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Download Walter Beeler Method for the Cornet (Trumpet): Book 2 (Walter Beeler Series for Brass Instruments), by Walter Beeler

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Walter Beeler Method for the Cornet (Trumpet): Book 2 (Walter Beeler Series for Brass Instruments), by Walter Beeler

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Product details

Paperback: 48 pages

Publisher: Alfred Music (February 1, 1995)

Language: English

ISBN-10: 0769225632

ISBN-13: 978-0769225630

Product Dimensions:

8.5 x 0.2 x 11.5 inches

Shipping Weight: 4 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

6 customer reviews

Amazon Best Sellers Rank:

#353,482 in Books (See Top 100 in Books)

A great compliment to Book 1. Worth the addition to your music library.

This is a good all-around method book for a good jr. high trumpet player, or a developing high school player. It offers a variety of things, including drills, technical studies, etudes, songs, duets, and some nice excerpts from the classics

This was the book required by the music teacher for trumpet.A good mix of music and my 7th Grade child loves it.

Great trumpet book . Easy to understand.

good book good information.

The book incorporates technique exercises, scales, lip slurs, etc. with classic selections from orchestra repertoire. As the book progresses, the selections become more lengthy, ending with several page-long etudes. It could stand to be updated for a modern audience (it obviously is still printed from the original plates, but has far fewer actual errors than Book 1 from this series). Recommended highly by a professional trumpeter and trumpet teacher; it engages students' interest and is truly progressive in its organization, and, in my opinion, stresses many of the important skills students need to master.

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Walter Beeler Method for the Cornet (Trumpet): Book 2 (Walter Beeler Series for Brass Instruments), by Walter Beeler PDF

Walter Beeler Method for the Cornet (Trumpet): Book 2 (Walter Beeler Series for Brass Instruments), by Walter Beeler PDF

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PDF Download , by R. C. Sproul

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Product details

File Size: 1620 KB

Print Length: 196 pages

Publisher: Tyndale Momentum (February 18, 2011)

Publication Date: February 18, 2011

Sold by: Amazon Digital Services LLC

Language: English

ISBN-10: 141432717X

ISBN-13: 978-1414327174

ASIN: B004OEIODS

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#214,246 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

Predestination is a very controvertial topic and my review here is intended specifically to AVOID taking either side, but merely review the book. Also understand I am a lay person and in no way an authority on predestination. It would seem scripture can be read / interpretted to support just about any perspective on predestination. Sproul is a former Arminian who "converted" to Reform / Calvinist Theology and does a good job explaining scriptures and laying out why he made that change. He starts with an explanation of the 5 key concepts of Reform (TULIP), supports his position with specific scriptures, and along the way points out areas where the Armenian position's arguements (in his perspective) fail. To stay balanced on this topic I STRONGLY ADVISE you also read a counter perspective, such as Leighton Flower's The Potter's Promise (which I am currently reading and about 66% complete). Flowers was a Reform / Calvinist that "converted" away from the Reform perspective, and likewise explains scriptures supporting his position and also spends a lot of time discussing the key scriptures supporting Reform Theology and why the Reform interpretation is (his perspective) incorrect. Be aware that key figures in this topic often debate each other and ... personal opinion ... I sometimes feel the authors are working toward winning debate points. That said, I hope you will find a balanced study of the topic both challenging and enlightening. Remember that this topic is not dogma. It is, at best, doctrine, and should not become a point of division among Christians. God bless.

I am more than pleased to recommend this book to all devout, mature Christians who wonder about Paul's insistent use of troublesome words like "election" and "predestined".R.C. Sproul has effectively, and sensitively, addressed any, and all, concerns over "election" without being "preachy" or arrogant in his perspectives.He successfully counters all Arminian doctrine using >scripture< and interpretive logic.Not only that, but he addresses the importance of embracing this incredible doctrine! The responsibilitities, duties and privilege we have as Believers is augmented and raised to a whole new level when this God-inspired Pauline doctrine is understood!

