ABSTRACT
This is a resounding affirmation. But one you’d think unnecessary even as a rhetorical device in such a tome. After two previous volumes you might assume that this could perhaps be taken as read.
It came at the end of a barnstorming 1000 words, in which Loderer presents Botta as some sort of unassailable force of nature, cueing off paragraphs with a series of statements such as: ‘Botta builds . . . Botta shines . . . Botta moves’ and (less happily) succinct ‘Botta is symmetrical’ . . . ‘Botta remains an artist as did the Italian masters for centuries before him . . . ’2
