tag:blogger.com,1999:blog-5176884444672242983.comments2023-11-05T12:29:26.061+00:00A R T H i s t o r i e sJonhttp://www.blogger.com/profile/04965340477336984223noreply@blogger.comBlogger43125tag:blogger.com,1999:blog-5176884444672242983.post-30903288981925120052022-03-04T02:39:20.785+00:002022-03-04T02:39:20.785+00:00Casino Games and Sports Betting in Maryland - JTGH...Casino Games and Sports Betting in Maryland - JTGHub<br />With socially distanced sportsbooks, Hollywood Casino <a href="https://www.jtmhub.com/%ec%9d%b8%ec%b2%9c%ea%b4%91%ec%97%ad%ec%b5%9c%eb%8c%80%ea%b7%9c%eb%aa%a8%ec%b6%9c%ec%9e%a5%ec%83%b5.html/" rel="nofollow">인천광역 출장마사지</a> and Penn National <a href="https://www.jtmhub.com/%ec%b6%98%ec%b2%9c%ec%97%90-%eb%8c%80%ed%95%9c-%ec%9a%b0%ec%88%98%ed%95%9c%ec%b6%9c%ec%9e%a5%eb%a7%88%ec%82%ac%ec%a7%80%eb%a6%ac%eb%b7%b0.html/" rel="nofollow">춘천 출장안마</a> Gaming teamed up with BetMGM to <a href="https://www.mapyro.com/%ec%a0%9c%ec%a3%bc%ec%b5%9c%ec%83%81%ec%9d%98-%ea%b4%80%eb%a6%ac%ec%b6%9c%ec%9e%a5%ec%95%88%eb%a7%88.html/" rel="nofollow">제주 출장안마</a> launch their casino floor in <a href="https://www.mapyro.com/%ec%a0%84%eb%9d%bc%eb%b6%81%eb%8f%84%ec%b6%9c%ec%9e%a5%eb%a7%88%ec%82%ac%ec%a7%80.html/" rel="nofollow">전라북도 출장샵</a> the <a href="https://drmcd.com/%ec%9a%b8%ec%82%b0%ea%b4%91%ec%97%ad%ec%b5%9c%eb%8c%80%ea%b7%9c%eb%aa%a8%ec%b6%9c%ec%9e%a5%eb%a7%88%ec%82%ac%ec%a7%80.html/" rel="nofollow">울산광역 출장안마</a> state.naiiapaczkowskihttps://www.blogger.com/profile/05419321046108927800noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-36608088846137122832020-07-15T08:58:36.671+01:002020-07-15T08:58:36.671+01:00I believe there is a link between Eval Hesse's...I believe there is a link between Eval Hesse's 1966 Laocoön, and the painting of the same theme by the Greek/Spanish painter El Greco done in the early 17th century (1610). The El Greco is in the National Gallery, and was featured in an large exhibition in 1961, so Hesse probably knew the work, and she was very knowledgeable art historically. Her serpentine lines contained within cubic frames, the attenuated torso-like lines and forms, the color tonality, and expressive forms reflect the energy of El Greco's sky, landscape, and shading on the figures. She brings cerebral as well as emotional meanings into the context of the Laocoön story. JS 7/15/20Jim S _MIADhttps://www.blogger.com/profile/04259084701372173921noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-68390651970906322282012-05-29T01:25:59.216+01:002012-05-29T01:25:59.216+01:00A request to the author of this great article.
Can...A request to the author of this great article.<br />Can you please post some bibliography / references of where you got that information from?<br /> I am a university student and i find this information quite useful for an essay i have.<br /> If you could please provide me with the books where you drew all that information from (even the specific pages where it was originally, if possible) i would be grateful to you! <br />Thank you in advance!teoteohttps://www.blogger.com/profile/12322896004665143454noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-62178194471918942412011-03-25T18:52:20.365+00:002011-03-25T18:52:20.365+00:00what kind of window treatments should I use on ext...what kind of window treatments should I use on extremely small windows?<br />Thank-you <br /><a href="http://www.cointree.com/" rel="nofollow">Silver MLM</a>Ridhi Sharmahttps://www.blogger.com/profile/06339008519840279206noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-22881103512691635722009-11-17T21:19:22.529+00:002009-11-17T21:19:22.529+00:00Considering the exterior of the two buildings in q...Considering the exterior of the two buildings in question you can instantaneously tell that there is nearly 1000 years separating the two. Westminster abbey designed and built in the traditional gothic style has a looming prescience with many perpendicular and tall vertical lines created by the buttresses and slim windows. These serve the technical purpose of distributing the sheer weight of the heavy building, but also were a technique used at the time to allow for windows and, essentially, light into the large structures. This is style is later copied by the Neo-gothic style too and is difficult to distinguish between original and the newer. These buttresses have a lot of decoration and adornment, not only gargoyles but sculptures of saints and many more, this decoration displays how important the building was intended to be, how it demands attention. The architects and designers want the viewers to be impressed, almost knowing its significance in the