At 25 years old, this book still delivers a clear and helpful presentation of the Reformed position on predestination.Tackling what many critics describe as an abominable view of God, Sproul counters with a very precise and beautiful portrait mixing both the sovereignty of God and the free will of man. Noting that "the freedom of a sovereign is always greater than the freedom of his subjects", Sproul argues for the total control of God over all areas of creation.But if God is totally in control of all things including the process of salvation, and if in fact he intervenes in the lives of the elect to make sure that they are saved, doesn't that mean that free will is destroyed? No, says Sproul. We need to first understand what it is we're describing when we say "freedom." What we cannot say, under the reign of a sovereign God, is that we are autonomous self-governing sovereigns. We have freedom, yes, but when our freedom runs up against an omnipotent God's freedom, it cannot be true that both of us can do whatever we want.At the crux of the argument of predestination is this nature of choice and sovereignty. To answer this paradox, he takes us to the writings of Jonathan Edwards, who notes that for a choice to take place, there must first be a desire to choose. In fact, desires actually drive choices. To be sure, there can be no choices made disassociated from desires. Reformed theology teaches that predestination occurs in the workings of the regeneration of heart, giving it a new set of desires, which then drives new and freely acted upon choices - chief of these, being the desire to freely choose Christ.Sproul summarizes:"What I call Edwards’s Law of Choice is this: “The will always chooses according to its strongest inclination at the moment.” This means that every choice is free and every choice is determined.""Our choices are determined by our desires. They remain our choices because they are motivated by our own desires. This is what we call self-determination, which is the essence of freedom."So, does fallen, dead, depraved man have a natural desire in and of himself to choose Christ? Sproul arugues that Scripture answers that question with a resounding "NO." Man, in his sin, is free to choose whatever his broken sinful heart wants; he perfectly free to do that. He just will never choose Christ. What is needed is regeneration, and the new heart with new desires.That line of lucid thinking alone is worth the price of the book.But Sproul's great work continues to address other sticking points in the Calvinist/Arminian debate:Is predestination fatalism?Doesn't the Bible say that God is not willing that any should perish?If I can only choose what god has already decreed, then how can my choice be a real choice?and even, What is the unpardonable sin?All in all an exceptionally helpful and accessible book to drop into the hands of anyone questioning this doctrine.

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PDF Ebook Traffic Signal Systems Operations and Design: An Activity-Based Learning Approach (Book 1: Isolated Intersections)

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Traffic Signal Systems Operations and Design: An Activity-Based Learning Approach (Book 1: Isolated Intersections)

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Product details

Paperback: 350 pages

Publisher: Pacific Crest Software, Incorporated (August 8, 2012)

Language: English

ISBN-10: 1602634203

ISBN-13: 978-1602634206

Product Dimensions:

8.5 x 0.8 x 11 inches

Shipping Weight: 2.2 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

9 customer reviews

Amazon Best Sellers Rank:

#993,513 in Books (See Top 100 in Books)

This book is a great resource for students -- practical and also theoretical!

One of the best references for students and instructors who are interested in traffic signal control. It makes the learning process fun and easy.

It is very educational and helpful to design and plan traffic signals.

This text is a fantastic addition to the technical literature on traffic signal systems. The book can provide significant value to undergrauduate and graduate classes on traffic signals, and the supplemental materials are outstanding.

A good guide book for actuated traffic signal system and design.Methods in book are easy but practical

Excellent "HOW TO" book on designing traffic signal timing using computer software. I am looking forward to a Volume 2, etc.

This book is great for use in active learning in the classroom. The authors do a great job presenting the material.

