But for now, I send my thanks and warmest good wishes to you all. In some ways this is a relatively simple grouping; a single painting, a chest of drawers, and three vases. We use cookies to track usage and preferences. It also begs questions, how to reconcile these ideas in a digital project that is based on textual descriptions of objects. What is fascinating about any exhibition is that every person who visits will leave having experienced it differently. Presented with Carlton House when he came of age in 1783, George spent forty years creating and re-creating. Is it possible to give viewers of a digital narrative the same sensory or visceral experience that I had standing in front of George’s Rembrandt, viewing it not on its own, but as part of a coherent micro collection? Transcription [Buckingham Palace crest] CENTRAL CHANCERY OF THE ORDERS OF KNIGHTHOOD, ST JAMES’S PALACE, S.W.1. the material objects that decorated Carlton House, ithout re-creating its decorative scheme exactly, , the third room in the exhibit seeks to capture some of the sensorial, Carlton House. Co ck ney spea k ers love glo tt al stops, they use … "It reminds me of the very first broadcast I made, in 1940, helped by my sister. Who will be traveling on those ships? his love of ‘oriental’ style art and architecture, and his gluttonous appetite and exorbitant expenditures. This type of hybridity was not uncommon and can, in part, be captured in written descriptions. Resting on top of the chest of drawers, vases which flank a visually and technically magnificent. She said: "It reminds me of the very first broadcast I made, in 1940, helped by my sister. While it is easy to say that combining material and textual evidence is vital in the context of a royal collection where much of both have been carefully preserved, it is important to think about what each type of evidence can do in numerous other contexts. Most recently, I and, have been developing a project that examines the. "And though self-isolating may at times be hard, many people of all faiths, and of none, are discovering that it presents an opportunity to slow down, pause and reflect, in prayer or meditation. wood until it is covered with cards, a tea. In a sense, the process of listing objects removes some of the collective performativity that was so important for the complex rituals of self-fashioning and sociability. "We should take comfort that while we may have more still to endure, better days will return: we will be with our friends again; we will be with our families again; we will meet again. Admittedly some of these questions can be asked after transcribing, items from an inventory, but the connections between them. Similarly, the rich black glaze on the paired vases makes the dark tones of the painting and the black backdrop on the commode appear more sumptuous. However, because of my work on the inventories and my background as a material culture historian, in many ways my experience of visiting the gallery became a personal meditation on the value of interweaving textual and material evidence in historical narratives. The Chinese objects on display in this room also prompt interesting questions. Admittedly some of these questions can be asked after transcribing similar items from an inventory, but the connections between them and the ways in which their stories might overlap become more pressing when the surviving material objects are viewed together, and in person.
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