Hi, thanks for your interest in my blogpost! It's great how much this forum seems to have warmed to the theme of my project. It's like giving a paper, and then

Hi, thanks for your interest in my blogpost! It's great how much this forum seems to have warmed to the theme of my project. It's like giving a paper, and then the questions seem to anticipate where the research will go next This is my first piece looking at the actual paintings. The Courtauld Institute puts a conservative estimate of thirty-nine on the number of individual scenes at Hardham: if you include the images which have been lost to architectural alterations it's in fact well over fifty. Plus there are two more ensembles at Coombes and Clayton from the same artist. So there's a wealth of material waiting to be reassessed. I'm not intentionally holding back, just going with the sequential blogpost format. Eventually it will, I hope, come together as a guide book to the three churches. atm it will build as an open access resource to help folk enjoy the frescos. In the end it's religion, so not always easy to put your finger on why a someone might find something so repulsive, although poor Germanos II's meltdown is typical. That's why I'm going to use a few posts to unpick what's going on with the trompe l'oeil 'Deception' scene, starting with Greco-Roman antecedents, before looking at how these same ancient ideas were taken up by the Wachowski Sisters in their screenplay for The Matrix (1999). Do come back to find out where what the Hardham artist was up to!