Review:
" A fascinating demonstration of the savage landscape out of which the over-cultivated language of classical architecture emerged." - Alexander Tzonis, Delft University
" To suggest that the classical language of architecture, which has for so long been construed - even by its native speakers - to depend mainly on a set of powerful, but bloodless conventions, was associated by way of the poetic language of tropes with ancient sacrificial ritual is a radical argument in the true sense of the term." - Alan J. Plattus, Yale University
& quot; A fascinating demonstration of the savage landscape out of which the over-cultivated language of classical architecture emerged.& quot; - Alexander Tzonis, Delft University
& quot; To suggest that the classical language of architecture, which has for so long been construed - even by its native speakers - to depend mainly on a set of powerful, but bloodless conventions, was associated by way of the poetic language of tropes with ancient sacrificial ritual is a radical argument in the true sense of the term.& quot; - Alan J. Plattus, Yale University
"To suggest that the classical language of architecture, which has for so long been construed - even by its native speakers - to depend mainly on a set of powerful, but bloodless conventions, was associated by way of the poetic language of tropes with ancient sacrificial ritual is a radical argument in the true sense of the term."- Alan J. Plattus, Yale University
"A fascinating demonstration of the savage landscape out of which the over-cultivated language of classical architecture emerged."- Alexander Tzonis, Delft University
From the Back Cover:
Hersey reinterprets key tales and taboos that were part of the cultural memory of the ancient Greeks. His touchstone is Vitruvius, author of the only surviving classical treatise on architecture, whose stories about Dorus, Ion, and the Corinthian maiden, and about the Caryaean women and Persian soldiers, describe the orders as records or remembrances of sacrifice.
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