All right, let's get rolling.

So Etching obviously gave Piranesi his livelihood.

It gave him some, you know, money.

And he was able to draw ancient and modern Rome.

And he gave us all of these kinds of views, which were fascinating.

And he works on these.

I mean, that's his passion.

I

the physical properties of the medium.

Y- exactly.

And in a way, you know, fresco painting is actually somewhat like wood cut because if you don't get it right, well, you either burn it or you make lemonade or something.

But, you know, being able, as you, as you rightly point out, that you can always go back into an oil paint and you can glaze it.

You can do all kinds of wonderful things.

But that concept of even the under drawing, the disegno that the Florentine and Roman kinds of images were about compared to the loose, more, you know, freeform skewed, let's say the diagonal, much more energetic, dynamic kinds of compositions that we started seeing in Venetian painting.

And Venice, of course, continues to stay healthy through all of these things, and then we move on into the Enlightenment.

[laughs]

concept but see things Percolate for years and years and years and I just want to see you

start and the whole point is that just how do you begin it? You know in the beginning there was the word and the word was God and that it's enough and Even on the first page of the penny roll caxton, which you have to put in, you know God with those big red letters and it's anything that God needs that you need it to be as long as it's a creative force, you know, and.

I just I think people are so scared to put a name to it.

And so I just needed to throw out there that I've been watching you on this.

And then you said Methodism and Methodism.

And, you know, did you know that ASL, American Sign Language for Methodism is this, which means enthusiasm, which means because John Wesley had the it's the warmth and the excitement that he had when he was thinking about God in his heart.

Now, there are all these people that don't have to believe this stuff, but as a springboard for art ideas, you know, I'm just like, I have like just salivated over the spacing and the timing and all of the things that you did for the Bible.

I had to adapt the tools and stop working or go to another medium.

Yeah

... oculus to the sky is sending this shaft of light around and, you know, how to sh- show a building from the 2nd century with people of today in it and how current it is.

And you know, these artists are drinking in the concept of these ruins and their forebears.

That's part of the Enlightenment.

That's part of understanding what went on before you.

A- and so thinking about how Canaletto was coming up, you know, being apprenticed to his dad and such, he goes to Rome in, uh, 1718.

He comes back in 1719, and he starts really working on his, what we call his topographical style.

So

The great thinkers

All those smart people.

And the other thing that you'll notice about all of these compositions in the High Renaissance is that they're very stable.

They're laid out cleanly, mathematically.

They use a beautiful sense of linear perspective.

The compositions are stable, and they're s- scaffolded so that, say, nothing could be moved, and it can't be harmed.

Now, that's Florence and Rome, but then we have something that goes down, and it's an issue.

[laughs]