put his ear to the panel

    Dürer draftsman Raphael Transfiguration Duchamp Large Glass, treatises on picture-making in pictorial form. In order be declarative of itself some frame set boundary zone in visual statement required pass paradox amiss in range of reference of Cretan philosopher Epimenides All Cretans liars.


    Afterimage of embedded pietà dawn in Repentant Magdalene. Clarity of confusion, of have and have not. Cf Michelangelo series and sequence from Bruges Madonna to Pietà Rondanini, opposite ends of story. Caravaggio exclusive moment of situation, whole life unfolded in one and same moment of stillness..


    Pietà, touchstone all way started satin smooth Pietà di San Pietro ended rough and cracked Pietà Rondanini. Assume Caravaggio saw Michelangelo Rondanini when apprentice Milan. Lasting impression of 'incomplete completion'. Arrive in Rome Pietà di San Pietro swept him away by technical brilliance and sensuality. Borges said writing story should be like writing resumé of story.


    Extreme muscular built some Michelangelo figures paralyze them under burden of their own body. Engineers soon realized was not payload but weight of cables for lifting load set limit to how high early (no counterweight balanced) elevators could operate.


    Leonardo Last Supper masterclass of conductors. Glenn Gould recorded: conducting waterfall and at piano conducted himself left hand whilst playing with right. Would that waterfall stop falling left to itself? Would his right hand lose control if not guided by his left? Is not Saul conducting himself in response to something? Why did not Gould tell himself to shut up when playing? Cf Dr. Strangelove Peter Sellers whose prosthetic arm snaps up hailing quicker than his other arm react to stop it. Is not to be in response, our double nature of command and same time yielding to influence of Muses? Command and yield, balancing one another out exactly. Moon does not circle center of earth but wiggle in concert together.


    Wall painting from Pompeii to Baroque made point of ignoring closure of space where they sit, for sake of spectacular depth. Caravaggio rather  explored opposite option narrowing down chapel so as to correspond to limited space of his makeshift studio. Cf construction sites with temporary working shed placed inside building in process of being erected around it, a situation reminding of Roman Caravaggio. Late Caravaggio pitiless limitless Lazarus but then completely purged of indices such as screwed Baroque or Pompeijan/Roman see through house-of-card kind of spaces.


    Giotto figures do not enter set where we see them rather give rise to grouping of architectural elements by virtue of their action. Solid Arch of Golden Gate consequence of Joachim Anne Embrace. Cf sticks torches and lances setting of posse in Taking of Christ made from kiss of betrayal.


    Deep blue depth of Giotto vault of heaven nothing but wallpaper. To be rolled up at end of time revealing already slit of divine light shine from beyond. Yves Klein expands on Giotto.


    The Lord, Masaccio Holy Trinity, on hatrack behind cross. Consistency of size adamant of linear perspective force The Lord stay in scale. Piero opposite focus geometrical source of space. Is not crystal in palm or that egg hung in space overhead, embryo of cosmos? Is not our station, wherever we are, place of origin of viewed cosmos? Cézanne, clear and consistent without there being neither embryo-of-world nor point of vanishing in perspective, yet compelling. Is it not as if Cézanne makes sense of and from in the middle of nowhere?


    Although something rather naive about Giotto action-trigger-space, Piero adopted and generalized it: same tightness. But Piero figures do not give rise to appropriate space rather reveal geometrical nature of it, through precise and delicate attitudes of his figures.