Word: croce
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Dates: during 1970-1979
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Some works are beyond restoration and can only be stabilized. The most famous of these is Cimabue's 13th century Crucifix, which had been moved back to its original home in Santa Croce from the Uffizi shortly before the flood. The water took off more than 75% of its paint surface and, the restorers found, would have stripped more had Cimabue not had the nails countersunk and covered with tiny wooden plugs. Exposed, they would have corroded, ruining more paint. Until 1969, the surviving pigment was too soft to touch; then it was painstakingly removed and cleaned. Soon...
...FRED ASTAIRE AND GINGER ROGERS BOOK by ARLENE CROCE 191 pages. Outerbridge & Lazard...
...this heavily illustrated, highly readable short book, Arlene Croce, editor of Ballet Review and freelance critic, has traced in meticulous detail the happenstance that brought about the partnership and produced that wondrous series of nine Astaire-Rogers movies in only three years, 1934-36. Among them: Top Hat, The Gay Divorcee, Flying Down to Rio. Astaire was 34 when the series began, and distinctly the lesser half of the famed Broadway act he made up with his sister Adele, who had abruptly quit her career to marry an English lord. Twelve years younger, Ginger was a knockabout...
...result of this technical skill was an illusion of total spontaneity. Though knowing dance experts might point out scornfully that Astaire faked some of Ginger's taps, Astaire never again or before had a partner who produced the same alchemy as Ginger. As Author Croce, who can turn a nice phrase, notes. Ginger had her own qualities: "That beautiful supple back that let her arch from his arms like a black lily," while he produced "those ratcheting tap clusters that fall like loose change from his pockets...
Well, alas, the partnership broke up, mostly because Ginger had higher ambitions. Observes Croce, who does not admire Ginger as a straight actress as much as some of us: "She's an American classic just as he is: common clay that we prize above classic marble. The difference between them is that he knew it and she didn't." To adapt a phrase from Thomas Nash, brightness fell from the air. Its particular gleam has never been recaptured-except perhaps in this book. · A.T. Baker