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When Philip III ascended to the Spanish throne in 1598, he was 19 years old and uninterested in the responsibilities of a monarch. His friend the Duke of Lerma–the court’s preeminent tastemaker as well as the most important non-royal art collector in Europe–took over matters of state, while Philip squandered vast sums of money on lavish fiestas and foreign wars. The King and the Duke shared a mutual devotion to art that ushered in a dynamic period in Spanish painting, now featured in an outstanding new exhibit...
Nine colleges have offered Sarah Simon, of Wellesley, Mass., a spot in their class of 2012: Brown, Cornell, Dartmouth, Duke, Princeton, Stanford, University of Chicago, Vassar and Williams. But she's a dancer--ballet six times a week, modern twice, jazz once--and Columbia University in New York City would give her access not only to an exceptional ballet program at its sister school Barnard but also to the epicenter of the dance world. Unfortunately, Columbia has put her on the waitlist. Though she's not whining about her wealth of options, Simon, a senior at Noble and Greenough School...
...researchers—Mark Fleming of Children’s and Nancy Andrews, formerly of Children’s and now dean of Duke Medical School—found that the cause of the inability to respond to oral iron supplements is mutations in a gene called TMPRSS6...
...consolidated Spain's global empire, and that of his son Philip IV, a middling monarch but one whose court painter was Diego Velázquez. That cinched his immortality. Philip III was known for his piety, his love of luxury and his willingness to allow his chief adviser, the Duke of Lerma, to run things--not always well...
Though it's not the only subject of this wonderful exhibition, co-curated by Ronni Baer of the Boston MFA and Sarah Schroth of the Nasher Museum of Art at Duke University, one of the show's plain lessons is that during Philip's reign, Spanish painters perfected the means of bringing recognizable human beings into their art. Spain may have been a center of Catholic piety, its eyes always fastened on heaven, but its paintings were full of vital, supple people made of real flesh and blood...