future, because as we all may know many coronations have taken place there, many English royalty have been buried there and it has become a famous tourist landmark. The building is mainly made of Portland stone, which is light grey and especially prominent after being cleaned. It contrasts vastly with the other surrounding buildings and emphasises its prominence and weight within the cityscape. It stands adjacent to the houses of parliament which is mainly designed in a neo-gothic style, similar to the style of the Abbey, it is easy to see which is which as the houses of parliament seem even more eccentric, even more “Gothic” in a way. Westminster Cathedral in contrast was built in the early years of the 20th century and was based on the early Christian Byzantine style, with an eclectic mix of styles. The front features Romanesque colouring and columns displaying the architects influence from classical architecture, wanting to feature its clean simplicity within the mix. The gothic buttressing that was featured in the abbey is also present, however it does not serve its original purpose of dispersal of weight but for decoration, with the 1000 or so years separating the designs of the two, developments were made as to how else to solve this problem. The middle-eastern style minorette featured on the left hand side emphasises how the middle-east influenced the Christian Byzantyne style when the centre of the Roman empire moved to Constantinople (Istanbul) in Turkey, as all mosques (Islam being the most popular religion in turkey and its surrounding countries) have a minorette to ring the call to prayer. Both buildings serve a religious rationale however the Abbey is Church of England (protestant) and the Cathedral is, evidently, Catholic, this differentiation seems to be one of the reasons why the first is more famous, as it represents the official church of the country and is a more accessible place.florencehttps://www.blogger.com/profile/16532376802096728691noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-30349287926153495932009-10-10T22:37:49.817+01:002009-10-10T22:37:49.817+01:00Apologies. That should have read "might help ...Apologies. That should have read "might help to illuminate some of the issues..."Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-8166130959344824882009-10-10T22:35:17.182+01:002009-10-10T22:35:17.182+01:00A comparison of Carl Andre's bricks and Rachel...A comparison of Carl Andre's bricks and Rachel Whiteread's Turbine Hall installation might some of the issues you raise here about the relationship between description and interpretation. Great post!Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-27831682164162276152009-09-21T22:33:29.757+01:002009-09-21T22:33:29.757+01:00Well done Flo. How about choosing something closer...Well done Flo. How about choosing something closer to home? The Queen's House in Greenwich or The Wilton Diptych in the National Gallery or the Sainsbury Wing where it's on display (I think?) Have a think about what motivates patrons to fund works of art - there may be many reasons. Have these motivations changed over time? What kind of relationship did artists have with patrons before (and even during) the Renaissance? How have patrons changed since the Catholic Church stopped being the main source of income for artist/craftsmen? Who funds art these days and why? Who owns the contents of the National Gallery? What is the function of a private collector like Charles Saatchi? In the exam, you'll need to be able to think around some of these big themes like patronage and have a few examples up your sleeve. San Lorenzo is a very impressive building (as are most of Brunelleschi's Florentine projects).Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-31497165888833597812009-09-21T17:33:13.281+01:002009-09-21T17:33:13.281+01:00After listening to the extracts about the Patronag...After listening to the extracts about the Patronage surrounding various sculptures of David, by the Medici family, i decided to look the Basilica Of San Lorenzo in Florence. Firstly because they were heavily involved in the initial Patronage of the building, but most of the art inside too. <br />The Chapel is believed to be the oldest religious building in Florence, first consecrated in 393. After a few re-consecrations, in 1419, Giovani de Bicci de'Medici financed a replacement church of the then current Romanesque church. The architect, Filippo Brunelleschi was one fo the first Renaissance architects and initially designed it, however it was not completed in his lifetime. Scholars argue over who finished it. <br />The reason why i chose this building was