Word: ils
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Dates: during 1950-1959
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...anecdotal article on his life with the Pope, to include clinical details; $8,000-later reduced to $3,200-for an hour-by-hour account of the papal agony; $3,200 for photographs of the death throes; $1,600 for a story on the embalming process. (Il Giorno Editorialist Gaetano Baldacci charged that Galeazzi-Lisi, employing an "aromatic spirits" technique which he claimed had been used on the body of Christ, wretchedly botched the job.) Two Italian dailies, Rome's Il Tempo and Turin's La Stampa, bought Galeazzi-Lisi's second entree for a joint...
...denied that he had received "un soldo" for his pains, then resigned his post. The College of Cardinals banned him from the Vatican. As the storm of censure mounted, the greatest cry was appropriately against the money-hungry doctor rather than the story-hungry press. Milan's daily Il Giorno (circ. 150,000), coming to the astonished realization that the Pope's chief physician was not a tried clinician, asked what was, perhaps, the most startling question raised by the whole furor: "How could Pius XII entrust his health for so many years to a quack...
...week's end, Fanfani, still moving with brisk efficiency, which has won him the nickname "Il Motorino" (the little motor), got confirmed as Premier by a Senate margin of 17 votes, and this week faces the more crucial Chamber of Deputies, where he is expected to be confirmed only narrowly...
...Curtis Institute. The opera had tension as well as lyric elasticity, especially when the postman-lover fell into a charmed sleep by the fire and the wife sang a lilting incantation. With both audience and critics, Composer Hoiby scored a clean hit. Said Rome's daily Il Messaggero: "It is impossible to doubt Hoiby's musical quality . . . The vitality of Chekhov could not be caught better than this...
Among the most popular paintings in the show are the works of two Milanese artists who reached their peak at the beginning of the 16th century (see color page), Bernardino Butinone (active 1454-1507) and Ambrogio Fossano, known as "Il Borgognone" (circa 1450-1523). Butinone tried to combine the perspective of Florence with the mastery of light developed by the artists of Bruges. His The Last Judgment almost overcrowds the canvas with drama: the archangel is dividing the damned from the saved (including a Pope) in the foreground, while Christ sits on high in judgment, flanked by the Apostles...