🕷️ Crawler Inspector

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Raw Queries and Responses

1. Shard Calculation

Query:

Response:

Calculated Shard: 99 (from laksa072)

2. Crawled Status Check

Query:

curl -X POST \
  'http://laksa099.int.ahrefs:8124/' \
  -H 'Content-Type: text/plain' \
  -H 'X-ClickHouse-Database: crawler3' \
  -H 'Authorization: Basic YXBpOg==' \
  -d 'SELECT getAhrefsURLFromUnparsed(src_unparsed) AS found_url, ifNull(toUnixTimestamp(download_stamp), 0) AS crawl_time, ifNull(toUnixTimestamp(props_url_first_seen), 0) AS first_indexed_time, download_http_code AS http_code, src_unparsed AS src_unparsed, src_root_hash AS src_root_hash, history_drop_reason AS history_drop_reason, meta_title AS meta_title, meta_descriptions AS meta_descriptions, attrs_boilerpipe_text AS attrs_boilerpipe_text, attrs_markdown AS attrs_markdown, attrs_readable_markdown AS attrs_readable_markdown, meta_canonical AS meta_canonical FROM crawler3.page_info_local FINAL PREWHERE (src_root_hash, src_unparsed) IN ((getAhrefsRootHashFromUnparsed(getAhrefsUnparsedNoserviceFromURL(\'https://www.theguardian.com/books/2009/may/17/story-of-art-eh-gombrich\')), getAhrefsUnparsedNoserviceFromURL(\'https://www.theguardian.com/books/2009/may/17/story-of-art-eh-gombrich\'))) FORMAT JSONEachRow'

Response:

{"found_url":"https:\/\/www.theguardian.com\/books\/2009\/may\/17\/story-of-art-eh-gombrich","crawl_time":1775087443,"first_indexed_time":1488046168,"http_code":200,"src_unparsed":"com,theguardian!www,\/books\/2009\/may\/17\/story-of-art-eh-gombrich s443","src_root_hash":"4161074618625082499","history_drop_reason":null,"meta_title":"Picture perfect | Art and design books | The Guardian","meta_descriptions":["<p><strong>Classics corner: The Story of Art by EH Gombrich<\/strong><br \/>It is not hard to fathom why this is the most popular art book of all time, says <strong>William Skidelsky<\/strong><\/p>"],"attrs_boilerpipe_text":"E\nH Gombrich's The Story of Art is the most popular art book of all time, having sold more than 7 million copies since it was first published in 1950. Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them.\nThe book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out (\"I have found no room for Hindu or Etruscan art\") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century.\nPhaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves.","attrs_markdown":"![](https:\/\/sb.scorecardresearch.com\/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=books)\n\n[Skip to main content](https:\/\/www.theguardian.com\/books\/2009\/may\/17\/story-of-art-eh-gombrich#maincontent)[Skip to navigation](https:\/\/www.theguardian.com\/books\/2009\/may\/17\/story-of-art-eh-gombrich#navigation)\n\n[Skip to navigation](https:\/\/www.theguardian.com\/books\/2009\/may\/17\/story-of-art-eh-gombrich#navigation)\n\n[Print subscriptions](https:\/\/support.theguardian.com\/subscribe?REFPVID=mngp8e1tm9s1vdvdqd40&INTCMP=undefined&acquisitionData=%7B%22source%22%3A%22GUARDIAN_WEB%22%2C%22componentId%22%3A%22PrintSubscriptionsHeaderLink%22%2C%22componentType%22%3A%22ACQUISITIONS_HEADER%22%2C%22referrerPageviewId%22%3A%22mngp8e1tm9s1vdvdqd40%22%2C%22referrerUrl%22%3A%22https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2009%2Fmay%2F17%2Fstory-of-art-eh-gombrich%22%7D)\n\n[Search jobs](https:\/\/jobs.theguardian.com\/)\n\n[Sign in](https:\/\/profile.theguardian.com\/signin?INTCMP=DOTCOM_NEWHEADER_SIGNIN&ABCMP=ab-sign-in&componentEventParams=componentType%3Didentityauthentication%26componentId%3Dguardian_signin_header)\n\nUK\n\n- [UK edition](https:\/\/www.theguardian.com\/preference\/edition\/uk)\n- [US edition](https:\/\/www.theguardian.com\/preference\/edition\/us)\n- [Australia edition](https:\/\/www.theguardian.com\/preference\/edition\/au)\n- [Europe edition](https:\/\/www.theguardian.com\/preference\/edition\/eur)\n- [International edition](https:\/\/www.theguardian.com\/preference\/edition\/int)\n\n[The Guardian - 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Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them.\n\nThe book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out (\"I have found no room for Hindu or Etruscan art\") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century.\n\nPhaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves.\n\n- This is the archive of The Observer up until 21\/04\/2025. The Observer is now owned and operated by Tortoise Media.\n\nExplore more on these topics\n\n- [Art and design books](https:\/\/www.theguardian.com\/books\/art)\n- [Classics corner](https:\/\/www.theguardian.com\/books\/series\/classics-corner)\n- [History books](https:\/\/www.theguardian.com\/books\/history)\n- [reviews](https:\/\/www.theguardian.com\/tone\/reviews)\n\nShare\n\n[Reuse this content](https:\/\/syndication.theguardian.com\/?url=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2009%2Fmay%2F17%2Fstory-of-art-eh-gombrich&type=article&internalpagecode=books\/2009\/may\/17\/story-of-art-eh-gombrich \"Reuse this content\")\n\n## Classics corner\n## Classics corner\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Observer\/Pix\/pictures\/2013\/9\/10\/1378816886638\/MY-BRILLIANT-CAREER-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### My Brilliant Career by Miles Franklin – review\n  15 Sept 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/sep\/15\/brilliant-career-miles-franklin-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Admin\/BkFill\/Default_image_group\/2013\/9\/2\/1378137403175\/Roberto-Arlt-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### The Mad Toy by Roberto Arlt – review\n  8 Sept 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/sep\/08\/mad-toy-roberto-arlt-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Admin\/BkFill\/Default_image_group\/2013\/8\/28\/1377709395980\/Wilkie-Collins-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### The Moonstone by Wilkie Collins\n  31 Aug 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/sep\/01\/the-moonstone-wilkie-collins-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Observer\/Columnist\/Columnists\/2013\/8\/15\/1376586369401\/Picture-taken-in-July-193-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### The Life and Death of the Spanish Republic by Henry Buckley – review\n  25 Aug 2013\n  \n  [2 2 comments](https:\/\/www.theguardian.com\/books\/2013\/aug\/25\/life-death-spanish-republic-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Observer\/Pix\/pictures\/2013\/8\/12\/1376312363345\/maya-angelou-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### I Know Why the Caged Bird Sings by Maya Angelou – review\n  17 Aug 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/aug\/18\/maya-angelou-caged-bird-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Admin\/BkFill\/Default_image_group\/2013\/8\/6\/1375790930518\/CS-Lewis-010.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### A Grief Observed by CS Lewis – review\n  11 Aug 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/aug\/11\/grief-observed-cs-lewis-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Observer\/Pix\/pictures\/2013\/7\/26\/1374857514154\/iris-murdoch-in-1978-007.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### The Sea, the Sea by Iris Murdoch – review\n  4 Aug 2013\n  \n  [14 14 comments](https:\/\/www.theguardian.com\/books\/2013\/aug\/04\/the-sea-iris-murdoch-review#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/static\/sys-images\/Guardian\/Pix\/pictures\/2013\/7\/19\/1374249762164\/Barbara-Comyns-008.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### Sisters By a River; Our Spoons Came from Woolworths; The Vet's Daughter by Barbara Comyns – review\n  28 Jul 2013\n  \n  [0 0 comments](https:\/\/www.theguardian.com\/books\/2013\/jul\/28\/spoons-vets-daughter-barbara-comyns-review#comments)\n\n## More from culture\n## More from culture\n- ![](https:\/\/i.guim.co.uk\/img\/media\/052eb3dc249f489fb08171806008094ffc9fd60a\/337_254_2647_2117\/master\/2647.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### MusicWhy Bach is indestructible, whether on the mandolin, modern piano – or soundtracking murder\n  11h ago\n- ![](https:\/\/i.guim.co.uk\/img\/media\/cd52313f5f27d31aa85c9aaedf483e66a4a67330\/669_0_5753_4603\/master\/5753.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### GamesWhy is gaming becoming so expensive? The answer is found in AI\n  10h ago\n- ![](https:\/\/i.guim.co.uk\/img\/media\/91fe95022f4642150c449a92d4e78639f7980692\/66_0_3064_2453\/master\/3064.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### Music‘I can’t listen without feeling rattled’: how Fairuz’s anthem of resilience became a harbinger of strife for Lebanon\n  10h ago\n- ![](https:\/\/i.guim.co.uk\/img\/media\/68fd4dafc9867f23104f2e94eedca76832086259\/209_0_2490_1992\/master\/2490.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### FilmFuze – Theo James and Aaron Taylor-Johnson face off in head-spinning London heist\n  14h ago\n- ![](https:\/\/i.guim.co.uk\/img\/media\/9c325212cb32e0f6799ee296392d35244c4bc2cd\/0_0_5000_4000\/master\/5000.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### BooksWhat we’re reading: writers and readers on the books they enjoyed in March\n  10h ago\n  \n  [101 101 comments](https:\/\/www.theguardian.com\/books\/2026\/apr\/01\/what-were-reading-john-lanchester-patmeena-sabit-and-guardian-readers-discuss-the-titles-they-have-read-over-the-last-month#comments)\n- ![](https:\/\/i.guim.co.uk\/img\/media\/a6b2a84f2fc0201862c5613e248700b153ce867f\/641_0_6038_4832\/master\/6038.jpg?width=220&dpr=1&s=none&crop=5%3A4)\n  \n  ### Art‘Money! 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All rights reserved.\n\n(dcr)","attrs_readable_markdown":"EH Gombrich's The Story of Art is the most popular art book of all time, having sold more than 7 million copies since it was first published in 1950. Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them.\n\nThe book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out (\"I have found no room for Hindu or Etruscan art\") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century.\n\nPhaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves.","meta_canonical":null}