because it was considered the Medici's Parish, they not only commissioned the main church and art, but also The Chapel Of The Princes and The Medici Chapel. (Of which was dedicated to St John the Evangelist and was considered "one of the most complex masterpieces of renaissance architecture" due to the fact it had a cube base and a dome roof. ) This forced the city, which was once a republic before the Medici's presence and eventual rule, to be reminded of their power, wealth and almost self inflicted omnipresence. They idealize themselves into God-like creatures by funding a beautiful building with crypts for only their family, naming where they bury the dukes of the family "The Chapel Of The Princes". The patronage of the family is disguised as an act to benefit Florence and the Florentines, by providing them with a new, beautiful church, but they do it in such a manor as to display how important they are to be considered, how they are (in their opinion) saviors. <br />This type of self satisfied attitude towards the Florentines is what essentially lead to their downfall. I think at the time, this may have tainted the city's view of architecture and art of the building, however today the beauty is what is primarily considered and the story of the patronage almost makes it more interesting. The Florentines seem proud of the building and the grandeur and extravagance is no longer personal to the Medici, it belongs to the city.florencehttps://www.blogger.com/profile/16532376802096728691noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-36993629695268841992009-09-12T22:55:52.271+01:002009-09-12T22:55:52.271+01:00I'm afraid I haven't been watching. I pres...I'm afraid I haven't been watching. I presume there were some lingering shots of Lizzie Siddal fully dressed in the bath? I think the Pre-Raphaelites were probably only reflecting the late 19th century obsession with prostitution. It was the same, if not even more all-consuming, in Paris and other European cities. Something to do with the heady combination of rapid urbanisation, the movement from the countryside to the city of impoverished country folk, mercantile profits, increased leisure time and repressive morality. The divorce laws in England had a dramatic effect on the lives of married women who had affairs. Unlike their husbands, who no doubt were just as guilty of extra-marital relations, they were thrown out of the streets with not a penny to their names. There's a famous Triptych by Augustus Egg which depicts just such a situation in a rather brilliant way. This could possibly be the subject of a future post about narrative.Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-24713138490392924192009-09-01T22:18:31.669+01:002009-09-01T22:18:31.669+01:00I love the blink idea. I recently discovered the C...I love the blink idea. I recently discovered the Carbuncle Cup for "High profile monstrosities, value-engineered shockers, buildings so ugly they freeze the heart":<br />http://www.bdonline.co.uk/section.asp?navcode=2297<br />I can think of a few nominees.<br />I'm also enjoying Owen Hatherley's blog:<br />http://nastybrutalistandshort.blogspot.com/<br />He has an interesting take on the social housing of the 1960s and 70s, including the Ferrier. I'm looking forward to reading his book "Militant Modernism" as soon as I can get my hands on it.<br />We've just got back from Barcelona where we experienced some interesting architecture. I was a bit shocked at how ugly the Sagrada Familia was - it-s a real mess, like one of those candles you see jammed into a wine bottle in dodgy Italian restaurants. On the other hand, La Pedrera was sublime, especially the view from the roof. Proof perhaps that architects shouldn't linget too long on the same job?Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-31735121449971700322009-08-22T17:34:42.460+01:002009-08-22T17:34:42.460+01:00We were initially surprised that Waldemar Januszcz...We were initially surprised that Waldemar Januszczak didn't draw comparisons between these two paintings in his programme on Manet (particularly because he referred to the connections between the two in other paintings).