It is a good family

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For that reason, more than 43 percent of the people in

Luxembourg are foreign nationals, compared to a European

Union average of 6.4 percent. When he greets people in the

public square, Ries speaks not German, not French, not

English, but Luxembourgish. It is not to shame the others. It

is to show he is a genuine Luxembourger.

Natives of the Grand Duchy, heavily influenced by

Catholicism, are very proper and can be dour.

“When we say, ‘It’s not too bad,’” Ries said, “we mean

it’s good.”

But above all, they are proud. Proud of their

multilingualism. Proud of their grand duchy. And proud of

their royal family. The current grand duke, Henri, who is 57,

is popular. People can greet him on the street without bowing

down before him. His 31-year marriage to Grand Duchess

Charlotte appears to be very happy. Showcasing the royal

family, as the country will do this week, allows Luxembourg

to put its best foot forward.

For, as Ries emphasized more than once, the Luxembourgish

royals — in contrast to some others — do not sunbathe

topless. And for him, that is a source of pride, one he is

happy to share with the rest of the world.

“It is a good family,” he said.

China’s economic growth tumbled to the lowest in more than

three years in the latest quarter but retail sales and

investment improved in a possible sign a painful slump might

be stabilizing.

I got a call from my mother

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The couple was identified as Soumya Kumar, 26, an ayurvedic
doctor pursuing her Masters in yoga from Vivekananda Yoga
Kendra in Jigani, and Sandeep Hedge, 28, a testing engineer
with Tata Consultancy Services.
Police suspect they committed suicide on Monday night. The
incident came to light when Anoop Kumar, Soumya's brother-in
-law, found the bodies. "I got a call from my mother-in-law
on Tuesday. She told me there was no response from them since
Monday, and wanted me to check out," said Anoop.
Soumya's mother Shashikala, who lives in Chikmagalur, had
called the landline and the couple's mobiles repeatedly, but
got no response. Alarmed, she sought Anoop's help. Anoop went
to the couple's house and knocked on the door. When there was
no response, he peeped through the window and saw Sandeep's
body hanging from the fan in the hall. He called police.
Police broke open the door and found Soumya's body on the cot
in the bedroom, a piece of veil still hanging from the fan.
Police found three marks on her neck. "We suspect the wife
committed suicide, and shocked or frightened on seeing his
wife dead, the man also ended his life. But there was no
suicide note,'' said a police officer.
A policeman posted at the Writers' Buildings tried to commit
suicide near the central gate on Wednesday evening,
triggering alarm at the high-security secretariat.

exhibitions of Old Master paintings are usually discussed as

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at the Metropolitan Museum of Art, takes us deeper into the inexhaustibly complex relationship between nature and culture than any other exhibition I have ever seen. When Nicolas Poussin sets men and women amid vast landscapes, he is reflecting on our experience of the natural world, and nobody has more beautifully woven together sensation and imagination, instinct and intelligence, freedom and design. There is a curiously pungent juxtaposition of naturalistic immediacy and pictorial artifice in Poussin's landscapes, whether he is representing a darkly luxuriant tree, a placid lake, a cloud-strewn sky, an elegantly designed city, or a handsome Ovidian hero. Somehow, the immediacy and the artifice reinforce each other. The paintings are finally about our struggles to understand what we feel, to objectify the subjectivity of our experience. Poussin's admirers will not be surprised to see this seventeenth-century artist who is often pigeonholed as a chilly classicist re-framed as something of a romantic. What most people are going to be unprepared for is the big-heartedness of his vision as it is revealed in this epochal show.
While it is taken for granted that our understanding of a symphony or an opera is shaped by the skill of the conductor or the director, exhibitions of Old Master paintings are usually discussed as if it hardly mattered who was involved. Nothing could be further from the truth. At the Metropolitan, our heightened sense of Poussin's powers owes a great deal to the brilliance of the two men who together organized the exhibition. They are Pierre Rosenberg, the Honorary PresidentDirector of the Louvre, who originally conceived of the show, and Keith Christiansen, the Jayne Wrightsman Curator of European Paintings at the Met. Rosenberg and Christiansen wear their encyclopedic knowledge of the scholarly literature easily, bringing to the consideration of individual paintings and to large questions of interpretation a combination of unflappable common sense and abiding faith in our ability to grasp the spirit of an artist who lived four centuries ago. Taken together, Rosenberg's catalogue entries and Christiansen's essay "The Critical Fortunes of Poussin's Landscapes" blow the dust off these masterpieces. And Christiansen's magnificent installation, with five galleries of paintings and two of drawings, will be remembered for many years to come. (The Metropolitan and the Museo de Bellas Artes in Bilbao, where the exhibition was seen in the fall, are the only venues.)