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Meta Title	Picture perfect \| Art and design books \| The Guardian
Meta Description	<p><strong>Classics corner: The Story of Art by EH Gombrich</strong><br />It is not hard to fathom why this is the most popular art book of all time, says <strong>William Skidelsky</strong></p>
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Boilerpipe Text	E H Gombrich's The Story of Art is the most popular art book of all time, having sold more than 7 million copies since it was first published in 1950. Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them. The book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out ("I have found no room for Hindu or Etruscan art") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century. Phaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves.
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Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them. The book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out ("I have found no room for Hindu or Etruscan art") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century. Phaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves. - This is the archive of The Observer up until 21/04/2025. The Observer is now owned and operated by Tortoise Media. 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Readable Markdown	EH Gombrich's The Story of Art is the most popular art book of all time, having sold more than 7 million copies since it was first published in 1950. Reading it today, its success is not hard to fathom. Gombrich, an Austrian-born scholar who spent most of his working life in London after fleeing the Nazis, has a wonderfully plain, jargon-free style and the confidence to enter the minds of his subjects. His canter through art history is a sustained exercise in creative empathy as he asks us to imagine the aesthetic and technical problems facing the artists of different periods, before explaining how they went about solving them. The book's clarity and purpose stem in part from an artful exclusion: Gombrich confines his discussion to a relatively small number of great works, all reproduced in the plate section, and avoids mentioning any others. This means that much is left out ("I have found no room for Hindu or Etruscan art") but it gives his narrative an appealing unity. For example, he suggests that the problems Cézanne attempted to solve in the late 19th century weren't so very different from those that Raphael and his contemporaries grappled with in the early 16th; in any case, both sets of difficulties went back to the ancient Egyptians. Art history, in Gombrich's hands, is thus ingeniously telescoped, although he does seem less sure-footed when it comes to the more outré experiments of the 20th century. Phaidon's new soft cover edition is small enough to slip into a handbag or pocket, to be discreetly consulted while doing what Gombrich encourages - spending time among the works of art themselves.
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