<br /><br />Last year we saw a fantastic exhibition at the Prado dealing with Goya in the time of war. The exhibition covered everything from beautiful portraits of his royal patrons (and Wellington if I remember correctly) through the 'disaster of war' etchings etc. and of course including the 3rd of May, paired with it's companion piece the 2nd of May, which explains more about the events that gave rise to the executions. It was such a brilliant exhibition - Goya's intensity was physically draining. <br /><br />It is this intensity that seems to separate the two paintings (the Goya from the Manet), and perhaps this is why some critics / historians don't see the work as similar. Manet's painting feels 'cereberal' when seem alongside the Goya. This, despite the fact that Manet's work was probably seen as 'anti intellectual' by the powers of the Salon. <br /><br />Intensity seems to be something that Spanish Art does particularly well (Zurbaran is able to imply a sense of doom even when painting a bowl of Oranges). Andrew Graham Dixon dealt with this excellently in both his series on Spanish Art and in the series on the Baroque. The early 'national style' of Spanish Baroque seems to be explicitly targeted on creating an intense, emotional reaction. This also seems to be at the core of Goya's work. <br /><br />Manet ('the Man Who Invented Modern Art') also seems intent on creating a reaction, but the reaction seems more 'conflicted', less pure, less intense, more 'modern'. In the end, I guess that with the Manet the viewer feels like an observer, a spectator, whereas with the Goya the viewer feels like a participant, a player, an executioner.Ella Sharphttps://www.blogger.com/profile/02438329350886721367noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-7573029614225944192009-08-22T16:41:44.766+01:002009-08-22T16:41:44.766+01:00We'll respond to this in detail after we'v...We'll respond to this in detail after we've had chance to recover from the BBC's Desperate Romantics series. Probably absolute tosh from an Art History perspective, but thrilling stuff nevertheless. I'm sure it captures some of the spirit of the PRB, particularly their facination with 'the fallen woman'.Ella Sharphttps://www.blogger.com/profile/02438329350886721367noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-83378588710720794242009-07-27T12:34:18.321+01:002009-07-27T12:34:18.321+01:00I must say that this is one of the most exciting i...I must say that this is one of the most exciting installations I've seen in the Duveen Galleries (as good as the medieval sculpture show a couple of years ago). I didn't feel much anxiety, partly because the classicism of the gallery architecture is not at odds with geometry, even of this minimalist nature. I thought they worked together beautifully. What I loved most was the energy of Rothschild's work, like an electric current running the length of the building.Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-4445099120501914632009-07-26T22:55:44.155+01:002009-07-26T22:55:44.155+01:00What a great post! I agree with you entirely about...What a great post! I agree with you entirely about the almost listless atmosphere in Manet's painting but I wonder if this reflects a more modern (for want of a better word) attitude to politics and the strangely disassociated nature of the execution of Maximilian. Goya's painting speaks of first hand experience of bloodshed and violence, whereas Manet read about the incident in a newspaper. I love the characters peering over the wall, spectators in the late 19th century sense, watching from a safe distance. There is something almost comic in the pose of the detached soldier on the right and the death is curiously bloodless. Judging from Manet's view of this historical event, Goya's fears about the de-stablisation of the forces of the Enlightenment were well grounded!Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-73739395435852413302009-07-23T10:52:20.739+01:002009-07-23T10:52:20.739+01:00One of the interesting questions thrown-up by the ...One of the interesting questions thrown-up by the curators of this space relates to the successful use (or not) of the pathetic fallacy in encouraging responses from the audience. There is a mention of the meaning of the sculpture being in the creation of an anxious architecture. By which they are partly trying to mean that we the audience have our own anxieties reflected by this collision of classical geometric order and minimalist hyperbolic acute angles. I thought that Tate's description of an anxious architecture was silly, but the pathetic fallacy can work as a literary/descriptive device. Check-out Richard Serra's work too, in Tate Modern and Liverpool St station, if you want a similar experience.<br /><br />Vvhttps://www.blogger.com/profile/12644406363041270221noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-33544529684904562372009-07-23T10:40:48.814+01:002009-07-23T10:40:48.814+01:00I once asked the art historian Simon Lee (expert o...I once asked the art historian Simon Lee (expert on David and Goya)whether in fact Manet had borrowed the visual ideas of Goya. He did not beleive that there was much to support this notion. It was interesting to see John Eldefield's approach counter that in his curation of the MoMA show.