[RV] Unfortunately, I’ve never done… we’ve never done a church except now we are designing, and I think it’s going to happen. It’s in… it’s in working drawings – a chapel for the Episcopal Academy where I went, where as I say I went to school and my Master’s thesis where you could choose your subject, I chose a chapel for the Episcopal Academy. That design is very different from the one that’s 50 some years later, but that shows you that I, I was very interested in doing a religious church and that you could use, especially iconography a lot. So I’ve done that. In this last trip, we went to Ravenna, which is just beyond Venice, where there’s just this great… great tradition of the…

Mosaics?

[RV] Of the mosaics, the iconography and also of the church as a…

[DSB[ Basilica.

[RV] Of a basilica. I adore basilicas. I adore basilicas because again there is a generic form that can then vary – you’re not being original you’re being generic. That’s when I go to Venice, I just adore San Giorgio Maggiore by Palladio and Il Redentore, which again have façades where there’re these contradictions like the dickens. The façades are at once Roman temples, but at the same time they reflect a basilica, which was a Roman law court so that they go, they go… they have to… the façade is more complex and the contradictions and complexities are just amazing by Palladio. Palladio is thought of as very pure, but actually he was one of the great, one of the great Mannerists in my opinion, as was Michelangelo. And so, anyway, I’m just, I’m just thrilled by historical architecture and I’m constantly learning directly from it. But of course, that doesn’t mean we are doing historical revival architecture at all and that does not mean we are Postmodernists.