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...claim to be motivated differently from other fringe groups that have sprung up in America and taken up arms. The Ku Klux Klan, for example -- born as a social club and quickly evolving into a militia, recruiting members through appeals to patriotism -- still thrives on hatred of blacks, Jews, Roman Catholics and foreigners. The moribund Posse Comitatus, a militant group based in the Farm Belt, wanted to wipe out the tax collectors. The patriots, by contrast, have a more generalized fear of Big Government, which they say is rapidly robbing individuals of their inalienable rights, chief among them the right...
...peace process that's been underway since September when the Irish Republican Army declared a ceasefire. Still, he has criticized the quick pace with which his predecessor, Albert Reynolds, embraced the IRA. Reynolds lost his seat in a scandal last month over the extradition of an alleged child-abusing Roman Catholic priest. Bruton was elected to head his country in an 85-74 vote. He now heads a government formed with the support of a coalition of three parties...
...real contained the ideal. He did not generalize like an academic classicist. His paintings are full of precisely observed detail -- pebbles and flowers, plants and springs of water. The atmosphere in which forms are bathed is real, whether it's the blue silken light of spring in the Roman campagna or the thick darkness that envelops a landscape when a storm gathers and lightning strikes. (The dramatic mystery of Poussin's foul-weather scenes carries you back to Giorgione's Tempesta.) The architecture of his backgrounds evokes a perfect antiquity, embedded in Nature but not disfigured by Time; and when...
...form's superego, the mode -- tragic, idyllic, epic, sacred. The Destruction of the Temple of Jerusalem, 1638, is such a painting. % Poussin based it on a classical source -- Flavius Josephus' account of the sack of Jerusalem by the Emperor Titus and his army. Its obvious formal prototype is the Roman battle sarcophagus, with figures arrayed in a frieze; its pictorial roots, expressed in the nobly articulated figures of enslaved Jews and conquering centurions, lie in Raphael. With its structure of color, bound by a repeated accent of red, with its perspective lines, its golden- section ratios, its echoes and reversals...
Poussin also found a special relationship between architecture and the human body. On his return to France, Poussin visited Nimes (as Thomas Jefferson would, 150 years later) to admire its Roman temple, the so-called Maison Carree. "The beautiful girls you will have seen at Nimes," he wrote to Chantelou, "will not, I am sure, delight your spirits less than the sight of the beautiful columns ... since the latter are only ancient copies of the former." One of his finest late paintings, Eliezer and Rebecca, 1649, was conceived in exactly this spirit. Nowhere, perhaps, in 17th century painting is there...