<br /><br />However, I don't find Manet's composition as compelling as Goya's. Manet developed a method of depicting light which did not use half-tones as frequently as other painters. Although there seems to be a sudden flood of light which amplifies the explosion from the gun, the figure shot seems blanched. There is also an air of casualness amongst some of the characters, especially the soldier on the right. The figures suspended from the wall spy on the scene as if watching a staged cockfight below, their heads and arms assembled like a pile of rocks...the background countryside seems idyllic. Moreover the frieze like composition, the reliance on horizontals and the use of repoussoir is crude; unlike so many of Manet's other compositions, there is little to draw us into the drama.<br /><br />On the other hand there is much that compels us to empathise with Goya's work, which was perhaps a more heart felt exercise in propaganda, although one that reflected his ambiguous position as a sympathiser of the rebelling majos, but also as somebody in the pay of the occupying French forces near Madrid. I particularly like Goya's use of background, middle ground and foreground, to indicate where Murat found the 'insurgents' who had attacked his troops the day before. The dust of the hill of Principe Pio is fertilised with the blood of the faithful, clerics and artisan peasants, reliant on agricultural knives to combat the products of modern industry. Goya's use of diagonals and arcs makes this picture far more expressive...and whilst Goya's depiction of stigmata on the main majo indicates where his sympathy falls, he also felt deeply uneasy about how social revolution could destabilise the progress of the illustrados and forces of the enlightenment. <br /><br />Vvhttps://www.blogger.com/profile/12644406363041270221noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-25368478130400694372009-07-22T14:24:43.858+01:002009-07-22T14:24:43.858+01:00I've just read a visitor's comment on the ...I've just read a visitor's comment on the Samson and Delilah post. The author has an art history blog and also appears to be a interested in Manet's Olympia (small world). Anyway, here's a link to their post about the critical reception of Manet's painting:<br />http://albertis-window.blogspot.com/2009/07/rethinking-manets-olympia.htmlJonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-68019613388571622482009-07-22T14:22:18.695+01:002009-07-22T14:22:18.695+01:00Thanks for your contribution M. I'll add your ...Thanks for your contribution M. I'll add your blog to our list. Look forward to hearing from you again at some point.Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-10099287549642778642009-07-19T16:54:33.633+01:002009-07-19T16:54:33.633+01:00PS What do you think about Manet changing the Titi...PS What do you think about Manet changing the Titian lapdog into a black cat with an arched back? Animals are often used by artists for symbolic purposes - monkeys, lions, birds, dogs, cats etc. all have their place in art history. They can have allegorical significance as part of a complex set of interwoven meanings referring to Biblical or mythological stories or be used as individual symbols in portraits and other genres of painting. What do dogs and cats represent?Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-81677162411269747772009-07-19T16:46:19.496+01:002009-07-19T16:46:19.496+01:00Great analysis Flo. Apparently, according to the d...Great analysis Flo. Apparently, according to the documentary, the title of Manet's painting refers to an unpopular mistress of the Emperor Napoleon who was believed to be the real force behind the throne. Perhaps one of the key differences between these paintings relates to their intended audience. Titian's Venus was created for a private patron, whereas Manet's Olympia was viewed by the male, middle class visitors to the Paris Salon who appear to have been offended by her challenging gaze. It's always worth considering the relationship between viewer and subject. We are so used to seeing pictures in galleries and museums that we forget about the very different experience of commissioning a private work of art that may have originally hung in the master bedroom of your palazzo! Watch out for another Manet post soon, this time a comparison with the always fabulous Goya.Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-9109925082330049232009-07-16T20:16:16.659+01:002009-07-16T20:16:16.659+01:00Manet and Titian