Sub-par book, not very descriptive

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Download Ebook The Guns of August

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Audible Audiobook

Listening Length: 18 hours and 59 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Tantor Audio

Audible.com Release Date: March 30, 2011

Whispersync for Voice: Ready

Language: English, English

ASIN: B004UEKON0

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I fell in love with history at the age of 6 and excelled in it at school. One of my undergraduate majors was history and I spent a lot of time learning about the American Civil War and World War II. While I have a decent knowledge of World War I, it is a significant gap in my deep understanding of the 20th and 21st centuries.H.W. Brands is one of my favorite modern American historians. He has written excellent books on TR, Grant, and the collision between Truman and MacArthur. In an interview, he mentioned that he has tried to copy the writing style of Barbara Tuchman, for he views her "The Guns of August" as the finest history book written. I bought it based on that recommendation.This book was published in 1962. Ms. Tuchman is not a trained historian and does not have a PhD in the subject (neither did Gibbon or Churchill). It won the Pulitzer for non-fiction in 1962. Reading it 56 years after it was first published, I was absolutely blown away. While I don't want to fall victim to recency bias, it is clear to me that this is the finest piece on history by an American that I have ever read. Ms. Tuchman made extensive use of primary sources. She has an amazing grasp of the both micro and macro elements of the lead-up to and the first month of the war. Perhaps most significantly, she writes clearly and vividly. The book, despite having lots of information, is a breeze and a joy to read. It is fascinating.I am deeply embarrassed that it took me this long to discover and read this book. Truly remarkable.

“The Guns of August” has been called the book that saved the world. In the fall of 1962, looking at each other across the island of Cuba, the United States and the Soviet Union came nose to nose to pulling the trigger on a nuclear weapons war. United States Air Force U2 pilot Major Rudolf Anderson, USAF was shot down and killed. “Our guest has been up there for over an hour,” [Russian] Lieutenant General Stepan Grechko told a deputy. “I think we should give the order to shoot it down, as it is discovering our positions in depth.” With the commanding general, the only man authorized to order a surface-to-air missile launch, nowhere to be found, Grechko gave the order himself: “Destroy Target Number 33.” American Generals urged President Kennedy to order an attack on Cuba. The President said that one passage from Barbara Tuchman’s book gave him the courage to resist the pressure of his generals. “Your Majesty,” General Moltke said to the Kaiser, “it cannot be done” when the German army began its advance into Belgium and the Kaiser ordered Moltke to stop The trains are already in motion--and with that simple phrase, a war that took over 10 million lives was launched. I have read “Guns” several times over the years and I know how the story ends, yet I follow each decision as though it were now, each description as though it is happening, not has happened. It is an incredible story of horror, yet with examples of incredible courage. Her humor is able to shine through the darkness of the times with her characterizations of the Generals and Statesmen, Bethmann-Hollweg, “who means well feebly”, British Field Marshall Sir John French, “who knows nothing at all about the subject” and most of these are simply quotations made by other participants. Her effort was tireless, her research masterful, and her writing brilliant. I work with soldiers in the recruiting group here and I have bought and given this book to several of the sergeants hoping that it will percolate upward. It’s a command decision book and anyone who would think about war should understand the true horror of war. Not only were soldiers injured, blinded, maimed and killed, but the general population was starved so much that the Germans called the time “the turnip winter”. No bombs fell on Berlin but Germans suffered gravely. Paris was almost reached by the German armies until German General Von Kluck made one strategic mistake and presented his flank to the retreating French army. Remember too, this deals only with August, only a single month of a war that was to last four years, and to be the trigger for the next war, World War II, in which 60 million lives were lost. I believe an entire semester course should be taught using this book, not just in college, but also in high school. One thing I should mention. I speak both German and French, and read in them, so it can be a challenge with some of the reports---but, don’t give up on it. Her writing still come through, loud and clear, and clairvoyant.Stephen Joe Payne

The Guns of August was -- and still is -- a very important landmark in our understanding of the First World War. If you have little knowledge of WWI, this book would be an excellent place to begin your studies. The Guns of August is focused on how the war began. The war's beginning was not a simple thing. Honestly, how could it be? Great nation's do not casually embark upon wars that have the potential to cause death and destruction on continental scales.Tuchman's magnum plus starts by presenting a portrait of Europe -- and especially the major combatant nation's -- at the dawn the 20th century. She examines there economics, culture and society, their histories from the 19th century, their relationships with each other.She then tas the reader by the hand and guides them step-by-step through the historical minefields that are at least as bewildering as their real world counterparts. She carrys her history through to the end of 1914 and the failure of the German army's attempt to deliver the fast knockout blow which would be needed, if Germany hoped the defeat the combined military forces of the Entente. (They did not come to be called the Allies until after the United States joined the war.)

