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Msgr. Giovanni Battista Montini, Pius' most trusted collaborator, who throughout the Pope's illness has been doing more and more of the Pontiff's work, was appointed to the vital Archbishopric of Milan, succeeding the late Ildefonso Cardinal Schuster. At the same time, cardinals and bishops received new, sharp instructions designed to remedy what the Pope regards as creeping weaknesses in the church. Among the Pope's chief complaints...

Author: /time Magazine | Title: Religion: Stirrings at the Vatican | 11/15/1954 | See Source »

INDRO MONTANELLI, Italian political analyst and author, writing in Milan's respected Corriere della Sera...

Author: /time Magazine | Title: THE REAL CRIME OF THE AMERICANS | 10/25/1954 | See Source »

Steinberg was born 40 years ago near Bucharest. His father manufactured fancy boxes for toilet articles and his mother made cakes with elaborate icings that he recalls, were "too beautiful to eat." Steinberg spent seven years studying architecture in Milan before finally giving in to his own inherited taste for lighthearted art. He found it no work at all to whip up drawings that were usually biting, and sometimes skirted close to the beautiful as well. Commissions for The New Yorker helped bring him to Manhattan...

Author: /time Magazine | Title: Art: Hard Lines | 10/18/1954 | See Source »

Blots & Bandages. Still, it was quite unlike the picture Leonardo was believed to have painted. Milan's cold and damp winter wind (which her opera stars survive by will alone) had been whining at the wall that held the mural for 450 seasons. In Leonardo's own lifetime the wall began to show splotches of dampness. Over the centuries, well-meaning restorers flattened out blisters and bandaged the picture's cracks with liberal applications of plaster, painted over to resemble the chilblained masterpiece beneath. Five separate times, at least, alien hands overlaid Leonardo's mural...

Author: /time Magazine | Title: Art: THE TRUE LAST SUPPER | 10/4/1954 | See Source »

Symbols & Subtleties. Milan's Museum Director Fernanda Wittgens is more explicit. In an article written for a special section of Art News Annual (out next month), Wittgens recalls the highlights of the cleaning: "It was found when the restorations were removed that Judas' tunic was bright blue with traces of gold around the collar and that Christ's garment turned out to be flame red, a symbol of His sacrifice. [Before the cleaning job, it was a dirty lime.] In the landscape some bright blue water came to light [and] now the glossy pewter utensils reflect...

Author: /time Magazine | Title: Art: THE TRUE LAST SUPPER | 10/4/1954 | See Source »

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