STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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Stealing from the Saracens
Revelatory account of how Islamic architecture shaped Europe
IT'S A STEAL: Christopher Wren used the Saracen 'vaulting' method in his design for the dome of St Paul's Cathedral
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
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JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
Stealing from the Saracens
by Diana Darke
(Hurst and Company, £25)
WITH this book, Diana Darke will surely alter the way many look at the great European cathedrals of Notre Dame in Paris, Canterbury, Cologne or Burgos.
In highlighting that the elementary design features and construction methods of their spectacular architecture were “borrowed” lock, stock and barrel from Islam at the time of the Crusades, Darke opens our eyes to evidence of a colossal cultural cross-fertilisation.
Imitation may be the sincerest form of flattery, albeit with the proviso that it is accompanied by an acknowledgement of provenance. Yet recognition of this wholesale architectural borrowing in the West seems conspicuously absent in more recent times.
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