Fantastic read. Covers so much in such a short period of time its almost dizzying. Its a global classic so I don't see what my review will really touch on that others haven't already. It covers the general global feeling that a great war was on the horizon and everyone knew. The one topic I wish she covered more was the assassanation of the Arch Duke that sparked the whole thing. The amount a detail that is in this book is insane, almost every troop movement is covered from the start of hostilities by the Germans through Luxemborg and Belgium, then France. It also covers the Eastern front in just as much detail. She not only gives you the large picture of armies clashing and the stress the Politicians and Generals were under but also what the common soldiers were experiencing. The book ends just before the Battle of the Marne but for such a short period of time so much went down. I plan on reading many more of Tuchman's works.

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Review

“Eloquent. . . . This is a novelist’s criticism, full of motion and drama.” —The Washington Post“An engaging and empathetic volume.” —The New York Times Book Review“Perceptive. . . . Generous and discerning.” —The Boston Globe   “Fascinating and brilliant. . . . This magnificent survey draws its strength from its intensely personal focus, each piece reverberating off the others.” —The Financial Times  “Illuminating. . . . Avid and thoughtful. . . . [Barnes] chatters like the gifted novelist he is, using his eye for the telling detail, his narrative intuition and his understanding of the creative process to help us see familiar artists like Degas, Braque and Magritte afresh, and to appreciate the work of lesser-known masters as well.” —The New York Times “[A] superb collection. . . . Barnes’s observations and expression prov[e] equally adept and satisfying.” —Minneapolis Star Tribune “This is art writing of the first order. . . . Page after page, essay after essay, Barnes pulls off the sort of acrobatically erudite performance that ultimately draws as much admiration for him as for the art he describes.” —Richmond Times-Dispatch  “Powerful accounts of interconnections between art and artist. . . . Sharply observed and richly illuminating. . . . Barnes has a wonderful eye for what makes a great picture, and a command of language that again and again allows readers to share what he sees.” —Times Literary Supplement “A readable, riveting, informed work with sharp, marvellous anecdotes and observations. . . . In this beautifully illustrated book you’re in great company.” —The Irish Independent “Extremely rewarding, informative, attentive, thoughtful, entertaining.” —The Evening Standard “Barnes weaves biography, history, philosophy in this fascinating, richly illuminating and beautifully written book.” —Art Quarterly “It’s both a pleasure and an education to look over Barnes’s shoulder as he interrogates, wonders at, and relishes works of art. He’s a critic who prioritizes the objects themselves, and his work is always satisfying.” —Publishers Weekly (starred review) “Scholarly and astute yet accessible and exciting. . . . Barnes focuses his analytical prowess on significant artists and their oeuvres, opening fresh vistas to readers—and viewers.” —Kirkus Reviews (starred) “Handsomely illustrated, superbly written, felicitously thought-provoking. . . . Barnes is a consummate stylist, not only because of his artistic command of language but also by virtue of his searching intelligence, incisive candor, rogue wit, and righteous fairness.” —Booklist “[Barnes] digs into fascinating details of isometric proportions. . . . Highly recommended to all art readers.” —Library Journal

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About the Author

Julian Barnes is the author of twenty other books including, most recently, The Noise of Time. He has received the Man Booker Prize, the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, the David Cohen Prize for Literature and the E. M. Forster Award from the American Academy of Arts and Letters; in France, the Prix Médicis and the Prix Femina; and in Austria, the State Prize for European Literature. In 2004 he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture. His work has been translated into more than forty languages. He lives in London. www.julianbarnes.com

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Product details

Series: Vintage International

Paperback: 288 pages

Publisher: Vintage; Reprint edition (June 13, 2017)

Language: English

ISBN-10: 110187337X

ISBN-13: 978-1101873373

Product Dimensions:

