You can read my post, where I try to make sense of my cookery scrapbook, here.
|My cookery scrapbook|
|My cookery scrapbook|
|Fig. 1. Slippers said to have belonged to Queen Anne. Image from Southwark Collections online.|
|Fig. 2. Label reads: ‘Balsam. One of the flowers thrown before the Princess of Wales & on which she stepped after witnessing a Supper at Christ’s Hospital, March 11th 1875 (picked up by H.S.C)’. Image from Southwark Collections online.|
C5571 - Cut glass chandelier-drop which was struck off by Bonaparte's Coffin upon its removal from Longwood for interment in his Tomb at St. Helena, on the day of the funeral, May the 9th 1821: and picked up at the moment of its fall by John Watts of the Honble East India Company's Ship, Thomas Grenvil, who was invited to be a spectator of the ceremony. The point is splintered off by the fall. Presented by Richard Watts Esq.
C9830. Portion of an iron cramp from the tomb of Chaucer in Westminster Abbey. Erected 1556. Presented by J.J.A. Fillinham, August 25th 1850.
C5007. Piece of glass struck out of a window pane at 3 Dean's Row, by a Hail-Stone, during the Great Storm at Walworth. August 1st 1846.
C5008. Marble 1" 5/56" diameter, size of the hail-stone: some of them were very much larger
|Fig. 3. Label reads: 'Velvet used in covering the Coffin of Queen Caroline, August 1821.' Image from Southwark Collections online.|
Both assume that things act on each other at a distance through a secret sympathy, the impulse being transmitted from one to the other by means of what we may conceive as a kind of invisible etherIn imitative magic the transmission seems to operate through a kind of synecdoche (Frazer gives examples where a person’s fingernail cuttings might be manipulated in order to affect the person) or mimesis, as when, for example, a magician simulates the act of birth with a large rock wrapped in cloth, in order to help a woman in labour.
proceeds upon the notion that things which have once been conjoined must remain ever afterwards, even when quite dissevered from each other...its physical basis...is a material medium of some sort which...is assumed to unite distant objects and to convey impressions from one to the other.
|Fig. 4. Barry.|
|Fig. 5. Label reads: 'Portion of a Silk Waistcoat of King Charles I'. Image from Southwark Collections online.|
|Fig. 6. Locket containing the woven hair of King Charles I and a model skeleton, which Henry says 'has been in my family's possession since time immemorial'. Image from Southwark Collections online.|
They lead us step by step through many a sad and trying scene…They awaken the recollection of many a restless spirit of that restless age. Prince and plebeian, friend and foe, the gay cavalier, the gloomy roundhead, seem to be resuscitated
The only reputed relic of 'baby Charles' I have to produce is a left mitten of point-lace,- a rare and beautiful memorial of infancy…Whether this ever covered the tiny hand which at life's latest moment was thrust out as a signal to let fall the deadly axe, must ever remain uncertain.So the objects are leading Henry toward a kind of emotive speculation. They seem to allow him access to a kind of cultural memory - they inspire an imaginative journey. Perhaps we can think about Henry collecting and treasuring these objects as keeping open the channels by which impressions can be conveyed.
|Fig. 7. Label reads: ‘Part of the Sill of the Window of Carisbrooke Castle, Isle of Wight, from which Charles I attempted to escape, 1647. Obtained August 27th, 18??’. Image from Southwark Collections online.|