{"id":98237,"date":"2016-05-17T09:28:52","date_gmt":"2016-05-17T13:28:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=98237"},"modified":"2016-05-17T12:01:13","modified_gmt":"2016-05-17T16:01:13","slug":"get-up-there-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/","title":{"rendered":"Get Up There! and Other News"},"content":{"rendered":"<div id=\"attachment_98239\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\" rel=\"attachment wp-att-98239\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98239\" class=\"wp-image-98239\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\" alt=\"\" width=\"600\" height=\"394\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg 1600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22-300x197.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22-768x504.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22-1024x672.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-98239\" class=\"wp-caption-text\">A Fellow from the American Academy in Rome peers down through the Pantheon\u2019s oculus from the roof, ca. 1975. Photo via <em>The New York Review of Books<\/em>.<\/p><\/div>\n<ul>\n<li>Most people see the Pantheon and think, What a neat-looking old thing. Others look at it and can only wonder how and when they\u2019ll get to the top. \u201cAlthough it may come as no surprise that the Pantheon\u2019s roof is off-limits in our highly litigious times,\u201d Matt Donovan writes, \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2016\/05\/13\/pantheon-eye-of-god\/\" target=\"_blank\">groups of scholars and artists from the American Academy in Rome climbed the dome on a regular basis as recently as the 1970s. One visitor described the short walk as a straining and vertiginous affair, \u2018a bit like rock climbing up a slope on a hike in the Appalachians.\u2019<\/a> He also told me that once those exterior stairs end, a climber feels utterly precarious. Differences in temperature between the building\u2019s cool interior and the sun-warmed roof created downdrafts that could literally suck someone through the opening. In what might be read as a blurring of prudence, humility, and reverence, visitors needed to creep toward the roof\u2019s opening on their stomachs in order to peer through its oculus\u2014a full twenty-seven feet across, and known as the \u2018eye of god\u2019\u2014down into the space below.\u201d (There are pictures.)<\/li>\n<\/ul>\n<ul>\n<li>The appeal of Jane Austen\u2019s novels to young women should be no mystery, Mikita Brottman writes, because Austen\u2019s books are full of hidden pain, just like teens: \u201cThe world of Jane Austen\u2019s heroines\u2014that \u2018two inches of ivory\u2019\u2014is so small that everything matters almost too much, which is precisely what the world can feel like to an eighteen-year-old girl \u2026 <a href=\"https:\/\/theamericanscholar.org\/jane-austens-ivory-cage\/?utm_source=social_media&amp;medium=twitter\" target=\"_blank\">The tiniest breach in teenage etiquette could have all kinds of terrible repercussions, but the pain it caused couldn\u2019t be expressed. Responses had to be regulated at all times. At eighteen, most girls live in a world of secret anguish<\/a>. This is why young women such as my students can identify with Austen\u2019s heroines\u2014because they live, for the most part, in a similarly limited world \u2026 My students loved talking about the grand country houses, the balls with half-hour-long dances, the old-fashioned courtship rituals, the families, the dresses, the weddings. I tried to tell them Jane Austen was all about pain, but, unsurprisingly, they refused to listen. \u2018I myself prefer a novel that gives me an escape from the sometimes crude realities of this world,\u2019 wrote one girl. Another claimed: \u2018Reading Jane Austen\u2019s work simply makes me happy.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Today in writers who should be more widely read: Albert Murray\u2019s name was \u201cnever household familiar,\u201d Thomas Chatterton Williams writes, but \u201c<a href=\"http:\/\/www.thenation.com\/article\/blues-for-murray\/\" target=\"_blank\">he was one of the truly original minds of twentieth-century American letters. Murray, who died in 2013 at the age of ninety-seven, was an accomplished novelist, a kind of modern-day oral philosopher, a founder of Jazz at Lincoln Center, and the writer of a sprawling, idiosyncratic, and consistently astonishing body of literary criticism, first-rate music exposition, and cunning autobiography<\/a>. In our current moment of identity politics and multicultural balkanization, the publication of any new Murray text would serve as a powerful reminder that his complex analysis of art and life remain as timely as ever\u2014probably more so \u2026 Murray\u2019s name still functions as a sort of password, announcing to like-minded souls a particular willingness to look further and stay longer, to dig a little deeper through the crates in pursuit of hidden treasures. That the broader culture hasn\u2019t held on to Murray reveals far more about it than him.