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In the cathedral fašades at Granada and Foligno the adjacencies of varying-sized circles, semicircles, and triangles in the openings and pediments, and at Eastbury Vanbrugh's giant arched openings, proportioned similarly to the arched windows upon which they are superimposed, create a strange tension not unlike that exploited in Jasper Johns' paintings of superimposed flags.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 62.

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