Word: sphinx
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...source of this effulgence--or, more prosaically, the man who bequeathed his thrillers and shockers to Harvard--was George Andrew Reisner '89, an eminent: Egyptologist who won fame by "solving the mystery of the Sphinx." (He showed that its head is a portrait of Chephren, a fourth-century Pharaoh who built the second Pyramid.) Born Nov.5, 1867, in Indianapolis, Reisner was graduated from the College summa cumlaude and then earned a Ph.D. here in Semitic Languages...
...cost of admission turned out to be fabulous too. With the patience of a stone sphinx, Reinhardt returned again and again to Corsier, waited years for Chaplin to confirm that he was indeed to get the world rights, and when agreement was reached, it included a guaranteed minimum royalty reported to be upward of half a million dollars...
Myths about the camel and its thirst-resistance are older than the Sphinx-and almost as durable. Well into the modern age of science, men accepted the notion that the evil-tempered animal could store a two-week supply of water in its humpor in a great, cistern-like stomach. The hump theory was the first to be discarded as so much humph. What the camel carries on its back is a reserve of fatty tissue to be consumed when the rest of the camel runs out of fuel. The story about the parched Bedouin who slaughtered his favorite camel...
...million for hotel development. Egypt, aware that increasing tourism will soon bring in about as much as tolls on the Suez Canal ($170 million), is spending $60 million on 40 new hotels, Nile River tourist boats and a Red Sea fishing resort at Ghardaka. The government now floodlights the Sphinx and the Pyramids of Giza, and stagey a four-language "Sound and Light" panorama that relates the story of the Pharaohs. India is subsidizing airplane trips to the remote temples of Konarak. To ease Occidental sensitivities, Tokyo's municipal council recently allocated $560,000 for Western-style toilets...
...frontality of Thiebaud's figures (see opposite page) outdoes that of the Sphinx. Each personage-a hulking pro football player, symmetrical in size and numeration, or Thiebaud's wife posing as a bather with a double-dip strawberry ice-cream cone-juts forward like a sculptured relief from a general porcelain-white background. The whiteness helps isolate the image; the garish fluorescent lighting that commercialism loves bathes everything in its frigid glare. Thiebaud makes long, curling highlights out of polychromatic contours that do not exist outside...