On 27 September, the apex court had declined to refer to a five-judge Constitution Bench the issue of reconsideration of the observations in its 1994 judgment that a mosque was not integral to Islam which had arisen during the hearing of the Ayodhya land dispute.

In a majority verdict of 2:1, a three-judge bench headed by then Chief Justice Dipak Misra had said the civil suit has to be decided on the basis of evidence and the previous verdict has no relevance to this issue.

Justice Ashok Bhushan, who had penned the judgment for himself and the Chief Justice of India, had said it has to find out the context in which the five-judge bench had delivered the 1994 verdict.

However, Justice S Abdul Nazeer had disagreed with the two judgeswere and remain legion. While this latter reading is given to arguments over when modernist abstraction first appeared, however yet buried in the figurative mimetic exercises of nineteenth-century art or, in many cases, baroque and neoclassical art, the first and foremost gesture within this incipient gesturalism is something also present in present-day photography, as surplus, and perhaps no better seen than in the work of Thomas Struth, especially the Prado series (2005-2007).2 It is perhaps not without accident that Struth‟s Prado work privileges Velázquez and many of the most stunning paintings Velázquez executed for Philip IV, inclusive of Las Meninas (1656). Yet what seems obvious in Struth‟s portrayals of art tourists gazing at or milling about the great museums of the West, is that a certain noise remains