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...proposing the project, however, the President has history on his side. Throughout time, kings, popes and potentates have decreed how they should be remembered. So why should Lyndon Johnson be denied? Vergil was financed by the Emperor Augustus while writing the Aeneid, and repaid his patron with lavish praise of Augustan virtues. Emperor Trajan was so taken by his triumphs, that to satisfy his pride he had 2,500 of his followers' names carved into a 137-ft.-high marble pillar in the Forum at Rome. Alas, the custom has largely fallen into desuetude since Suetonius...

Author: /time Magazine | Title: The Presidency: Lyndon's Own Epic | 7/19/1968 | See Source »

...present or past A. & P. executives) in effect runs the company, placing the interests of top staffers ahead of stockholders'. Fearful of inquisitive bankers, goes one complaint, A. & P. has always shied away from loans and has financed improvements largely out of its own earnings. Manhattan Art Patron Huntington Hartford, one of the grandsons of the founder, charges that the foundation is responsible for a "lavish" pension plan (up to $50,000 a year for top officers) that costs an amount almost equal to 50% of A. & P. profits...

Author: /time Magazine | Title: Management: Tempest at the Tea Company | 6/28/1968 | See Source »

...Bach composed the aria and 30 variations for his pupil, Johann Gottlieb Theophilus Goldberg, who wanted a little bit of night music to play for his patron, Count Hermann Carl von Kaiserling, a sickly insomniac...

Author: /time Magazine | Title: Contests: Sex & Bach | 6/7/1968 | See Source »

...some people think I already talk too much about my grandson"). Instead he billed himself as "a proud uncle." Explained L.B.J.: "You all know how an uncle is. He doesn't visit often, but he likes relations to do well. I won't be remembered as a patron of the arts, but I should be delighted to be known as an uncle of the arts...

Author: /time Magazine | Title: Museums: Proud Moment | 5/10/1968 | See Source »

...chill sunlight of his vast hall, Hotspur's (Norman Rodway) peripatetic motion caught by a camera tracking in tight close-up, the gross Falstaff beside the cruelly emaciated Justice Shallow (Alan Webb), Doll Tearsheet (Jeanne Moreau) demonstrating how a tender and accomplished whore might satisfy an impossibly fat old patron. The Battle of Shrewsbury is simply the finest, truest, ugliest war footage ever shot and edited for a dramatic movie. Welles fills Falstaff with motifs to create visual unities: the vast castle wall which dominates shot after shot; the oppressive vacuity of Spanish winter; the rhythmic alternation of static shooting...

Author: By Peter Jaszi, | Title: Falstaff | 4/30/1968 | See Source »

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