6.8 x 1 x 8.6 inches

Shipping Weight: 1.4 pounds (View shipping rates and policies)

Average Customer Review:

4.1 out of 5 stars

42 customer reviews

Amazon Best Sellers Rank:

#439,480 in Books (See Top 100 in Books)

Those who have read the stories of Julian Barnes will know how often he builds them around real figures in the arts: THE LEMON TABLE contains stories about Turgenev and Sibelius; Sarah Bernhart and the photographer Nadar play major roles in LEVELS OF LIFE; Flaubert gets a whole novel to himself (almost) in FLAUBERT'S PARROT; and a meticulous analysis of Géricault's painting "The Raft of the Medusa" forms the centerpiece of his HISTORY OF THE WORLD IN 10½ CHAPTERS. That essay is reprinted here, slightly expanded. It forms the beginning of a sequence of pieces on French-speaking artists of the 19th and 20th centuries -- Géricault, Delacroix, Courbet, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Valloton, Braque, and Magritte -- followed by a few moderns: Claes Oldenburg, Lucian Freud, and Howard Hodgkin. I am finding it utterly addictive.As a novelist, Barnes has an eye for the telling personal detail: Delacroix in a daze walking home to a house he had moved out of two years earlier; Courbet drinking himself into obesity and death; Cézanne losing his temper with a fidgety sitter. He compares Courbet to Fantin-Latour in terms of their portrayals of the community of artists, and Degas to Bonnard in terms of their attitudes to women; his entry into the proto-Surrealist work of Redon is the question of whether it matters if an artist is married. Littérateur that he is, Barnes also has an ear for what other writers have said about these artists: Maxime Du Camp describing Delacroix sorting skeins of wool; Baudelaire telling Manet "you are only the first in the degeneration of your art"; Huysmans' brilliant description of a Cézanne still life as "skewed fruit in besotted pottery."But Barnes' approach is by no means entirely biographical. The Géricault essay, for instance, begins with a detailed description of the wreck of the Medusa and the ordeal of the survivors on the raft. He makes excellent points by considering all the episodes in the story that Géricault did NOT paint. But it is when he considers what he DID paint, that extraordinary group of half-naked figures reaching towards the distant ship, that his writing really takes off. He does something similar again in his second essay on Manet, considering the artist's three versions of "The Execution of the Emperor Maximilian" and its role as a political statement, but nonetheless tying it down to precise analysis of details such as the firing squad's hands and feet: "They are feet settling themselves in for useful work, like when a golfer shuffles for balance in a bunker. You can almost imagine the NCO's pre-execution pep-talk about the importance of getting comfortable, relaxing the feet, then the knees and the hips, pretending you're just out for a day's partridge or woodcock..."."Fully illustrated in colour throughout" says the jacket flap. This is not true. The color illustrations (two or three per essay) are indeed of excellent quality and printed on thick creamy paper.* But they tend to be details rather than the full picture, and often of works peripheral to the artist's more famous oeuvre. I understand the logic of that: Barnes gives you the things that are hard to find, knowing that you can turn to the internet for the rest. I found myself reading with iPad by my side, not only reminding myself of the masterpieces, but also seeking out things that I had never even heard of until Barnes mentioned them. For example Akseli Gallen-Kallela's "Symposium" (1894), "a Munchishly hallucinatory group portrait set at the Kämp Hotel in Helsinki after much drink has been taken." Interesting in that one of stupefied figures is the composer Jean Sibelius, but also because one side of the picture is taken up by "a pair of deep-red raptor's wings. The Mystery of Art has just called in on them, but is now flying away." Barnes' art criticism, like his stories, is full of unexpected trouvailles like that. But the heart of all his essays is his invocation of masterpiece after masterpiece, in words so full of visual detail that you almost do not need the physical reproductions. Almost, but not quite: for only when you look at the pictures do you realize just how right Barnes is, time after time.======I originally wrote the above review (and awarded the five-star rating) when I was halfway through, after the essay on Bonnard. I was not surprised by its quality; Barnes is deeply immersed in the French nineteenth century. Reading on, though, I have to admit that my interest dropped off. Although still full of good observations, the later essays did not always achieve that miraculous balance between art, personality, and history. The essay on Vuillard seemed to miss the man; the one on Vallotton failed to convince about the genius; the piece on Oldenburg gave no good reason why it had been written at all; and the article on Lucian Freud succeeded only in conveying the impression of a very unpleasant individual. But even at the end, there were joys. His piece entitled "So does it become Art?" is Barnes at his best, taking an out-of-the-way subject -- plaster casts of dead bodies in 19th-century France and in our own time -- and deriving some very pertinent questions about the nature of art. And in the last essay of all, "Words for H.H.", Barnes does more for his old friend Howard Hodgkin than for any other artist in the book, by admitting to the limitations of words, and sketching a dance of friendship instead -- and by linking him to his great love of over a century before, the novelist Gustave Flaubert. So to the last line in the book: "So that's enough words." No more are needed.*My comments on the paper, printing, and quality of the reproductions apply to the British edition. I cannot speak to the American one, which appears to be in a rather different format.