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Audrey Munson was, in the Gilded Age, the preferred nude model of the American Beaux Arts movement. As Allison Meier writes, Munson appeared \u201c<a href=\"http:\/\/hyperallergic.com\/292956\/the-life-of-one-of-the-20th-centurys-most-influential-nude-models\/\" target=\"_blank\">in countless\u00a0early twentieth-century statues, from the seated figures that once guarded the Manhattan Bridge and are now installed outside the Brooklyn Museum, to the gilded lady on the top of the\u00a0Manhattan Municipal Building, to a duo of marble sculptures by Daniel Chester French in the atrium of the Metropolitan Museum of Art<\/a>. Her neoclassical beauty, with her strong silhouette and raised brow, along with feminine curves, made her a favorite among the bohemian artist community of Greenwich Village\u2019s\u00a0MacDougal Alley, where she went door-to-door looking for work after being discovered on the streets by a photographer.\u201d She became a household name\u2014a new biography, James Bone\u2019s <em>The Curse of Beauty<\/em>, argues that modernism was her undoing. \u201cBone\u00a0describes Munson\u2019s\u00a0visit to the studio of avant-garde French-Cuban painter Francis Picabia, one of New York\u2019s first modernist transplants from Europe, who asked Munson to walk around rather than hold a static pose.\u00a0Munson derided the resulting painting as\u00a0\u2018an incongruous collection of color splotches.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>I think it\u2019s nice that you\u2019re reading this post on a glowing screen. I\u2019m happy you\u2019re here. But if you\u2019re a big picture kind of person, you should probably stop and print this out before you keep going, environmental repercussions be damned. A new study \u201c<a href=\"https:\/\/psmag.com\/why-its-preferable-to-read-david-sedaris-on-paper-8192321e0151#.9le85f129\" target=\"_blank\">offers evidence we process texts differently if we are reading them on paper, as opposed to an electronic device. It finds we remember concrete details better if we\u2019ve read a work on a laptop or tablet<\/a>. We grasp the larger inferences of a story more thoroughly, however, if we\u2019ve read it in print \u2026 Seventy-seven participants filled out a survey designed to indicate whether they were thinking in small-bore or big-picture terms. They were given the category \u2018Joining the Army,\u2019 for example, and then asked which of the following phrases \u2018best describes the behavior for you\u2019: \u2018signing up\u2019 (concrete detail), or \u2018Helping the nation\u2019s defense\u2019 (big-picture). Forty participants filled out the survey on a digital screen, while the other thirty-six did so using pencil and paper \u2026 Those who used the classic paper-and-pencil method \u2018exhibited a significantly higher level of preference\u2019 for the more abstract of the two choices, compared to their counterparts who used a touch screen.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Most people see the Pantheon and think, What a neat-looking old thing. Others look at it and can only wonder how and when they\u2019ll get to the top. \u201cAlthough it may come as no surprise that the Pantheon\u2019s roof is off-limits in our highly litigious times,\u201d Matt Donovan writes, \u201cgroups of scholars and artists from [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[11817,22387,20247,22386,22384,300,12232,22383,9404,53,1631,22385,13666,22388,10984],"class_list":["post-98237","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-albert-murray","tag-artists-models","tag-audrey-munson","tag-beaux-arts","tag-climbing","tag-jane-austen","tag-models","tag-pantheon","tag-print","tag-reading","tag-rome","tag-roofs","tag-rooftops","tag-screens","tag-teens"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How to Get on the Roof of the Pantheon (Be Careful)<\/title>\n<meta name=\"description\" content=\"This and more in today&#039;s roundup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Get Up There! and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 17, 2016 \u2013 Most people see the Pantheon and think, What a neat-looking old thing. Others look at it and can only wonder how and when they\u2019ll get to the top.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-05-17T13:28:52+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-05-17T16:01:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1050\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Get Up There! and Other News\",\"datePublished\":\"2016-05-17T13:28:52+00:00\",\"dateModified\":\"2016-05-17T16:01:13+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\"},\"wordCount\":1006,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\",\"keywords\":[\"Albert Murray\",\"artists' models\",\"Audrey Munson\",\"Beaux Arts\",\"climbing\",\"Jane Austen\",\"models\",\"Pantheon\",\"print\",\"reading\",\"Rome\",\"roofs\",\"rooftops\",\"screens\",\"teens\"],\"articleSection\":[\"On the Shelf\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\",\"name\":\"How to Get on the Roof of the Pantheon (Be Careful)\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\",\"datePublished\":\"2016-05-17T13:28:52+00:00\",\"dateModified\":\"2016-05-17T16:01:13+00:00\",\"description\":\"This and more in today's roundup.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/pantheon22.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/05\/17\/get-up-there-and-other-news\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Get Up There! and Other News\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. 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