Furthermore, Said said that "The idea of representation is a theatrical one: the Orient is the stage on which the whole East is confined", and that the subject of learned Orientalists "is not so much the East itself as the East made known, and therefore less fearsome, to the Western reading public". In the academy, the book Orientalism (1978) became a foundational text of post-colonial cultural studies. The analyses in Said's works are of Orientalism in European literature, especially French literature, and do not analyse visual art and Orientalist painting. In that vein, the art historian Linda Nochlin applied Said's methods of critical analysis to art, "with uneven results". Other scholars see Orientalist paintings as depicting a myth and a fantasy that didn't often correlate with reality. There is also a critical trend within the Islamic world. In 2002 it was estimated that in Saudi Arabia alone some 200 books and 2000 articles discussing Orientalism had been penned by local or foreign scholars. Soviet scholarship From the Bolsháya sovétskaya entsiklopédiya (1951): Reflecting the colonialist-racist worldview of the European and American bourgeoisie, from the very beginning bourgeois orientology diametrically opposed the civilizations of the so-called "West" with those of the "East" slanderously declaring that Asian peoples are racially inferior, somehow primordially backward, incapable of determining their own fates, and that they appeared only as history's objects rather than its subject. In European architecture and design The Moresque style of Renaissance ornament is a European adaptation of the Islamic arabesque that began in the late 15th century and was to be used in some types of work, such as bookbinding, until almost the present day. Early architectural use of motifs lifted from the Indian subcontinent is known as Indo-Saracenic Revival architecture. One of the earliest examples is the façade of Guildhall, London (1788–1789). The style gained momentum in the west with the publication of views of India by William Hodges, and William and Thomas Daniell from about 1795. Examples of "Hindoo" architecture are Sezincote House (c. 1805) in Gloucestershire, built for a nabob returned from Bengal, and the Royal Pavilion in Brighton. Turquerie, which began as early as the late 15th century, continued until at least the 18th century, and included both the use of "Turkish" styles in the decorative arts, the adoption of Turkish costume at times, and interest in art depicting the Ottoman Empire itself. Venice, the traditional trading partner