Julian Barnes really does keep an eye open on art, and he is a pleasure to read. And a relief too: he doesn't shower you with explanations and theories as so many art critics do, he tells it how he sees it, not mincing his words. He reminds us that Flaubert thought that "it was impossible to explain one art form in terms of another" and that "great paintings required no words of explanation".True, but there is still work to do for a writer and art lover like Barnes. He gives us a sense of the evolution of art, his essays are pinpointing markers if you will, to help determine "good" art (likely to be meaningful to future generations) from "bad art" (momentarily popular, soon to be forgotten). What I find particularly intriguing is his personal list of artists that will endure the challenge of time, marking their century: "When the future looks back at the second half of the twentieth century in Britain, it will surely see it as a period dominated by painters: Bacon, Freud, Hockney,Hodgkin, Riley (and Caulfield, Auerbach, Hitchens, Aitchinson, Uglow).My only regret is that Barnes did not spread his net wider, to include, say, American or German painters of the same period. But at least his position vis a vis contemporary art is both coherent and sensible...

Barnes at his best is a master of opening his own readers' eyes -- not so much instructing as expanding one's awareness. Many of these essays do exactly that, and Barnes's style makes nearly all a pleasure to read. Although I appreciate that it likely would change the character of the book, even more illustrations to accompany his detailed descriptions would enhance his discussion. As he observes, words can only do so much. Also, perhaps because written with different intentions, a few pieces seem narrow or a bit out of place. It may be that I simply do not wholly share his sensibilities with respect to the sub-set of (mostly) French artists of a period that he considers, although he has made head-way in educating me. Taken as a collection, Barnes mostly achieves that difficult balance of melding his personal response with the observations of a great describer and thoughtful critic. Put differently, Barnes meets his own test of art that spurs the mind to reflection.A footnote: Although it may be an instance of the piece that strays, the short essay "So does it become art?" is one of those original and brilliant excursions at which Barnes shines. This is the one I marked for reference.

I've been a Barnes fan since Flaubert's Parrot" came out. If I really like an author I send copies to friends. Barns is my top gift author. His literary depth is brilliant with any genera or style he tackles. He weaves his considerable artful style into all his work.These essays should encourage everyone to pay attention to pictures. As a devoted Kindle reader, I enjoy reading Barns more now because his generosity with language is immediately and thoroughly accessible. I usually got peeved at authors who tossed "foreign," obscure and classical language around like peanuts to squirrels.

"Writing about music is as sensible as dancing about architecture"...or something like that. Barnes tackles the issue of one art-form commenting on another in the final essay (which isn't really an essay) in the book, but it's the book as a whole that elegantly refutes the idea that such commentary should be impossible.I never greatly enjoyed art criticism, finding it too self-engaged, until I found Barnes's treatment of Gericault in his History of the World. There's nothing else quite as all-encompassing here (the chapter is repeated as an opening salvo), but the cultured tone of an interesting and interested person pointing out interesting things is everywhere.

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