Thanks for the Memories Read Free Page A

and rattling.
    “Sir, could you say that again ple—”
    “No,” he interrupts. “Engineering,” he moves on, “the practical application of science to commerce or industry.” Total silence now.
    “Creativity and practicality. The fruit of their merger is architecture.”
    Faster, Justin, faster!
    “Architecture-is-the-transformation-of-ideas-into-a-physical-reality. The-complex-and-caref ully-designed-structureof-something-especially-with-regard-to-a-specif ic-period. To-understand-architecture-we-must-examine-the-relationshipbetween-technology-science-and-society.”
    “Sir, can you—”
    “No.” But he slows slightly. “We examine how architecture through the centuries has been shaped by society, how it continues to be shaped, but also how it, in turn, shapes society.”
    He pauses, looking around at the youthful faces staring up at him, their minds empty vessels waiting to be filled. So much to learn, so little time to do it in, so little passion within them to understand it truly. It is his job to give them passion. To share with them his experiences of travel, his knowledge of all the great masterpieces of centuries ago. He will transport them from the stuffy 1 6 / C e c e l i a A h e r n
    lecture theater of this prestigious Dublin college to the rooms of the Louvre, hear the echoes of their footsteps as he walks them through the cathedral of Saint-Denis, to Saint-Germain-des-Prés and Saint-Pierre-de-Montmartre. They’ll know not only dates and statistics but the smell of Picasso’s paints, the feel of Baroque marble, the sound of the bells of Notre Dame. They’ll experience it all, right here in this classroom. He will bring it to them. They’re staring at you, Justin. Say something.
    He clears his throat. “This course will teach you how to analyze works of art and how to understand their historical significance. It will enable you to develop an awareness of the environment while also providing you with a deeper sensitivity to the culture and ideals of other nations. You will cover a broad range: history of painting, sculpture and architecture from Ancient Greece to modern times; early Irish art; the painters of the Italian Renaissance; the great Gothic cathedrals of Europe; the architectural splendors of the Georgian era; and the artistic achievements of the twentieth century.”
    He allows a silence to fall.
    Are they filled with regret on hearing what lies ahead of them for the next four years of their lives? Or do their hearts beat wildly with excitement as his does, just thinking about all that is to come?
    Even after all these years, he still feels the same enthusiasm for the buildings, paintings, and sculptures of the world. His exhilaration often leaves him breathless during lectures; he has to remember to slow down, not to tell them everything at once. Though he wants them to know everything, right now!
    He looks again at their faces and has an epiphany. You have them! They’re hanging on your every word, just waiting to hear more. You’ve done it, they’re in your grasp!
    Someone farts, and the room explodes with laughter. He sighs, his bubble burst, and continues his talk in a bored tone. “My name is Justin Hitchcock, and in my special guest lec-t h a n k s f o r t h e m e m o r i e s / 1 7
    tures scattered throughout the course, you will study the introduction to European periods and schools such as the Italian Renaissance and French Impressionism. This includes the critical analysis of paintings, the importance of iconography, and the various technical methods used by artists from the Book of Kells to the modern day. There’ll also be an introduction to European architecture. Greek temples to the present day, blah blah blah. Two volunteers to help me hand these out, please.”
    And so it was another year. He wasn’t at home in Chicago now; he had chased his ex-wife and daughter to London and was flying back and forth between there and Dublin for his guest lectures. A different