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...Venice, the parish priest of the 12th century church of San Felice, off the Grand Canal, was forced to stop in mid-Mass last spring as cracks suddenly opened across the church nave walls, showering the congregation with plaster. Near by, the floor of world-famed San Marco is sinking, Santo Stefano is developing its own leaning tower, scores of palazzos and villas are becoming increasingly strapiombati (out of plumb...

Author: /time Magazine | Title: Art: Crumbling Museum | 4/15/1957 | See Source »

...denouncing unequivocally their Communist allies. This would meet the conditions laid down by Vice Premier Giuseppe Saragat's Social Democrats for a reunification of the long-divided Italian Social ists. While owlish Pietro Nenni beamed down from the red-streamered dais of Venice's Teatro San Marco, 1,000 Congress delegates overwhelmingly approved a resolution calling for a prompt merger with the Social Democrats...

Author: /time Magazine | Title: ITALY: First Mortgage | 2/25/1957 | See Source »

Reader Response. In Paterson, N.J., the News printed an ad: "My wife, Anna De Marco, having left my bed & board, I will no longer be responsible for any debts contracted by her on or after Jan. 15, 1957-Alphonse De Marco," two days later printed another: "Alphonse De Marco, having read your item in the paper, I feel it my responsibility to let you know you never did pay my debts or the support of my children or I, so there's no need to worry about any bills now-Anna De Marco...

Author: /time Magazine | Title: Miscellany, Feb. 11, 1957 | 2/11/1957 | See Source »

Last week in Milan's 13th century Church of San Marco a dedicated Milanese restorer, pretty Pinin Brambilla, 31, was finishing the task of uncovering an unsuspected fresco that tor its brilliant, fresh colors and bold, naturalistic drawing of the crucified Christ might well make even Critic Berenson eat his words...

Author: /time Magazine | Title: Art: Discovery in Milan | 10/1/1956 | See Source »

...influence on his work. "Mies was a mature influence," he says. "He puts clamps on the problem." But Saarinen is no blind follower of any style. "When you do a job like this," he says of the G.M. Center, "your mind goes back to Versailles, the Tivoli Gardens, San Marco, the way Italians used pavements. And you think, 'Boy! Let's do that!'" Saarinen admits he has to ask himself: "Is that creating a new architecture?" And he replies: "Isn't it just bringing back things that have been lost to architecture? We must still create...

Author: /time Magazine | Title: Art: The Maturing Modern | 7/2/1956 | See Source »

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