the magnificent city itself--were more than just legends. Or so he later wrote. Like many of Schliemann's tales, this one may have been a trifle exaggerated. "In general, scholars accept the fact that Schliemann told a great many lies," says David Traill, a classicist at the University of California at Davis and author of a 1995 biography of Schliemann. The man was also a war profiteer, a dabbler in black markets and a smuggler, whose wheelings and dealings have three nations squabbling more than a century after his death. Schliemann did eventually find...

Author: /time Magazine | Title: TROY'S LOST TREASURE | 4/22/1996 | See Source »

John H. Finley Jr. '25, a former master of Eliot house and famed classicist, died Sunday, June...

Author: NO WRITER ATTRIBUTED | Title: Finley, Former Eliot Master, Classics Professor, Dies at 91 | 6/27/1995 | See Source »

...Experts are reacting cautiously, and some are being downright impolite. Says Peter Green, a University of Texas classicist and the author of an acclaimed biography of Alexander: ``It's the biggest piece of rubbish I've heard in years...

Author: /time Magazine | Title: A GREAT FIND? | 2/13/1995 | See Source »

...Poussin, the real contained the ideal. He did not generalize like an academic classicist. His paintings are full of precisely observed detail -- pebbles and flowers, plants and springs of water. The atmosphere in which forms are bathed is real, whether it's the blue silken light of spring in the Roman campagna or the thick darkness that envelops a landscape when a storm gathers and lightning strikes. (The dramatic mystery of Poussin's foul-weather scenes carries you back to Giorgione's Tempesta.) The architecture of his backgrounds evokes a perfect antiquity, embedded in Nature but not disfigured by Time...

Author: /time Magazine | Title: ART: Decorum and Fury | 12/5/1994 | See Source »

...sight of all these orts and fragments in Twombly's pictures seems to have convinced his more ardent admirers that he's a classicist, saturated in the myths and literature of the ancient Mediterranean, exuding them from every pictorial pore. All he has to do is scrawl a wobbly triumph of galatea or et in arcadia ego on a canvas, and suddenly he's up there with Roberto Calasso, if not Edward Gibbon. When an audience that has lost all touch with the classical background once considered indispensable in education sees virgil written in a picture, it accepts...

Author: /time Magazine | Title: ART: The Grafitti of Loss | 10/17/1994 | See Source »

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