Word: royalities
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Dates: during 1960-1969
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...South. The U.S. State Department last week expressed "some serious concern" over this buildup, but the government of Prince Souvanna Phouma has much more reason for concern. It reported that North Vietnamese forces had launched a "general offensive" against several government villages: Ban Nam Bac, north of the royal capital of Luang-prabang, and Lao Ngam and Phalane...
...says an officer loyal to the junta, "because his father was a schoolteacher." Papadopoulos & Co. are suspicious of intrigues in the big city, jealous of the rich and resentful of the favors that the Palace passed out to highly placed officers. In the past, any incursion on royal prerogatives met with kingly counterattacks; in recent years two Premiers-Constantine Karamanlis and George Papandreou-lost their jobs for suggesting far less drastic limitations. This time Constantine had little choice but to accept a diminished status for the Palace. "Let us be perfectly realistic," he said in his first public statement since...
...stopped over in Rome on his return from the NATO meeting in Brussels to talk with the King. Not ignoring more lofty influences, the junta sent Archbishop Leronymos to reason with Constantine. There was some speculation that the King's sister, Princess Irene, might go back as a royal standin. But the King so far seemed disinclined to return, fearing that his position would be reduced still further to that of a mere figurehead. Even so, having failed in his open revolt against the junta, the King could yet decide that, by returning, he might once again stand before...
Francisco Goya was 54 and at the height of his fame and powers in 1800 when, as first court painter, he was called on by his sovereign, King Charles IV, to immortalize the royal family. The shimmering panorama that Goya created has been called his supreme tour de force. With devastating candor, he laid bare the indolence of the King, the shallow depravity of Queen Maria Luisa (whose intrigues on behalf of her lover Godoy had reduced the Bourbon court to its final debility), and the self-centered vacuity of their relations. In imitation of Velasquez' 1656 portrayal...
...features can be seen in many of his paintings and drawings. But his second presence in The Family of Charles IV gives ironical depth to an already profound picture. By stripping away his own mask of detachment and presenting a self as warped by passion as any of his royal subjects, the artist seems to suggest that whatever frailty they symbolize, it is one that he cannot pass judgment upon...