Barry Pearce

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This is one of the timeless, bedrock texts for anyone who wishes to enhance their grasp of the importance of landscape in art history. For anyone who is at the beginning of their scholarly journey, or simply interested to dip their toes into the more esoteric waters of connoisseurship. Clark's clarity of perception and articulation of visual art practise before the traditional canons of scholarship began to disintegrate with post-modernism holds its ground with unmatchable authority.

First saw this movie when I was seven years old at the Wests in Adelaide, a gorgeous art deco cinema with magic curves and lighting. Anyway, ever since I haven't stopped loving this movie which lit one's imagination for the ancient world and spurred my zeal for Latin at high school until it was dropped from the syllabus as a useless archaic subject under the onslaught of science post the Russian Sputnik. How beautiful and vulnerable Deborah Kerr; and Robert Taylor handsome, intelligently compassionate in his change of heart towards the Christians. But favourite was Peter Ustinov as Nero, weeping as Rome burned at the end of the movie, catching his tears in a small glass vial. Brilliant!