the outcome of an arthistorians' farewell party

Actually, there are SOME news: last thursday I talked to my tutor for this project about the results of my Paris trip (after being introduced to holy Victor Stoichita; unfortunately I missed Dieter Kimpel). There are no actual results, really, apart from the "material" that I have now and that I will deal with. There is some progress with the picture labelling, as you might have noticed on my chart there on the right, and Ive kind of prepaired a portfolio about the project to show around, which has been of no use so far. Therefore, I have spend some time on getting the time chart right, but what is really important now is to get the bibliography properred out. Also, I need to get through to the monuments historiques, that is something French that might contain some information about what is old and what is new in Saint Martin des Champs choir, as this seems to be a major problem for me at the moment - how can I analyse things and compare them to other elements when Im not even sure if they are 12th, 18th, 19th, 20th or 21st Century..

Another thing is, Id like to post some more pictures on here, also along with the text, or give a link to another frame with some enlargable thumbnails... Anyone out there who happens to know how?

the story so far...

So far, Ive collected lots of texts on the topic of Saint Martin des Champs, mostly though incorrect, short or very general remarks. However, there seem to be a couple of historians (Andreas Sohn, Cornelia Heitz) and archeologists (Catherine Brut, Danielle Valin Johnson, et.al.) working on their specific aspects of the church and the whole ancient priory. BUT (and this is important as this is just when I come in) since the early 1920s no art historian has shown too much interest in this marvellous bit of architecture. SO, what Im about to conceive is just that, an arthistorian synthesis of the choir of Saint Martin des Champs of Paris, including all the historic and archeologic evidence combined with the clever connections ONLY the clever art historians could ever come up with.

WE ART HISTORIANS do not need much to carry out our profession. Apart from some REAL ART or some reasonably good (i.e. you can actually make out SOMEthing on them) illustrations of the things we want to think or talk or write about we could go without food or rest or even wine for quite some while. (This sounds obvious, but curiously enough, some members of this orchideic trade often forget this little condition and keep going on for ages about things without illustrating them by any picture at all, or even worse, a really bad one.)

(By the way, you can just skip that last paragraph if youre in a rush). Anyway, what I was actually going to state here, was that due to the lack of any pleasing picture material about MY CHOIR, I was forced to travel all the way to Paris in order to ban that clumsy masterpiece onto film. That is onto 14 films. Using two conventional cameras with three different lenses and a little digital gadgety one. Here I would also like to thank my notoriously beautiful and cunningly skilled assistant for being there virtually since day one.

As to the actual quality of the pictures taken, I can already now announce, that the results are quite pleasing; even if some shots will have to be repeated (oh no, Ill have to go there AGAIN! Volunteers for the assistant role, please contact me asap, there are only few places to be taken).

So, theoretically, Ive got the pix now, Ive got the literature (i.e. what OTHERS thoughtwise have created on the topic), so off i should go (or pop as the weasle does so often). And hopefully soon I will. Just need to work myself through that list there on the right. Better start now.

picture taking marathon

introwise

This is not America.
Im just trying to get a little bit more discipline
into my final project about this old church in Paris.
See if it works out.
We can work it out!
Life is very short
and theres no time
for fussing and fighting,
my friend.