Word: viewing
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Dates: during 1940-1949
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...Fifth Avenue, with a fine view of Central Park across the street, sits a 66-room red brick Georgian mansion, one of the largest and most lavish houses in New York City. Across the street, the late Banker Otto Kahn's Florentine stone palace is now the Sacred Heart Convent for girls; a block up Fifth Avenue stands Banker Felix Warburg's six-story home: it is now the Jewish Museum. Farther down Fifth Avenue, workmen this week started tearing down Financier Thomas Fortune Ryan's ornate 30-room mansion...
Pride in Their Park. In a glassed-in cupola atop Santa Anita's grandstand sat a man with a different view. Stone-faced Charles H. Strub (rhymes with rube), 64, built Santa Anita, bossed it, drew down $334,000 in salary and bonuses in 1948. Last week, he put on his usual $50,000 weekend race, the Santa Margarita Handicap (won by Lurline B, a 30-to-1 shot). This week, the first of his three $100,000 races, the Maturity Stakes, would...
Natural childbirth, said Dr. Goodrich, is not completely painless; only about 2% of the 400 patients reported no pain at all. The majority felt some pain, which they were "quite willing to tolerate in view of the exaltation accompanying conscious delivery." Some drugs were used, too. Only 35% had their babies without any anesthesia or painkilling drugs ; about half the rest had small doses of Demerol or whiffs of nitrous oxide (dentistry's "laughing gas"). The mothers were told to ask for drugs if they felt they needed them. Only 12% were not fully conscious...
...fundamental question is evidently one of policy--the extent of co-education. The Radcliffe and Harvard authorities have made up their minds on this point, and their convictions are beyond the influence of editorials. They believe it should be limited, and though we may quarrel with this view we cannot at this time quarrel fruitfully...
Murch's paintings, on view in a Manhattan gallery last week, had all the dim, cold calm of false dawn. They were done with dead-eye accuracy, in greenish gobs of shadow laced with silvery threads and buttons of light. He had put the paint on thickly, Murch explained, because "that helps create a thing out of the painting itself." Among his table-top subjects were a dead bird, a dead fish poised on a clinker, an ancient phonograph, and assorted eggs, lemons and potatoes...