When looking at the two painting...Manet and Titian<br /><br />When looking at the two paintings, the intention or agenda of them is quite evident. The original Titian portrays the moral of chastity whilst still creating mystery. Whereas the Manet clearly refers to the Titian, which emphasises his point, but discusses the subject of a courtesan, her profession and her attitude towards it. Although different in message, the paintings do share some similarities, mainly because Manet deliberately replicated elements of the earlier painting. Firstly in the composition, Olympia reclines across the middle of the canvas from left to right, looking at the viewer, the Venus of Urbino also lays in a similar manor but further down the canvas, allowing for other aspects of the composition, like the two figures in the background to gain enough room for perspective and stability. Other similarities include the fact that both have servants, an animal at the end of the bed, jewellery, possession of flowers (although in different places), the bed and the pose. <br />There are also significant differences; prominently the colour schemes are quite opposite to one and other, both reflective of their time and period but also subject matter. Titian paints in romantic warm flattering pinks and peaches, almost dream like, suiting the idea of virginity and romance. Manet paints in cooler more austere and blunt blues, greens and whites, fitting the subject of her profession and reflecting her cold, matter of fact expression. This difference is important because they subtly portray to the viewer the intention of the painting, the Manet especially creating an atmosphere of separation, the courtesan’s ability to disassociate herself mentally from the situation at hand. <br />Another essential difference is the element of light and how it is handled. Titian diffuses light throughout the painting; it seems at dusk, light spreads evenly through the depth of composition (the people in the background receiving light from another source behind the screen). Manet however concentrates light on Olympia and he bed. The light seems natural, harsh, as if curtains have been opened in a usually dingy room. This not only emphasises the subjects skin colour, but also possibly mirrors the concept of shedding light onto a seedy, and ruthless profession. The painting was considered shocking at the time because the subject is displayed as a Venus, someone to idealise and someone “worthy” of such attention, however she is a courtesan, considered the lowest profession and someone outside of acceptable, public society. <br />Finally the concept of the expression of the subject, Titian paints the Venus Of Urbino with a flirtatious gaze from a turned and tilted head. The subject has an element of seduction however is mainly demure. Manet nonetheless captures his subject with a nonchalant air about her, with her face straight and flat towards the viewer/painter, unashamed that she is lying in the nude. One has the feeling the model knows that the viewer is “here” for, as if she has been waiting.<br />Although Titian’s painting seems modest in comparison with the later Manet, however once looking at the Giorgioni painting “The Sleeping Venus” painted in 1510, One may view the painting in a slightly different manor…florencehttps://www.blogger.com/profile/16532376802096728691noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-65990478367806108472009-07-16T19:17:26.918+01:002009-07-16T19:17:26.918+01:00This comment has been removed by the author.Ellahttps://www.blogger.com/profile/13253426001222326263noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-21518429420621360602009-07-11T11:28:09.837+01:002009-07-11T11:28:09.837+01:00Ella and I saw the programme - thought it was grea...Ella and I saw the programme - thought it was great. We plan to watch it again this weekend and focus some study on the olympia analysis. Incidentally, where does the Goya Maja (clothed / unclothed) fit into this story?<br />AlanElla Sharphttps://www.blogger.com/profile/02438329350886721367noreply@blogger.comtag:blogger.com,1999:blog-5176884444672242983.post-91401917520612463572009-07-10T15:54:25.741+01:002009-07-10T15:54:25.741+01:00This looks good. I've always loved the story o...This looks good. I've always loved the story of Brunelleschi's solution to the probelm of spanning the enormous opening in the medieval cathedral. Something to do with herringbone bricks and knowing more than other local architects about Roman engineering as I remember. It's on my Amazon wishlist.Jonhttps://www.blogger.com/profile/04965340477336984223noreply@blogger.com