[8] Antony Beevor, The Spanish Civil War (Orbis Publishing Ltd., 1982) ref ch. 13 in the Cassell's Military Paperbacks 1999 edition.
[9] Quoted in Hensbergen, Guernica, p. 198.
[10] See the introduction in Jonathan Brown (ed.), Picasso and the Spanish Tradition (Yale University Press, 1996).
[11] Of course, bullfights do not always go to plan. For example, a series of four photographs show a frightened horse unseat, then roll on, its picador before receiving a goring (see Herschel B .Chipp, Picasso’s Guernica (Thames & Hudson, 1989) ch. 5 (photos copyright Editiones Polygrapha (S.A., Barcelone, 1991), seen in the 1992 French edition). What is unexpected is that almost nowhere, either in the studies for Guernica or in the painting itself, is the bull implicated in the mutual harm done by horse and rider.
[12] Hensbergen, Guernica, p. 237.
[13] Hensbergen, Guernica, pp. 1–2.
[14] Danny Wood, ‘The legacy of Guernica’, bbc.co.uk, 27 April 2007, (last accessed 26 November 2008).
[15] For an analysis of just how slow, see the opening chapters of Giles Tremlett, The Ghosts of Spain (Faber & Faber, 2006).
[16] John Moffitt, The Arts in Spain (Thames and Hudson, 1999) p. 134.
[17] Jeremy Begbie, Sounding Creation's Praise, (T&T Clark, 1991).
[18] Discussion of lament as a neglected aspect of church life can be found in Simon P. Stocks, Using the Psalms for Prayer Through Suffering (Grove Books, 2007) and Paul Bradbury, Sowing in Tears; How to Lament in a Church of Praise (Grove Books, 2007).
