Word: great
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Dates: during 1930-1939
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...London, platonic lover of Olive Schreiner (The Story of an African Farm), who called him "my Soul's wifie." At that time, Ellis candidly confesses, he was 5' 10½" tall, weighed 150 Ibs., had a 23-in. mesocephalic head, an unusually high instep, a long great toe, "scented cheeks," and his castoff shirts smelled like cedar. He was planning his life "largely and spaciously...
...enough to play politics with a conservative Congress without seeming to do so; Taft had to temper Uncle Joe Cannon and was promptly accused of bowing to him. T. R.'s bouncing spirit rode the ground swell of the Progressive movement; Taft was too solid to bounce. His great girth, white walrus moustaches and booming chuckle made it easy for people to like him at first, just as easy for them to see him later as an affable pushover for Big Business...
...Nelson Aldrich on the tariff, forced substantial cuts, then watched the whole country go hog-wild over a headline which twisted a few forthright words in one of his speeches. The muckrakers were abroad in the land and Taft lacked T. R.'s flair for handling them. The great "scandal" of his administration, and a chief cause of Roosevelt's resentment, was drummed up by Norman Hapgood of Cottier's against Secretary of the Interior Ballinger. Taft knew, and Pringle proves, that the evidence was inaccurate. Taft stuck by Ballinger and fired Roosevelt's protege, Gilford...
...Boston Museum now contains a collection of four small but expertly done paintings by Leon Bakst, chief artist for the "Ballet Russe" when Diaghilev was in charge of its production. Bakst is of great historical importance because his method and style revolutionized the application of the decorative arts to the theatre. The main tenet which symbolized the essence of his program was unity, unity not only as far as the technique of his art was concerned but also in regard to the emotional compactness of the entire artistic production. Bakst's designs for scenery and costume were unique in that...
Bakst, in one respect, is an abstract artist. His color and lie are symbolic and seem to be the natural concomitants of musical and terpsichorean expression. But even without the intended accompaniment of the musician and the dancer, his designs and paintings are of great intrinsic value. it is interesting to think of Bakst in the light of his co-workers, men such as Picasso and Derain, for it was Bakst who supervised the artistic endeavors of these men while they were connected with the "Ballet Russe"; and it was about this time that Stravinsky, at the request of Diaghilev...