HOTSPOTS
Layers
There will be up to 4 layers, including the ‘full’ reconstruction; a reconstruction showing
more and less certain features (layers of transparency?); and hotspots on two levels, each
with a short text and a picture.
Hotspots: Aims
There may be up to 20 hotspots, accessible from two panoramic viewpoints.
ACTION. C&C to make recommendations on how to present these in the model.
Each hotspot could have up to two layers, hence the reference to two items below. To
include the following themes:
1.
History and character of the medieval college, and its rediscovery
2.
Reconstruction of the chapel, evidence and levels of uncertainty
3.
Space: a narrative thread within the project as a whole
4.
People, including patrons, clerics, and all the craftsmen
5.
Light and colour, including paint, glass and metal leaf
6.
Liturgy, performance and music
We agreed that they need also to give some chronology for the building. We agreed that
there might be two timelines with the block model, one for the palace site and one for the
chapel. The latter could include bullet points on such things.
ACTION. LH agreed to make recommendations on how to present them. EB and JH agreed to
draw up lists of items for each timeline [by the next meeting, if possible].
Hotspots: Items
In length, 50-75 words per layer. Shorter is probably better. In tone and content, each text
needs to be aimed at the general public.
Each layer may have an illustration, or other attachment. We discussed the inclusion of
music. LH observed that C&C had good working relationships with the choir the Sixteen, and
the Hyperion label.
WEST OF PULPITUM
1
Institution: Foundation doc for the college; cloister/undercroft; Ste- Chapelle.
JH/EB
2
People, the king’s craftsmen: masons, Michael and Thomas of Canterbury, with
examples of other work (Canterbury Cathedral chapter house).
JH
3
People: female suppliers, the Disshere family of Wood Street, for scaffolding
TA
4
Reconstructing the west wall: views by Lee and Mackenzie?
TA
5
Reconstructing vault and roof: accounts and William Hurley; Ely octagon
TA
6
Light and colour, stained glass: J T Smith; TNA accounts
TA
7
Light and colour, floor: inventory, on flags and polishers; Purbeck marble.
TA
8
Space: pulpitum: lobby boundary; rejection of reredos 1353.
JJ (w JH)
9
Liturgy and music: 1540s inventory; Henry VII vestments? EB
10
Rediscovery (ref to later interiors): View of interior after fire; antiquaries (John
Carter etc)
JH
EAST OF PULPITUM
11
People, patrons: Paintings of Edward III, Smirke (Ants); his wife and daughters,
Tristram (PoW)
JH
12
People: Black Death, the dean and mason disappear; Job. JH
13
Space: high altar, position of speaker’s chair, in relation to?
JJ
14
Space: stalls: St Katharine’s, as model; royal seats (doorway to king’s closet, alura
and privy palace)
JJ (w EB)
15
Light and colour: BM, Tobit panel; TNA accounts; heraldry TA
16
Light and colour: Polychromy: John Carter drwg; azurite and vermilion; gold leaf (to
go with changing lighting effects)
TA (w JH)
17
Reconstructing the interior elevation: Dixon print
TA
18
Reconstructing sculpture: William of Patrington in TNA accounts; Cologne figures
TA
19
Reconstructing tracery: E window, C17 print; St Anselm’s ch.
JJ (w JH)
20
Liturgy and music: G&C choirbook; performance of music (attach to high altar)
EB
ALSO: Reconstructing the exterior: V&A drawing, Hollar print, Carter drawings. To
accompany timeline.
TA 27ii15