Word: 13th
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Andrew P. Goldfarb '89, Lori E. Lesser '88, Eric M. Mindich '88 and Brenda J. Walker '88 of Harvard last month joined 200 other participants at the 13th annual "Business Tomorrow Conference" conference in Chicago. The four were chosen from a pool of 2000 applicants to represent Harvard at the conference, which was sponsored by Princeton's Foundation for Student Communicaion...
Harvard's Joe Carrabino (153-for-169, 90.5 percent) tied for second with St. John's Chris Mullin--now a member of the NBA's Golden St. Warriors--with the Crimson's Bob Ferry (84-for-93, 90.3 percent) in fourth. Arne Duncan was 13th, (91-for-105, 86.7 percent) and a fourth Crimson cager, Keith Webster, would have tied with Duncan, but he did not have enough attempts to qualify (52-for-60, 86.7 percent...
...make the stock market rise and fall? Mason Sexton graduated from Harvard Business School in 1972, went to Wall Street, and decided that all the traditional ways of making predictions were "at best hit or miss." Then he learned of the Fibonacci Ratio, based on the work of a 13th century Italian mathematician, and a modern development of it known as the Elliott Wave Theory, which declares that all advancing markets have five waves up and three waves down...
Today, for instance, not a single English 13th century wooden crucifix figure survives in England; to find a probable example, the organizers of this show had to borrow an exquisite polychrome Christ from Norway, where it had been made by a traveling English artist for a church in Bergen around 1230-45. Just as in the greatest monuments of English Gothic today -- the Lady Chapel of Ely Cathedral, say -- one sees only the bare background of a decorative and sculptural scheme whose figural richness can never be restored or even reimagined, so the remains of medieval sculpture that have been...
...details, as with the fragments of two angels from a demolished late 13th century tomb in Sawley in Derbyshire -- faces and drapery so refined in their carving, and yet so plain and direct that they bear comparison with the sculpture made for the west door of Notre Dame a century before -- one sees the immensity of the loss. One can also sense the sheer range of feeling accessible to Plantagenet sculptors, from the grotesque and grimacing faces on corbels (meant more as effigies of "types" of men than as specific portraits, however sharp and humorous their realism) to the forbiddingly...