:47:01
...I absolutely don't want
to discourage you.
:47:04
I suppose I just have to think
about it a bit. I haven't...
:47:07
If I could envisage a plan,
some kind of starting point...
:47:11
We could start by building
our art collection.
:47:14
That way you'd make a few bucks,
and we can learn something.
:47:18
But no museums.
I'm not goin' to museums.
:47:21
The pictures...
spook me out.
:47:23
The virgins...
:47:28
- What are you laughin' at?
- Spooked by the virgins.
:47:30
I'm sorry.
:47:33
Work on the laugh, Frenchy.
:47:36
So, you can see the difference
between this Tintoretto...
:47:39
...and the earlier Byzantine
painting we looked at.
:47:44
What would you say is the most
significant difference?
:47:48
Me? I would say that
the frame's bigger here.
:47:53
Mm-hmm.
Well, it is bigger.
:47:56
But there's also a difference in
the paintings themselves, isn't there?
:48:00
And it's an important difference
because it characterizes...
:48:03
...the great technical leap from
the ancient into the modern world.
:48:08
You remember how those saints
had very flat faces...
:48:12
...and the background was
on the same plane as the foreground?
:48:15
- Perspective.
- Right, perspective. That's it.
:48:18
Let me show you another
very good example of that.
:48:25
"The frame on this one is bigger"?
Boy, you are a dummy.
:48:29
Don't give me "perspective."
Take a hike. Take a hike.
:48:34
Twenty-eight.
:48:37
- Four. Fifty-one.
- Levoxyl.
:48:41
U-ni-tycon.
:48:44
Eighty-seven.
:48:47
- Ninety... four.
- Darvocet.
:48:50
Red-du-tem-puh.