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“The Devil is in the Detail” implies that although something might look simple at first, there is a catch hidden in the details.
Often an idea seems wonderful, but turns out impossible to implement. We may be able to agree on generalities, but come to blows on specifics. A project may appear straightforward and easy, but takes more time and effort to carry out than we expected. “The Devil”—our difficulties and challenges—hides in the details.
This is the contemporary understanding of the idiom. But, it was not always interpreted this way. Use of the phrase goes back at least to the early 1800s when French writer Gustave Flaubert (1821-1880) said “Le bon Dieu est dans le détail.” By saying “The good God is in the detail” Flaubert was emphasizing that details were sacred and significant.
Whatever one was doing, it should be done thoroughly and with full attention. Details are important.
The actual source of the idiom is unknown. It’s generally accepted that German-born architect Ludwig Mies van der Rohe (1886-1969) used it, but almost certainly did not invent the phrase. It was a favorite of German art historian Aby Warburg (1866-1929) although his biographer could not be certain it originated with him. Some have attributed it to Michelangelo (1475-1564). Bartlett’s Familiar Quotations lists it as an anonymous saying.
Whether “The Devil” or “The Good God” is in the detail, we are led to conclude that details are very important, even possibly sacred. Writers of historical fiction know this all too well. Get the details or facts wrong, and you’ll never stop hearing about it from readers and critics. Put in too many details, in hopes of giving readers a rich and full experience of a culture and time period, and you’re criticized for unnecessary information that slows down the plot. Put in too few details, and readers complain they cannot get a good sense of the setting, culture, character, time period, geography, and so forth. The historical fiction author has then failed in the all-important task of “world-building.”
Books about well-known societies and cultures have fewer challenges in world-building. Most readers already know the Regency or Victorian era, the Tudor or Plantagenet dynasty, Renaissance Italy, medieval times, and popular ancient cultures such as Rome, Greece, or Egypt. Historical fiction authors writing about less known cultures have more need for thorough world-building. In particular, I have in mind ancient Mesoamerican civilizations. Even indigenous groups in North America lived in worlds generally less understood by most readers. In these cases, putting in sufficient details is important.
My HF novels are set in ancient Mayan civilization. There is a dearth of literature focused on this culture; even the Aztecs and Incas get more press. Because of this, my books include details of everyday life, technology, arts, and cosmology to provide a fuller picture of this advanced culture. I weave this information into the story with several writers’ caveats in mind: whenever possible “show rather than tell,” make expositional dialogue seem natural, make the details serve the plot or character development. Most importantly, keep it interesting.
Ah, there’s the rub. How much is enough and not too much? Reviewers have called my books “well-detailed,” “no light read,” full of detailed descriptions,” “complex world-building.” They also say the books “provide a realistic feel,” give “depth and meaning to overall events,” and make “the Mayan world and its underlying influences come alive.” But one review from a pricey and well-respected source felt there were just too many details. While the information was captivating, there was far too much for an enjoyable novel. Besides, they complained that readers really didn’t need to know about the “trapezoidal linear truss using high strength timber crossbeams” that made Lakam Ha’s architecture innovative.
Who would want to know? Anyone interested in ancient Mayan civilization.
One often pondered question is how the Mayas built their soaring pyramids of huge stones in a jungle environment without metal tools. Ancient Lakam Ha (Palenque) is widely known as the most graceful and architecturally unique Mayan city. A good deal of literature examines how they built and what innovative technologies allowed Lakam Ha to create its harmonious structures. Mayas traditionally used a corbel arch technique to form ceilings of chambers and passageways. Not a true arch, this technique lacked support strength. At Lakam Ha, ceilings were higher and rooms wider than at other Mayan cities. The trapezoidal linear truss was the technology that made this possible.
In any case, this is mentioned only once in a short passage of three paragraphs. The description is set in dialogue between ruler Pakal and his chief architect. To my thinking, it is such tidbits of detail that give readers a good sense of this remarkable culture’s immense creativity.
But perhaps I get carried away . . . in my most recent book about Mayan queens, publishing in October 2018, one major character is a brilliant astronomer and numerologist. Kan Bahlam II, who becomes ruler of Lakam Ha when Pakal dies, invented the 819-day calendar and a secret code language based on astronumerology called “Zuyua.” He conceived and had built The Cross Group, a three pyramid complex considered the ultimate statement of Palenque creation mythology. Panels in these pyramids are carved with hieroglyphs and figures that embed the secret codes and calendar, and weave them with Kan Bahlam’s personal history. It is pure creative genius.
Therefore, I wanted to share this knowledge with readers. After sending the manuscript to my beta readers, however, their feedback made me realize that although captivating, this really was too much information. Several pages of explanations and examples of astronumerology were cut from the book. After all, it had taken me several years of study to understand it and I couldn’t expect readers to grasp it on first exposure.
Because the Devil is in the Detail.